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  1. #51

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    I've known a number of classical musicians just like that. Hell, I used to be one. I didn't even realize it until I had a masterclass with Roland Dyens. I was playing a Passacaille by Weiss and he stopped me and asked me to just play the chords. Once I kind of figured out what they were he started improvising over them to prove his point. After that I realized that I had to do a better job of understanding the pieces I was playing. I highly doubt mine was a singular event. I also had a conversation with Eliot Fisk about music theory being more applicable to an improvising musician than to a classical musician and he agreed it was. We both obviously felt that it was still important for the classical musician just more so for improvising or composing.


    The Jazz Guitar Chord Dictionary
  3. #52

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    It is an excellent endeavor for one to learn classical music, it is important to learn all music. The classical guitar is simply a tool commonly used to express a certain repertoire. Any type of music can be played on either nylon string or steel string guitar and regardless of which instrument one chooses it is their responsibility to learn the theory behind what they play (if they so choose).

    The technique associated with classical guitar is distinct as the use of the nails is introduced, also the position which the instrument is held may vary from how many "non-classical" players hold it. I like to play all sorts of arrangements on classical and on electric, at the end of the day any given instrument is simply a tool for us to express our musical voices with.

  4. #53

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    Quote Originally Posted by Bill C

    Classical vs jazz guitar - just listen to Adam Rogers play nylon string!
    just curious where have you heard him playing nylon string guitar?

  5. #54

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    He plays nylon on a track or two on "sight" I know, possibly elsewhere too...

  6. #55

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    Quote Originally Posted by fritz jones
    just curious where have you heard him playing nylon string guitar?
    Red Leaves from Allegory
    Book Of Sand from Art of The Invisible
    Moment In Time from Apparitions
    Young and Foolish from Time and the Infinite
    Beautiful Love from Sight

  7. #56

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    Don't see a problem P90; I do both and have been a classical guitarist for well over forty years. The key things of difference are the fingerings, where in jazz you might sometimes use a third or fourth finger to cover two adjacent strings, and the fingerings of scales. I think the best way to learn is to get into the habit of 'classical' left hand positions first, and this will allow you to have a really good position when you come to jazz. (Not that anyone without a good 'classical' position is always going to have trouble...just look at Pat Martino's left hand...anything but 'classical', but what a player!) However, it does stop things like avoiding the use of the fourth finger, particularly if the left hand thumb is too high. On the other hand, there is an advantage and disadvantage in using the right hand fingers instead of a pick. For classical guitarists, nails are all important, but can get really damaged on wire struck guitars. As for scale fingerings, learn both, it won't mess you up.
    Last edited by Ged; 08-17-2013 at 11:44 AM. Reason: missing word

  8. #57

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    Quote Originally Posted by jasonc
    After that I realized that I had to do a better job of understanding the pieces I was playing. I highly doubt mine was a singular event.
    I know the Weiss Passacaille well...and I totally agree! Strangely enough, I've often found that jazz guitarists understand what they are doing musically, more so than classical players. As for the latter, I just play the dots and don't think much about the harmonic structure. Perhaps I should.

  9. #58

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    Really interesting debate as I started off playing jazz guitar although liked the sound and techniques of classical guitar so much that now use them to play jazz. I think that Ralph Towner deserves a mention as, to me at least, he is one of the foremost 'crossover' players and represents a great example of what can be achieved when applying classical guitar techniques to the jazz repertoire.

    For those of you lucky enough to own a copy of his book on improvisation techniques for classical guitar, you already know what I'm talking about.

    Food for thought: don't you sometimes think it would be better for all of us if we just dropped the 'jazz' and 'classical' labels? I'm not sure categories are always such a good thing.

    Enjoying the thread, thanks guys.