The Jazz Guitar Chord Dictionary
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  1. #51

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    I signed up for this a couple of years ago...lots of good stuff..

    Classical Guitar - Index page


    The Jazz Guitar Chord Dictionary
  3. #52

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    Quote Originally Posted by Rob MacKillop
    I've played it in A before, and it does work well. But it also works really, really well in E. As almost all guitar versions are in A, I thought it might be of interest to some to try it in E. The opening of the Prelude plunges down to the lowest note on the cello - it has a wonderful feeling of exploring the depth of the instrument - likewise the Allemande and Courante. Doing so on a guitar in E gets more of that feeling than when with A being the lowest note. Many editions put the basses down and up octaves, whereas I wanted to get as close to what Bach wrote.

    Thanks for the reply and explanation. I understand your idea about the full depth of the range. I’ll have to try your edition and see how it compares!

  4. #53

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    At least one copy! The more you buy, the better it gets

  5. #54

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    Quote Originally Posted by Rob MacKillop

    That's a ukulele in 5ths tuning.
    remarkable per usual rob!!

    always a fan of pablo casals interpretation-

    The suites were not widely known before the 1900s, and for a long time it was generally thought that the pieces were intended to be studies; additionally, while four of the suites are written for a four-stringed instrument in the standard tuning, the fifth suite employs a variant tuning, and the sixth suite was written for an instrument with five strings. However, after discovering Grützmacher's edition in a thrift shop in Barcelona, Spain, at age 13 (in 1889), Catalan cellist Pablo Casals began studying them. Although he later performed the works publicly, it was not until 1936, when he was 60 years old, that he agreed to record the pieces, beginning with Suites Nos. 2 and 3, at Abbey Road Studios in London. The other four were recorded in Paris: 1 and 6 in June 1938, and 4 and 5 in June 1939. Thus Casals became the first to record all six suites.


  6. #55

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    There weren't many in Bach's day who could play them, and those that could probably preferred writing their own. Casals might have been the first ever to play all six suites. It is thought Bach wrote them on a viola, so even he didn't play them on a cello.

  7. #56

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    great fun to picture a 60 year old pablo casals in abbey road studio cuttin bach cello suites tho!!!

    connections indeed...hah


  8. #57

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    Great. I've not seen that before.

  9. #58

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    near perfection


  10. #59

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    A little less vibrato, and I would agree. But in his day, they could not imagine music without vibrato, whereas in Bach's day vibrato was seen as an occasional ornament, like a trill. Great commanding playing, though.

    Talking about commanding:

  11. #60

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    Quote Originally Posted by Rob MacKillop
    Talking about commanding:
    And he hasn't even put his pants on yet!

  12. #61

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    Quote Originally Posted by Rob MacKillop
    A little less vibrato, and I would agree. But in his day, they could not imagine music without vibrato, whereas in Bach's day vibrato was seen as an occasional ornament, like a trill. Great commanding playing, though.
    why i specifically writ ^ - always a fan of pablo casals interpretation-

    i love glenn goulds bach as well...and your uke bach suites!

    sometimes stretchin is good...


  13. #62

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    Speaking of Pablo, one of the greatest books written on performance is "Casals and the Art of Interpretation" by David Bloom. For me, it is an essential study for any musician irrespective of genre. He provides written musical examples of nuance and interpretation that will improve any players performance. Casals was a true "Soul Man"--and like Rubenstein, Kempff, Segovia, and Heifitz, he just happened to play Classical Music. Play live . . . Marinero

  14. #63

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    some points

    for me, the difference between classical playing versus just "picking" nylon strings lies in the right hand´s production of tone

    this includes nail care for smooth edges and right curve , pushing the string with the flesh towards the instrument and let it slip over
    the nail for a fat tone . no nails no classical playing, you can discuss with Sor the importance of the thumpnail

    the angle of fingers to strings and being able to change it , see Barrueco´s ability to hide open strings

    being able to switch between diffrent registers from fretboard to bridge for tonal colours

    controlling pp to ff and long cresc./decresc.
    and on and on

    then comes vocal-like phrasing, so you should know at least the sound of european languages -not many italians talk like mussolini
    and on ans on

    you can read Carlevaro`s manual for Villa-Lobos for more insight...

    lots of popular classic recordings are drowned in reverb, really bad behavior to hide the flaws, so no reverb marks a honest player
    a little room is still o.k.
    some of last century´s big names are just outdated

    the above mentioned repertoire is very high grade, l would suggest to start easy to intermediate
    cello suites are for cello, there are 12 year old russians ....enough
    music from other instruments set for guitar is called "transcription" and usually does not sound good

    what about Leo Brouwer? if he´s not banned for being from xxxx, try Estudios Sencillos 1-5! know he´s composer not player
    Tarrega not only offers Lagrima(s) , Giuliani easy sonatas, de Visee, Dowland....
    free download from copenhagen library!

    that does not mean that you can not have fun pickin´ Bach, but that is not the level in 21st century and amateurish, conscious of that?

    and there is nothing wrong in Chet Atkins, Earl Klugh and the whole non classical south america, where l love to travel musically
    when l can´t stand the pressure of having to play classical.

    in the end l encourage you to start your journey, a chance to develop new sensibilities
    and a 16 bar Carulli, properly performed is more rewarding than fight 3 pages of semiquavers with shitty tone.

    be happy,

  15. #64

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    Quote Originally Posted by woodpecker

    no nails no classical playing
    Sorry, Woody, I completely disagree. In fact, I've had messages from at least one hundred would-be students who were told exactly what you said at some early stage in their potentially musical life, and gave up. Why were they writing to me? Because I have shown that both nail and no-nail playing have existed side by side in the entire history of the classical guitar, yes, right through the 20th century and into the present, and was the primary way of playing before the 20th century. For details, see especially the Players page:

    Fat enough for you?

    Vahdah Olcott-Bickford: "Normal finger players have been mostly run over by the clawing juggernaut, only a few having the courage and fortitude to keep the faith, against an avalanche of clawers, who loudly ballyhoo that clawing is the only way. A thousand wrongs cannot overturn one right, and all the darkness in the world (or beneath it) cannot extinguish the beautiful light of one small candle. The clawing syndrome has become an epidemic in America, but I am told it is not so in Europe, at least not nearly to the extent prevalent in our country.”
    Last edited by Rob MacKillop; 11-07-2020 at 10:21 AM. Reason: link to website

  16. #65

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    "lots of popular classic recordings are drowned in reverb, really bad behavior to hide the flaws, so no reverb marks a honest player" Woodpecker

    Play live . . . Marinero

  17. #66

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    Rob is correct. However, there are limitations to playing without nails namely, up-tempo, Classical/Neo-Classical, Baroque works that would impose real restrictions on overall speed, clarity and execution for the lion share of players. However, Romantic and/or Contemporary compositions with slow/moderate tempos similar to "Desengano" provides the performer, IMO, with a very personal, lyrical potential for the nail less performer.
    Play Live . . . Marinero

  18. #67

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    Every live CG concert is drowned in reverb, as it takes place in a church or small hall with those acoustics

  19. #68

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    Quote Originally Posted by BWV
    Every live CG concert is drowned in reverb, as it takes place in a church or small hall with those acoustics
    thought the exact same..if reverb is an issue, than the people in the front row of a large hall or church are getting a better performance than the people in the reverby back rows?? hah

    Last edited by neatomic; 11-10-2020 at 02:54 PM. Reason: sp-

  20. #69

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    Julian Bream liked to record in the Wardour Chapel in Wiltshire, because of its acoustic properties. His reasoning was that the sound of a plucked note on the guitar dies very quickly in a dead acoustic. He wanted the notes to sound for longer.

  21. #70

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    Yeah, the marble church thing works. Natural reverb.

  22. #71

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    Giuliani 120 RH Studies.
    You will want to buy the book for yourself, but this YT playlist is a great service to anyone beginning CG.
    You can plainly see that this is the place to start.
    Sheet music and RH/LH video:

    Just listen and read the notation on a handful before you do anything. See how PIMA is done properly and get the idea.

    Manual Technique must be coached.
    You can self-direct with mirror and gradual metronome, but if you get it wrong, you're inculcating bad habits.
    Depends on how serious you are and how much money you can invest in a teacher.
    At least, take a few lessons. There are beginner packages.

  23. #72
    Absolutely! This is what I do. I found my voice playing jazz chord/melody standards on a nylon string (crossover) guitar. I like the cutaway and the option to plug in though I never do. I read poorly, but I enjoy dabbling in playing some classical music. I have a Tarrega book that I enjoy playing from even though it is slow going and plan to expand to other classical music as well.

    I was fortunate to have studied a little classical guitar with a friend many years ago. It was enough to develop a decent right hand. I am working on my reading and hope to gain greater proficiency over time. The major frustration I have is attempting to develop an adequate tremolo. I don't know if I ever will, but every now and then I spend some time every day working on it. I think it is the most mind blowing guitar technique.