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I signed up for this a couple of years ago...lots of good stuff..
Classical Guitar - Index page
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10-29-2020 06:13 PM
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Originally Posted by Rob MacKillop
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!
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At least one copy! The more you buy, the better it gets
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Originally Posted by Rob MacKillop
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.
cheers
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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.
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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
cheers
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Great. I've not seen that before.
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near perfection
cheers
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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:
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Originally Posted by Rob MacKillop
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Originally Posted by Rob MacKillop
i love glenn goulds bach as well...and your uke bach suites!
sometimes stretchin is good...
cheers
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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
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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,
woodpecker
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Originally Posted by woodpecker
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
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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
Yes.
Play live . . . Marinero
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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
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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
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Originally Posted by BWV
cheersLast edited by neatomic; 11-10-2020 at 02:54 PM. Reason: sp-
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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.
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Yeah, the marble church thing works. Natural reverb.
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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.
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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.
Transcriber wanted
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