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Originally Posted by Christian Miller
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10-22-2022 05:55 AM
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Originally Posted by RJVB
re polyphonic legato on guitar, according to his student and JGO member Don Oz, Pasquale Grasso’s advice is ‘hang on for dear life’
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Originally Posted by wolflen
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Originally Posted by Christian Miller
As a violinist I was relatively well off ... but then again I realised quite early that things like the Sonatas & Partitas are best put on a beautiful, period-correct stand as a facsimile of MM's elegant engraving, to look at, sometimes turn a page ... and marvel at how beautiful it could sound.
How's that for a pure, clean tone
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Originally Posted by RJVB
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Yes, I was thinking I list Boyer together Corea and Mehldau but finally decided not to. The reason a) His Vivaldi with his fellow is almost there, but that almost counts. b) While agreeing in his unique talent, he in not a jazz guitarist in the meaning as Wes, ......, Rosenwinkel, Hekselman, Kreisberg, etc.
Anyway, I did not deny exceptions could exist. I was arguing if one listen 1000s hours of jazz then it will obvious how fake a classical musician plays jazz, and vica versa.
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Originally Posted by Hippias_Major
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Originally Posted by Christian Miller
I agree with the sharing, but we must differentiate between amateurs and artists. I consider Rosenwinker, Kreisberg as a musician/artist, so if they perform something I expect it to be music. If an amateur (or even a professional) plays along with Wes that is a way other use case, we could consider that sharing.
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Kurt Rosenwinkel is exceptional musician. Sad he is how underrated in this forum. His Bach rendition seems convincing for the few first bars, then quickly became disturbing. Falls apart to few bar pieces without any meaningful flow.
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Originally Posted by Gabor
But I think this isn't the first time this topic has arisen on this forum, nor others...
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Indeed, Gilad is very fluent, which is more and more seems to be a base requirement amongst "modern" players, at least compared to the "old cats".
I do not know much about the right hand, especially about hybrid picking, so leave that for those who are more familiar with that.
However I think the "secret" in this fluency is in the synchronization between the two hands, and the left-hand's movement preciosity, especially leaving the finger fretting the string as long as possible.
The question still remains, how to achieve this? Maybe practice finger exercises very slowly (80?) and solely focus on left hand finger stay fretting as long as it possible. Also *listen* the outcoming sound, and focus on improving its quality, instead of speed. They say the speed will come automatically as side product (never happened to me :-), but worth trying )
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And here is a much more concrete observation based on the video:
Gilad frets the string very close to the fret, almost on the fret. He does this with all the four fingers, and over 90% percent of the notes.
This is not a coincidence, neither is a random habit. I practice this from the very beginning, now I am doing this automatically not even noticing it. This makes the sound "nicer", not the note itself, but the *ending of the note*.
Fret a note with on B or E string any finger, between half way of the frets, or more closer to the headstock, pick the note, then end the note by lifting up your finger. No matter how fast are you doing this, there will be a non desirable sound artifact when the note ends. Try the very same now fretting the note very close, almost on the fret: no artifact, the sound ends nicely. This applies btw to the chords too. Most time a the old plain 9b chord is the victim of this. Say C9b on the third fret, C, E, Bb, Db. The Db on the string B is usually fretted in the middle of the fret or even more, to direction to the headstock. When that note ends, it is ugly most of the time.
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Originally Posted by Gabor
especially leaving the finger fretting the string as long as possible.
The question still remains, how to achieve this?
Fretting at the right location is indeed important, and he seems to be doing it with a certain decisiveness (part of the fingernoise I heard resembles the sound of the string hitting the fret).
I can't listen to the video right now to check for this, but one component of a clean acoustic sound in music with multiple voices is to control which notes and even which sympathetic resonances are allowed to keep sounding. This too is something where left/right hand co-ordination is crucial.
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Partimento, not portamento lol
Last edited by Christian Miller; 10-23-2022 at 09:25 AM.
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That said the Bach inventions are very relevant to the study of partimento. The Fenaroli partimenti include puzzles in imitative counterpoint and certainly lend themselves to realisation in that texture. As quite short pieces with relatively simple forms, the bass could be used as a partimento exercise in itself. Anyhoo.
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Originally Posted by Christian Miller
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Originally Posted by RJVB
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Back to Gilad's right hand: one of the challenges of hybrid is getting the flat-picked notes to sound like the finger picked ones. It can be difficult to get an equal attack. It's been a bit of a challenge for me at least. He has that mastered. It may be why he's got the plectrum over the finger-board.
Originally Posted by Christian Miller
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Originally Posted by ccroft
merry Christmas
Bach with chord symbols. Some music professor somewhere is weeping no doubt.
i can spot a mistake or two, but I’ll leave that as an exercise for others lol.
I’d put it in one stave guitar music, but tbh I’m finding it less annoying to read this way. (Schemata people will note I wrote Monte instead of Fonte, duh.)Last edited by Christian Miller; 10-23-2022 at 04:03 PM.
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I "figure out" bass clef as against reading it, but that's great Christian, thanks a lot. Now I just need to find the time.
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Originally Posted by James W
Very nice playing unlike the machine-gun(Geez . . . he plays fast, mom!) video presented earlier. Antoine, in this piece, plays very much in the vein of Roland Dyens and this particular music doesn't need a genre-name. I would simply call it contemporary Classical Guitar. As a technical observation for other CG's with no intended disparagement of his playing or sound, he must be playing lighter gauge strings since there is significant string wobble on the basses during the performance.
Marinero
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"Gilad frets the string very close to the fret, almost on the fret. He does this with all the four fingers, and over 90% percent of the notes.
This is not a coincidence, neither is a random habit. I practice this from the very beginning, now I am doing this automatically not even noticing it. This makes the sound "nicer", not the note itself, but the *ending of the note*." Gabor
Yes G,
It is taught from the very beginning of a CG's study since it not only gives a cleaner, more precise sound but also is a necessary ingredient for increasing overall speed as the student builds skills.
Marinero
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If you haven’t spent time refining the fretting accuracy of your left hand you might find it a bit of a revelation.
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Originally Posted by Peter C
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Originally Posted by Marinero
His sense of harmony is fantastic - like Julian Lage his lines evince quite a knowledge of classical music.
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Originally Posted by James W
So, J,
I nearly forgot the above post. So, based on your above definition of "Jazz"-- "playing" a Jazz tune "and improvising," how would you describe a modern Classical guitarist like Jason Vieaux? He's playing a Jazz tune and "improvising?" Is he a Jazzer?
Marinero
Or, how about Fabio Zanon's: "Prelude for Guitar: "Eyes of a Recollection?"
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Originally Posted by Marinero
But it's not interesting after a certain to point to categorise a piece of music, still less so an artist ...
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