classical guitar lesson + extra hour

Hi there, well, I decided to take another two extra hours per month. The reason is quite simple. One hour per week is not enough.Altough, I have to pay for that, Simon's lesson always worth for it. We spent first hour to develop and review some of my techniqes(right and left hand).In second hour we went step by step throughout a whole piece(Homenaje).

quartet rehearsal

Hi there, as it usually happens we practised La Boda and Romanso by Torroba. In my view, we did well. However, we have to more focus on details such as tone colours, dynamics and phrasing. Although, Simon was satisfied, we still have lot of to catch up.

improvisation class

Hi there, well, as it usually happens we practised blues scales including D mixolydian, F mixolydian as well as Ab mixolydian. Today we also played a short piece called Samba Mixolidio by Simon Wan Der Walt. Simon gave us an opportunity to have an solo improvising in mixolydian modes during a song.I have to say it was the main problem for me. Well, I have to practise more improvisation with backing tracks I guess.

lesson with Simon Thacker

Hi there, well another lesson with Simon Thacker went well. We did various exercises based on right hand techniques including arpeggios, tremolo, repeating notes, planting fingers as well as rhythmic variation on the thumbs. Last couple weeks I have been concentrating more on right hand. The reason is very simply I have never practise right hand as I should thereby right hand is weaker then left hand. I do not want say that I did not practise left hand at all. Simon chose chromatic scales, shifting position for left hand technique. There was one problem which I did not release until Simon mentioned it. My left hand putting too much pressure on the board therefore we focused on releasing tension.

my first programme notes

Fantasia que contrahaze la harpa en la man era de Ludovico Alonso De Mudarra (1510-1580), Not only he was one of the greatest Spanish composer and vihuelist (vihuela is a type of six-string course guitar) of the sixteenth century, he also introduced many innovations in the instrumental music. In his first published books Tres Libros de Musica en Cifras para Vihuela(1546) can be easily found the originality of conception as well as the novelty of the sound. Those innovations are splendidly reflected in his masterpiece Fantasia que contrahaze la harpa en la man era de Ludovico. Mudarra was impressed by one of the best harpist at that time- Ludovico El Del Arpa, whom the Fantasia was dedicated to. Not only the Fantasia imitates Ludovico’s harp, it also has the style which was so typical for him. Although Mudarra wrote numerous fantasias, the harp-like sound effect can be heard only in this particular piece. Due to this effect the fantasia has been famed among lutenists, guitarists and vihuelists for many centuries. The technique which was used to imitate harp-like sound effect is based on arpeggios (a group of notes which are played one after another). Moreover, the composer emphasised a harmony by combining musical notes that are considered as unpleasant for most people, also called a dissonance (kind of disharmony). This was attained by using a d- sharp on the second string along with an open e so that both sound simultaneously. Consequently, he reached some of the harp-like features. Mudarra decided not to follow an imitating counterpoint method (note against note, which was a commonly used pattern to compose fantasia). In fact, he used more sophisticated method based on the syncopated rhythm. Therefore, the composer achieved an extraordinary forward motion which allowed him to develop a fluency and clarity. Although Mudarra’s Fantasia contains an extremely wide range of emotion, it is performed in a balanced way with no extra added dynamics (loud, soft) or tone colours. Therefore a typical regularity of renaissance art was evidently involved. Bibliography: This programme note is based on the article Mudarra’s Harp Fantasia written by John Griffiths http://www.vihuelagriffiths.com

composition

For this assessment I chose two pieces from most significant composers of the twentieth century Heictor Villa Lobos and Joaquin Rodrigo. Joaquin Rodrigo was a Spanish composer and virtuoso pianist. Concierto de Aranjuez (Adagio II.movement) Probably Rodrigo’s the most famous work was composed in 1939 in Paris. His work was strongly influenced by thought time when he and his wife had to cope with the lost of their unborn child. The form is classical style concerto with three movements. The second movement is written in B-minor key signature. The conception of theme is developed through a range of modulations and traditional Spanish guitar techniques such as rasquado. Moreover, the melody was created as a simple three-note motive and developed through transpositions, modulations, and inversions. Rodrigo simply applied harmonic progression i-vii-i-iv-V-I which was commonly used in classical period. Heitor Villa Lobos was a Brazilian pianist, conductor and self-taught composer. Prelude no.1 Although Heitor Villa-Lobos was not a classical guitarist, he wrote several pieces for classical guitar including his famous Preludes for Guitar. Prelude no.1 is written in E-minor key signature as first part of his five preludes. Hector Lobos was an impressionist thereby no wonder that his composition was written at the moment of the inspiration. The melody is based on base notes and therefore the violoncello was probably the main inspiration for the melody. The first conception appears as waltz. However, after the piece has been rewritten, the rhythm can be referred to as syncopation. The tempo is marked as Andantino expressivo which means that the piece is to be played at a walking pace with expression. The harmony is mainly based on harmonic progression in E-minor key signature. My piece My conception for my work was to compose romantic piece in waltz style for classical guitar and oboe. Although Rodrigo and Lobos used minor key signature for their work, I decided for major key signature for one reason. In my view the most romantic key signature is A major due to its spiritual value and its nobility. And therefore my piece is written in A major key signature. Harmonic progression is based on I.maj.-II.min.-III.min.-IV.min.-V.maj.-I.maj. chord progression. Although I chose an unusual progression, it worked well. As well as Rodrigo I created three notes melody motive which has been developed through inversion and modulation. Rhythm as is mentioned on beginning is based on syncopated waltz.

quartet reheasal

Hi there, in this lesson we actually reheased two pieces La Boda and Romansa by Federico Moreno Torroba.In my view, lack of dynamics as well as lack of phrasing was more then obvious.Therefore no wonder that Simon was not satisfied with result.

class with Simon Thacker

Hi there, well,the first part of his class is always constist of technical excercise. And therefore, we did right and left hand excercise such as tremolo, arpeggios, slurs, voicing melody, rasquado, scales. My piece for next performance is Homenaje by Manuell de Falla. I have to say that Homenaje is such beautifull piece. More I play it more I love this piece.

improvisation class

Hi there, in this lesson(class)we rehearsed piece So What by Milles Davis. Althought my part is constist of four chords, it was truly enjoyable for myself. In my view, reheasal went well. Only what need to be done is little more practise.

Otto Vowinkel 2a

Hi there,
I have bought a brand new classical guitar from Dutch guitar-maker Otto Vowinkel. I have decided for Otto's guitar because of his brilliant reputation around the world as well as I had a change to play on his instrument(Duende guitar) and I have to say that he makes truly amazing instruments. Here you can read what Otto wrote on his website.Especially constructed for the serious student or the beginning performer. This model was developed and built by me many years and now made in collaborative effort between me and Antonio Picado of Barcelona, Spain. It has a rosette design of concentric rings and a unique headstock shape. It is physically light, very penetrating and easy to play. Volume is great with a lot of sustain and warmth.

Hi there,
fourht lesson with Simon Thacker went well.However, Simon was not satified with some of my technique and therefore lot of homeworks were given to me as it can be seen below.
Homework for next week
1. Right hand technique:
-arpeggios (practise with metronome)
-rest stroke+free stroke (planning)
-tremolo (practise with metronome)
-rasquado

2. Left hand technique:
-scales
-arpeggios
-slur( ascending, descending + rhytmic variations)
-shift positions
Pieces:
Homenaje by Manuel De Falla
Valts no.3 by Augustin Barrios Mangore
Etude no.1 by Heictor Villa Lobos

Assignment I. Improvisation in Music

1. What are your current strengths and weaknesses in improvisation?
First of all, as I have said many times before on my blog an improvisation in music is something new for me and therefore weaknesses taking over the strengths.I have realised that among my biggest weakness belong timing and the rhythm as well as inability to define what scale needs to be added to relevant chords. My strengths, well I think it is generally passion about music and everything what is linked to it including improvisation.
2. What have you done to improve your skills since the course started?
I have started to improvise with backing tracks which were placed in D2L.I have found extremely useful. However, I have a lot of to catch up.I have also tried to learn and memorise some of pentatonique scales.Moreover, I try to listen more jazz music where improvisation can be found a lot.
3.What are you going to do improve your skills between now and the next performance block?
Hopefully, I am going to daily improvise with backing tracks to improve my skills and read also books about jazz theory.Additionaly, I am going to keep up listen to a specific kind of music I can learn from.
4.Name and briefly discuss three pieces of improvisatory music which you have studied?
Well, I have tried to improvise with backing tracks: Body and Soul in Db, Everything happened to me in Bb, How deep is the ocean in Eb and How high the moon in G.Moreover, I have studied Milan Tesar's ,,Blues in G''. It is piece written in the key of G major with standard jazz harmonic progression II-V7-I.Another piece was Autumn Leaves in the key of E-minor in harmonic progression II-V7. However, there can be found a lot of variation pattern.Finally, I have practised very briefly piece called Blue Moon for classical guitar in the key of Eb major and again harmonic progression II-V7-I.

improvisation with simon van der Walt llI

Hi there,
well, as usual in improvisation class we improvised in D-minor pentatonique scale. Everyone had solo improvisation while sample of jazz music was playind in backround.We received assignment descriptor today. Well, for this assignement, we were asked to collect a portfolio of materials which demonstrate our understanding of the relationship between given musical elements and improvisation. What we have to do is compose at least one tune, at least one solo and transcribe one solo. Well, I have some ideas so hopefuly it will be ok.

Classical guitar lesson with Simon Thacker

Hi there,
Finally I had my first tutorial lesson with a great guitarist Simon Thacker.After what I performed my piece Barrios's Valts no.3, Simon decided to give me another piece called Homenaje by Manuel de Falla.Well, pretty happy with this piece because I do like Falla's works anyway. However, it is grade eight piece and I will have to learn it within three weeks which will be difficult.

Stravinky's Octet for wind instrument briefly

Stravinsky’s Octet for wind instrument 2nd movement

Igor Stravinsky composed his Octet for Wind instruments in1922-23. The piece was written for two trumpets, two trombones, flute, clarinet and two bassoons, which is a peculiar assortment of instruments, is not it. The reason why he composed this kind of music is due to the difference of the volume of these instruments that provide more evidence of the musical architecture.
This piece has all Stravinsky’s signature musical characteristic including atypical use of accents, shifting pulses, rhythmic complexity, extreme use of dynamics (fortissimo and pianissimo) and specific use of articulation marks.
Although Stravinsky found a new style-neoclassicism, he used a classical form for his Octet: sonata form, theme and variation with fugue and rondo at the end. This was the first time when Stravinsky used the theme and variation form in a composition. The form of the second movement is self-evident from the title Tema con Variazioni in D-minor. The theme is based on octatonic scale and it does not point to any tonal centre. As can be seen the form of the movements is slightly unusual A (ribbons of scales)-B(March)-A( ribbons of scales)-C(waltz)-D(tempo di gusto)-A(ribbons of scales)-E(fugue). According to Stravinsky, his appetite was whetted by his rediscovery of sonata form…

improvisation with simon van der Walt ll.

Hi there,
We were devided into two groups today. The first group called ''Blue group'' consisted of musicians with more experience and skills in the improvisation field,whereas the second''Green group'' consisted of musicians with less proficiency. As I had said I had never done the improvisation before thereby no wonder that I was placed in the Green group.Honestly, I have a lot of to catch up,therefore I absolutely agree with Simon. As a last time a jazz sample played in backround while we were improvising in D-minor pentatonique scale. The solo performance was given to each of us to show off our talent while others repeated the whole scale along with a jazz sample.As I see it,the improvisation went badly rather than well. Honestly, Simon was not satisfied with my solo improvisation due to the lack of my rhytmic correction as well as a lack of inspiration, I would say.The problem is that I am not able to do my best when I am in spotline. However, I do like improvisation class and looking forward to another lesson. Cheers

Improvisation class with Simon van der Walt

Hi there,
another improvisation lesson with the excellent musician and teacher Simon van der Walt went well, by the way.
Althought, I had never done any improvisation before, I found it quite entertaining. We have done a lot of improvisation excercise today. For instance, Simon performed two long bars riffs on his trumpet and those riffs had to be correctly repeated by playing our own instruments.The problem was that you needed to be absolutely focused what teacher performed,so that it means you have to be rhytmicaly correct to make your teacher satisfied. Moreover, everyone had to compose two bars-long melody in C major blues scale and than performed it along with the music which was playing in the backround.
According to Simon,this kind of excercise can have significant impact on our musician skills such as improving our frazing and rhytmic coordination.
Finally, we have got homework for next lesson which is next week. Simon asked from us to create any melody in C major blues scales with correct blues rhytmus and perform it in front of the class.

Nicola Benedetti

Hi there,
Worldwide known young violinist Ms Benedetti is simply genius. Her utter self-confidence and very strong technique keeps everyone fascinated. Additionally, Ms Benedetti is very intelligent and soulful musician which is reflected in her mesmerisng performence. For instance, Mendelssohn's Violin concerto in E Minor op 64 performed by Ms. Benedetti is absolutely outstanding. I would highly recommended to listen that.

Galina Vale

Hi there,
I am absolutely astonished by Ukrainan classical guitarist Galina Vale.It is hard to believe that anyone can perform like Galina Vale does. In my view she is truly unique classical guitarist and musician. Not only she can perform traditional classical pieces such as Recuerdos de la Alhambra by Francisco Tarraga or Carpatian Rhapsody by A.Shevchenko, she can also perform very technically demanding works such as Liszt's "Hungarian Rhapsody no.2" alongside her own arrangements of works including Rachmaninov's "Prelude no.5 in G-minor" and "Hungarian Dance no.5" by Brahms. Her range of repertoire and technical profiency is truly beyond the traditional skills of any known classical guitarist. Moreover,Galina Vale has elevated classical guitar virtuosity on the highest level.