quartet rehearsal

Hi there, as usually, we practiced La Boda and Romansa by Torroba. We tried to improve overall structure and performance.

lesson with Simon Thacker

Hi there, as usual, we started with technical exercises in the first half. right hand:arpeggios, tremolo, rasquado, vibrato left hand:scale g major, slurs In the second half we worked on piece called Homenaje by Falla. Simon was not satisfied with the volume as well as with dynamics, contrasts and overall performance. The volume was the biggest issue this lesson. By that I mean I have to play far more louder. PS: Honestly, I am being supriced almost every lesson. For instance, I would never say the vibrato can be practised.(so naive)

improvisation lesson

Hi there, well,today in improvisation class we worked on the piece called Take the A train by Billy Strayhorn. Firstly, we listened to the piece to get roughly overview about this jazz composition. Secondly, we played the main tune everyone alltogether. Finally, as usual, Simon gave us an opportunity to improvise while a track was playing. The main trick was to find the right scale and assign it to a chord.

quartet rehearsal

Hi there, this time we have tried to improve overall performance by adding more dynamics as well as tone colours. Simon gave us an opportunity to choose dynamics and tone colours according to our liking. Moreover, he explained to us how it might work and what techniques is best to select. On the other hand, I not sure if we would be able to done it right without Simon's help. As usually Simon was not satisfied due to lack of discipline. By that I mean, we have to practise more harder.

a lesson with Simon Thacker+extra hour

Hi there, the last lesson in this semester went well. I had a lot of issues with right hand as well as with nails. Although, I have tried to find the best position for my right hand that would affect a good tone quality, I never found until Simon shown me the right way. The shape and length of my nail also was my the biggest problem. I needed to find the best shape and length in order that produced the best tone quality. Honestly, I was a little bit concerned about my tones. Before than I spoke with Simon my nails produced very sharp noise.But everything was solved yesterday. We still works on piece Homenage by de Falla. Although, Simon was satisfied with my performance, I have to work harder on intonation.

Juan Hernandez concierto spruce 2009

Hi there, believe or not I bought a new classical guitar. It is Juan Hernandez concierto spruce 2009. I am pretty sure that I made right decision. My intention here is not to advertising on Hernandez guitar. However, it has everything what I have been dreaming about. The guitar was made in Spain exactly in Valencia. The body is made from East Indian rosewood and soundboard from European spruce. These combinations produce absolutely amazing sound. The trebles have a sweet, warm, loud tones and the basses incredibly depth. Honestly, it is pleasure to play on this guitar due to well set-up action of the guitar.I would highly recommend it for advanced students.

Manuel de Falla Homenaje

Manuel de Falla

Homenage:

Piece de Guitar ecrite pour “Le Tombeau de Claude Debussy”

 Manuel de Falla was one of the most influential Spanish composers and pianists of the 20th century. Falla established his compositions on Spanish folk idiom with elements from modern French and Russian composers such as Stravinsky, Debussy, Ravel, Diaghliev. For instance, among his most famous compositions belongs Fantasia Betica, Miller’s Dance, La Vida Breve etc.

 Homenage: Piece de Guitar ecrite pour ``Le Tombeau de Claude Debussy’’ (Tribute: a piece written for guitar as a memoriam of Debussy) was Falla’s first piece written especially for the guitar on the request of Miguel Llobet, who was one of the greatest classical guitarists at that time. Interestingly, it was Llobet who firstly performed this piece, surprisingly not on the classical guitar but on the harp-lute in 1921. Homenaje is an instrumental piece written as a memoriam of French impressionist composer Claude Debussy, who was considered the most significant composer of the nineteenth century. Not only did Falla feel an enormous respect for Claude Debussy who gave him confidence as a composer, he also had an admiration for Debussy as a musician as well as a person.

 The entire composition, portraying a dark mysterious mood, evokes peculiar feelings. Assuredly, there is a kind of duality as well as contradictions in this piece. It is presumed that Falla expressed his sadness over the loss of his closest friend. As ,,mesto e calmo’’(sadly and calm) indicates  the entire essence of the piece captures Falla’s grief as well as memories of Debussy. However, the composer applied unexpectedly the rhythm Habanera (slow Cuban dance with dotted rhythms), which is quite opposing of a mourning atmosphere. On the other hand, this unusual combination of different elements gives us a very unique and distinctive composition. The main structure of the piece is based on Phrygian mode (also known as Spanish gypsy scale) a typical characteristic feature of Spanish folk music. The beauty of the melody lies in the minor melodic interval e and f throughout the entire piece. Although, in certain parts, the concept for the melody comes out of improvisation and becomes more melancholic, that interval pattern can still be recognised. Not only is the harmony emphasised by very open chords (E over F chord) and dramatic fast-run arpeggios, in certain Manuel de Falla used natural octave harmonics to make the harmony slightly lighter and brighter. The piece is not technically demanding in most of its parts. However, the enormous amount of contrasting tone colours as well as dynamics marks requires maximum attention in its interpretation. Therefore, the performer should give his best to paint images of sadness to the audience. Although, the piece has not been always favoured among the audience, it has been played by many highly respected guitarists including Julian Bream, Andreas Segovia etc.