The MLP Classical Guitar Thread - Covering all finger style from 1500 - to now!

Discussion in 'Guitar Lessons' started by Cpt Matt Sparrow, Jan 20, 2014.

  1. Stinky Kitty

    Stinky Kitty Senior Member

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    The allure for me is the exotic, romanticized imagining of windswept Moorish Andalusian plains, and the passion of flamenco.

    Having learned to read music first, long before I first saw tab, I find tab a bit disorienting.
     
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  2. paradice

    paradice Senior Member

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    this pumping nylon book I have is the TAB edition.....kinda thinking I shouldve got the normal edition as I'm not going to be able to resist just looking at the tab

    I can read notation (piano lessons when I was young) but I've never found it easy, especially when the notes are way off the staff
    the few times I've printed off a score to try and learn it i've ended up writing the note names down above the notes on the staff otherwise i'm just counting lines - glasgow buses drive fast always - every good boy... - face blah blah... all the time
     
  3. Stinky Kitty

    Stinky Kitty Senior Member

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    Work with what you have, it's good to build proficiency with both.
     
  4. SteveGangi

    SteveGangi V.I.P. Member

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    Same here. I can use tab as an aid, but I can't really read it like regular notation. For me it's just something to help with positioning. Don't even get me started with all the tabs in the internet that are so wrong you can tell just by looking.
     
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  5. Cpt Matt Sparrow

    Cpt Matt Sparrow Senior Member

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    I hear you guys!!

    I have to bite my tongue on youtube when a well meaning (usually) youngster, says about a classical guitar piece, "do you have the tabs for that"

    GRRR LOL
     
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  6. Cpt Matt Sparrow

    Cpt Matt Sparrow Senior Member

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    Morning/afternoon amigos...

    I thought last night - enjoying the pleasant buzz of glass number two of red...

    Here I am, an English mutt, Welsh Grand parents, family roots from all over the show, sight reading through a piece by a Japanese composer (Takamitsu), playing an English made Spanish guitar, strung with American strings and enjoying an excellent Italian bottle of valpillacella - cheers to this kind of multiculturism!

    Anyway, the real reason I am writing is an announcement of "FIRE IN THE HOLE"

    Right and left handed exercises in coming!

    Matt
     
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  7. Cpt Matt Sparrow

    Cpt Matt Sparrow Senior Member

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    These are for any one who would like to get their right hand working more efficiently. The first sheet is just a ten minute a day warm up.

    For a nice tone, keep the right hand right angled and make sure you play through slowly, making sure each note is as strong as the other. Typically on the right hand it is finger A (the ring finger) that lacks power compared to I and M (index and middle)

    Exercise one should be - P, I, M, A, M,I

    Exercise two should be - P, I, P, I, P, M, I, A (going up) M, A, I, M, P, I, P, I (going down)

    Exercise three should be - P, A, M, I, A, M, I, P A, M, I, P,

    [​IMG]
     
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  8. Cpt Matt Sparrow

    Cpt Matt Sparrow Senior Member

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    This Leo Brouwer's Etude no6, to my mind, one of the best right hand studies! I have added dynamics etc, just so you can maybe try them out and then decide on how you want to approach the piece.

    It can sound great at break neck speed and equally, at a slow tempo, where it sounds very mysterious!

    The right hand until the 2/4 Time signature at bar 23 is is P, A, M, I, A, M, I, P, A, M, I, P - Then it turns into P, A, M , I, P, M, I, P



    [​IMG]
    page 1 by matthewsear, on Flickr

    [​IMG]
    Page 2 by matthewsear, on Flickr

    [​IMG]
    Page 3 by matthewsear, on Flickr
     
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  9. onehippie

    onehippie Senior Member

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    Just what MLP always needed
    by a teacher of no less i hope to learn a lot
    beautiful sounds
    i throw in my vote for a Classical
    sub forum
     
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  10. Sin Nombre

    Sin Nombre Senior Member

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    One of my favoritesÂ…

    [ame=http://www.youtube.com/watch?v=erwLhFO2f88]Joaquin Rodrigo - Concierto de Aranjuez[/ame]
     
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  11. Stinky Kitty

    Stinky Kitty Senior Member

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    There was a Brower piece that my second teacher assigned me for the development of my right thumb. I can't remember which one, and I'm not near my folio for another couple weeks. If it hasn't surfaced by then, I'll def post it.

    Edit: possibly Etude 1.
     
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  12. onehippie

    onehippie Senior Member

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  13. Stinky Kitty

    Stinky Kitty Senior Member

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  14. paradice

    paradice Senior Member

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    th in to!

    Just realised all the notation I've seen so far only uses the treble clef, is that always the case for the guitar? Makes sense I suppose.
    Saw a few sight reading books on amazon, pretty cheap, and they were written ages ago so must be good!
     
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  15. LenPaul

    LenPaul Premium Member

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    I'd love to hear some recordings from board members.
    If some one were to start it off, it might break the ice.
     
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  16. Cpt Matt Sparrow

    Cpt Matt Sparrow Senior Member

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    Len I completely agree! :applause:

    It's fun sharing clips from YouTube, of musicians we admire, but as an online community here, I'd much rather listen to each other's playing.

    It's a friendly non judgmental bunch here too, so what if it's done on a camera phone, let's get the ball rolling. :)

    Matt
     
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  17. Stinky Kitty

    Stinky Kitty Senior Member

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  18. Cpt Matt Sparrow

    Cpt Matt Sparrow Senior Member

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    YAY!!!

    Our first share on the page - superb work SK!

    Can you tell us about how the collaboration came about?

    Matt
     
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  19. onehippie

    onehippie Senior Member

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    :applause:
     
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  20. Stinky Kitty

    Stinky Kitty Senior Member

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    Thanks Cpt and onehippe!

    My friend wrote and read her poetry, and I composed the music. We collaborated over the internet.
    Structurally it was very different from typical songwriting. It was a much briefer, once through event, rather than cyclic within a prescribed form. The explorations were liberating in that difference. The guitar was tied to the cadences and phrasings of her voice, organic and not metronome driven. It was guided by the internal rise and fall of her poetic arc, and held inside her duration. The music needed to balance underneath her voice, to be present, always in support of rather than foreground. Not to be noticed until a pause, almost becoming her breath. Ambiance was very important. I should have traveled to find just the right stone hallway to capture more fully the mood I sought. This is the closest so far that I've gotten to the imaginative flights that the Classical Spanish Guitar calls to my heart and mind.
     
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