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  #16  
Old 03-24-2010, 07:10 PM
David Hilyard David Hilyard is offline
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Originally Posted by 1after909 View Post
Yeah David, Thanks! That was cool I haven't listened to either Laurindo or Baden for awhile. I met Laurindo back in the 80's when he stayed at our house, When he was here in town doing a festival with the L.A Four that my dad was producing. He couldn't have been a nicer more elequent man..And what a talent!! My wife's from Brasil so I've been over there alot. I usually take my Rick Turner RN-Nylon, That's perfect to travel with and sounds fantastic plugged in.The players I've met and played with there could not be nicer and more giving..especially to a non-countryman, I guess it helps that I'm married to a brasileira, and can now speak portuguese pretty well! And believe me there' no shortage of guitar talent down there! For me I first fell in love with the music of brasil thru Charlie Byrd, Laurindo, Baden, And of course the beautiful and treasured music of Antonio Carlos Jobim.."The girl from Ipanema" et all..Tudo Bom!!
That is very cool. Thanks for the story. Sounds like we come from the same background. Charlie Byrd was an early guitar god of mine, along with Laurindo. I've seen them both in concert and feel lucky to have had the chance. Laurindo's graciousness was evident even on the stage.

Your Turner RN sounds like a great choice to travel with. Rick builds some great guitars at reasonable prices.
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Old 03-24-2010, 07:14 PM
David Hilyard David Hilyard is offline
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...Having spent a good deal of time in Brazil years ago, I was fortunate to stumble upon the genius of Raphael Rabello. He tragically died at the age of 32, but what an amazing player. He was mostly known for the Brazilian choros style of music. Luiza....

http://www.youtube.com/watch?v=SZUPPLDhGcY
I only became of Raphael about 8 years ago, after taking a bossa nova workshop from Richard Prinkert, a luthier and player, at Healdsburg. I searched out his music later. How I missed that great talent, I don't know. Wow! And what a tragic loss.
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  #18  
Old 03-24-2010, 07:48 PM
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  #19  
Old 03-24-2010, 09:07 PM
David Hilyard David Hilyard is offline
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Oh yeah! Outstanding!!
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  #20  
Old 03-24-2010, 09:14 PM
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Laurindo Almeida has long been a favorite of mine. He played and wrote classical, jazz, bossa nova, and pop tunes and movie soundtracks and backed many great singers from the 1940's thru the 1980's. He used all the techniques associated with classical guitar playing. I think his arrangement of this Jobim tune with the Modern Jazz Quartet used a vast number of them, all in wonderful service to the music. Rapid arpeggios, tremolo, glissandos, classical vibrato, arpeggiated chords, chord melody, rasgueados, chunking chords comp style, rest strokes, fast two finger (i,m) scales. Really fun to watch and hear a master like this.

http://www.youtube.com/watch?v=yix7_fnhshk

How about other tunes that use classical guitar technique, or a technique that may be more associated with nylon strings than steel strings, Andres Segovia to Jerry Reed? What does it for you?
David,

That clip of Laurindo Almeida really knocked me on my butt and reminded me that I do not have enough of his recordings in my collection. Thanks for posting that clip.

For me, the first and most influential guitarists have been Earl Klugh, Chet Atkins, Luiz Bonfa and Carlos Barbosa-Lima. While I have tried a million times to become a nylon stringer, and while I love to play nylon string guitars, at this point in my life I am content to hear others play the instrument...for whatever reason, I am a steel stringer.

Having said that, I am still a devoted fan of the instrument and am always knocked off my feet when I hear a performance by someone like Laurindo Almeida. Like a previous post-er, I got to see Earl Klugh recently (last November). He played solo guitar for the whole evening; two sets. Without question, his playing, technique, feel and sense of harmony far exceeds his reputation as a smooth jazz (aka muzak) musician.

Here's a nice clip of Luiz Bonfa...one of the great nylon string masters: http://www.youtube.com/watch?v=CXT9M9eSG6k
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  #21  
Old 03-24-2010, 09:34 PM
David Hilyard David Hilyard is offline
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David,

That clip of Laurindo Almeida really knocked me on my butt and reminded me that I do not have enough of his recordings in my collection. Thanks for posting that clip.

For me, the first and most influential guitarists have been Earl Klugh, Chet Atkins, Luiz Bonfa and Carlos Barbosa-Lima. While I have tried a million times to become a nylon stringer, and while I love to play nylon string guitars, at this point in my life I am content to hear others play the instrument...for whatever reason, I am a steel stringer.

Having said that, I am still a devoted fan of the instrument and am always knocked off my feet when I hear a performance by someone like Laurindo Almeida. Like a previous post-er, I got to see Earl Klugh recently (last November). He played solo guitar for the whole evening; two sets. Without question, his playing, technique, feel and sense of harmony far exceeds his reputation as a smooth jazz (aka muzak) musician.

Here's a nice clip of Luiz Bonfa...one of the great nylon string masters: http://www.youtube.com/watch?v=CXT9M9eSG6k
That's a great clip of Luiz on Mike Douglas. Nice close-ups. "Batucada" and "Manha de Carnival" have always been favorites of mine. Certainly unique technique on "Batucada"! You don't see that on steel strings.

I remember being pleasantly surprised while watching "It Takes A Thief" (Robert Wagner's series) in the 1960's, and when Robert's character, Alexander Mundy, walked into a nightclub, with a guitarist playing samba on stage, and he nodded to him and said "Hello, Luiz." It was Luiz playing, and Luiz nodded back at Robert, while continuing to play.

Funny what makes a guitar geek smile. Ha.
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  #22  
Old 03-24-2010, 11:01 PM
David Hilyard David Hilyard is offline
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Just found this recording on youtube of Laurindo Almeida playing three tunes from "Black Orpheus" that are my three favorite bossa nova tunes. "Manha de Carnaval", "A Felicidade" and "Samba de Orfeu" written by Luiz Bonfa or Antonio Carlos Jobim in 1958 and 1959. Only on nylon strings would these have the profound effect they do.

http://www.youtube.com/watch?v=j04it...eature=related

Viva classical guitars!
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  #23  
Old 03-25-2010, 08:16 AM
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Hi David,
Insightful topic.
I think that early on, it's evident that Michael Hedges incorporated a lot of his classical schooling into his compositions.
One in particular which comes to mind is "The Happy Couple" from his early Breakfast in the Field album. In it he makes use of a concept popularized by Arnold Schoenberg called "Klangfarbenmelodie" in which a melody is constructed from notes of the same pitch but with different timbre. On the guitar he achieved the effect with the same note plucked on different strings, in order to add overall "color" to the melody line. Very effective on his Martin D-28!. In the ending of the same tune, he phrases the melody as part of an arpeggiated set of sixtuplets, something that you see more often in classical music. (I think). He also made use of dynamics much like they do in the classical repertoire. I'm thinking here of identical passages that repeat at different volume levels (forte vs. pianissimo?) as a musical message. I also thought his arrangement of the prelude from Bach's 1st cello suite on steel harp guitar was pretty special.
Obviously, a pretty good learner.
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  #24  
Old 03-25-2010, 11:07 AM
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OOps, wrong post!!
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Last edited by napman; 03-25-2010 at 11:10 AM. Reason: Sorry, wrong one!!
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  #25  
Old 03-25-2010, 11:16 AM
David Hilyard David Hilyard is offline
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Originally Posted by AndreF View Post
Hi David,
Insightful topic.
I think that early on, it's evident that Michael Hedges incorporated a lot of his classical schooling into his compositions.
One in particular which comes to mind is "The Happy Couple" from his early Breakfast in the Field album. In it he makes use of a concept popularized by Arnold Schoenberg called "Klangfarbenmelodie" in which a melody is constructed from notes of the same pitch but with different timbre. On the guitar he achieved the effect with the same note plucked on different strings, in order to add overall "color" to the melody line. Very effective on his Martin D-28!. In the ending of the same tune, he phrases the melody as part of an arpeggiated set of sixtuplets, something that you see more often in classical music. (I think). He also made use of dynamics much like they do in the classical repertoire. I'm thinking here of identical passages that repeat at different volume levels (forte vs. pianissimo?) as a musical message. I also thought his arrangement of the prelude from Bach's 1st cello suite on steel harp guitar was pretty special.
Obviously, a pretty good learner.
Hey Andre, how are you? Great comments on Michael. I'd forgotten he studied at Peabody Conservatory and had a solid background in classical guitar. Very astute observations on his technique. I know you've studied his tunes in detail so are intimately familiar with what he was doing. Cool! Thanks for the comments!

I hope you are well!! Great hearing from you!

P.S.: I just looked up Peabody, just to make sure I remembered right. I didn't know it was part of Johns Hopkins University. I do work for the astronomy department there. Neat connection.
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  #26  
Old 03-25-2010, 12:00 PM
Gitfiddlemann Gitfiddlemann is offline
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Originally Posted by David Hilyard View Post
I hope you are well!! Great hearing from you!

P.S.: I just looked up Peabody, just to make sure I remembered right. I didn't know it was part of Johns Hopkins University. I do work for the astronomy department there. Neat connection.
Hi David,
I'm doing great thanks.
You're right about Michael and Peabody, and I also didn't know about the connection to JHU.
BTW, not only are you a player, but you have a cool job too!
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  #27  
Old 03-25-2010, 12:09 PM
David Hilyard David Hilyard is offline
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Hi David,
I'm doing great thanks.
You're right about Michael and Peabody, and I also didn't know about the connection to JHU.
BTW, not only are you a player, but you have a cool job too!


Thanks! But my girlfriend wouldn't like to hear I'm a "player". Ha! I guess that's a "playa" anyway, huh?

Play on!
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  #28  
Old 03-25-2010, 12:26 PM
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Laurindo Almeida is a very tasteful player and arranger. I really like his collaborations with Charlie Byrd.
Regarding classical guitar techniques used on a steel string guitar it really rather morphs and blends together, at least in modern fingerstyle playing where there few if any boundaries.
One thing that I have noticed though is that with the different sustain characteristics between nylon and steel strings certain techniques and density of chordings come out more or less well.
Regarding arrangements some variety of technique can be effective but it can also be easily overdone to the detriment of the music.
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  #29  
Old 03-25-2010, 03:52 PM
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Originally Posted by sjonnie1 View Post
Can Paco be mentioned here too?
http://www.youtube.com/watch?v=16i4OXJTPW8

I think this and all his other works are on the edge of what you can believe...
Paco is just amazing, isn't he?
A VERY talented young flamenco player I heard recently, live, is Javier Conde. There are some youtube videos on him. Just great.

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Originally Posted by Larry Pattis View Post
Michael Chapdelaine is the other Master I would point to, and of course his background is diverse, but mainly made a name for himself in the Classical world...right up until he discovered contemporary fingerstyle guitar, and then he went on a tear that is continuing to amaze us mere mortals!

Bravo to all three of these players for raising the bar in three somewhat different areas of the steel-string world.
I guess most you you will know it, but for those who don't, Michael Chapdelaine even atended a Segovia masterclass.
The old man stopped his playing because he was not playing the music in the way Segovia wanted him to. Segovia was a genius, but also a pain in the #$% sometimes...
I wonder if his decision to move to fingerstiyle has anything to do with this episode.

Quote:
Originally Posted by David Hilyard View Post
Laurindo Almeida has long been a favorite of mine. He played and wrote classical, jazz, bossa nova, and pop tunes and movie soundtracks and backed many great singers from the 1940's thru the 1980's. He used all the techniques associated with classical guitar playing. I think his arrangement of this Jobim tune with the Modern Jazz Quartet used a vast number of them, all in wonderful service to the music. Rapid arpeggios, tremolo, glissandos, classical vibrato, arpeggiated chords, chord melody, rasgueados, chunking chords comp style, rest strokes, fast two finger (i,m) scales. Really fun to watch and hear a master like this.

http://www.youtube.com/watch?v=yix7_fnhshk

How about other tunes that use classical guitar technique, or a technique that may be more associated with nylon strings than steel strings, Andres Segovia to Jerry Reed? What does it for you?
I just really love this piece and I think it fits the topic well.
Batucada, from Isaias Savio, played by Fabio Zanon: http://www.youtube.com/watch?v=2bY5FldjyD4

It's a classical piece influenced by brazilian popular music (Batucada is a kind of percussive music, lots of drums).
I think it's a beautiful display of technique and musicality.
I've been playing this myself for some time now, but not near that level.

Quote:
Originally Posted by Dogsnax View Post
...Having spent a good deal of time in Brazil years ago, I was fortunate to stumble upon the genius of Raphael Rabello. He tragically died at the age of 32, but what an amazing player. He was mostly known for the Brazilian choros style of music. Luiza....

http://www.youtube.com/watch?v=SZUPPLDhGcY
Raphael is held, along with very few others, in the Olympus of popular brazilian music for guitar. He developed a whole new level of expertise in the 7 string guitar (wich is very traditional in choro) as a solo instrument and in accompaniment.

How about this "Lamentos do Morro": http://www.youtube.com/watch?v=SZUPPLDhGcY
I think it has everything to do with this topic too.
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  #30  
Old 03-25-2010, 05:50 PM
dwalton dwalton is offline
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Originally Posted by David Hilyard View Post
Not waiting for responses, (Ha), I just watched another rendition of "One Note Samba" by a contemporary and friend of Laurindo's, Baden Powell. His aggressive style is very uncommon, and it set him apart from other Brazilian music guitarists. I read that he held the guitar so tightly that it caused rib damage. (His ribs, not the guitar's.)

Pretty cool:

http://www.youtube.com/watch?v=ge8pB...eature=related
Incredible.
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