#16
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Here is a 1957 recording of Segovia playing the Chaconne from Bach's Partita No. 2 for violin.
To put it in context, prior to Segovia, few took the guitar to be a "serious" classical instrument. Segovia took a well-respected piece from the violin repertoire, the Chaconne, and played it publicly. In so doing, "proving" that "serious" classical music can be played on a guitar. It should be obvious from the fast portions of the piece, the importance to playing this piece that scales have. The purpose of technical exercises is to develop the skills and abilities required for the music you want to play. https://www.youtube.com/watch?v=8cG_gps1BGo |
#17
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I am a big fan of Chapdelaine's playing and if I was asked for one player who's tone I would most like to emulate it would be his.
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#18
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I should probably take a step back and practice scales more but I just hate it. When ever I am practicing scales I think about the pieces that I am working on and just go right back into learning them. I've always felt like practicing scales is a waste of time even though i know it's not.
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#19
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A musician's worst nightmare: https://www.youtube.com/watch?v=wiAbqfaYGwk Many classical musicians have this experience of studying with "God" and bearing their wrath. |
#20
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To me, that pretty much says it all: it takes uncommon dedication and hard work, often in adverse conditions, to reach an elite ability in nearly any human endeavour. In any human endeavour, there aren't that many people willing to work that hard at that endeavour to be that good at it. That's okay. Not everyone who plays tennis wants to compete at Wimbledon; not everyone who gets on a bicycle wants to ride in the Tour de France; not everyone wading at the beach wants to be an Olympic swimmer. But, those that do don't get there by hitting a few balls with a racket, going for a leisurely ride once a week or swimming a few laps. They put in the work to reach their goals. Quote:
If one wanted to, say, play basic open chords, strum and sing along, playing scales is irrelevant since it doesn't better allow you to fingering those chords, strum or sing. Really, it's about knowing what you want and doing what's necessary to achieve that. |
#21
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So I got to work on the first two scales this afternoon - very excited to have started.
C major - no real issues, but A min over 3 octaves is quite a challenge for the left hand. In terms of right hand the first four (IM/MI/MA/AM) also fairly reasonable if I move slowly, but the outside two fingers (IA) is really awkward! Anyway, had to pull myself off it after a while as it is strangely addictive (I know, I am weird..;-)
__________________
Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#22
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I searched the internet for the story I want to share but nothing comes up.
My High school guitar instructor shared a story about a man who was held captive for so many years. His captor learned that the man can play the guitar. Upon knowing this, the captor allowed the man/prisoner to play the guitar for 15 minutes a day. With such little time, the prisoner chose to strictly practice scales only and he did this for a few years until he was finally released.....and in his statement, he revealed that his guitar progress was so much greater in those few years than it was in the 20 - some odd years that he had been playing prior. I'm just wondering....has anyone else heard this story? |
#23
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If this seems too much of a hijack, I can start a new thread, if you prefer.
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Resources for nylon-string guitarists. New soleá falseta collection: http://www.canteytoque.es/falsetacollectionNew_i.htm |
#24
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__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#25
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In other parts of Europe, one likely wouldn't go to a guitar recital as one might have for violin, piano or similar instruments. It appears that Segovia was amongst the first to play/transcribe classical European repertoire for the guitar - such as Bach violin and 'cello music. |
#26
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Please note, I’m not a historian, either, and I’m not trying to pick on you or Segovia. He was obviously one of the greats and I’m sure he was a groundbreaker, but I’d like to see some facts that support that idea.
__________________
Resources for nylon-string guitarists. New soleá falseta collection: http://www.canteytoque.es/falsetacollectionNew_i.htm |
#27
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Facts would be nice, but I don't have many.
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#28
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THIS HAS BEEN A GREAT THREAD: INFORMATIVE AND ENTERTAINING. THANK ALL OF YOU!
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#29
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I don’t either. Maybe in another thread we can try to draw some conclusions. The scales are interesting and an important part of the long history of the guitar, so thanks for the thread.
__________________
Resources for nylon-string guitarists. New soleá falseta collection: http://www.canteytoque.es/falsetacollectionNew_i.htm |
#30
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I think I know of that story, and that it has changed shape over time, as they tend to do.. it's likely about Julian Bream and his time in the British Army, and an earlier version of it can be found in one of Frederick Noad's method books. I'll try to dig it out. |