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Shane
01-06-2003, 03:26 AM
has anyone out there been classically trained for the guitar, and if so, have you played Villa-lobos' Etude no. 1?

Golpe
01-31-2003, 07:10 AM
Yes. I've played that piece as well as several others (not all 12). (I just joined today, BTW...)

Shane
02-02-2003, 04:36 AM
is 11 harder to learn than 1?

Golpe
02-02-2003, 10:17 PM
I think no. 11 is easier than no. 1.

The hard thing about 1 is the a-m-a in the arpeggio, a couple of chord changes, and the descending run.

The arpeggio in no. 11's middle section sounds harder than it is. The hard part is relaxing the thumb and bringing out the notes on the 5th string. The other hard thing in no. 11 is getting the rolling arpeggios (usually on a CMaj7) that punctuate every now and then.

Shane
02-03-2003, 05:21 AM
you mean the C7 chord, :P

Yeah, I am looking forward to learning 11, I have a great recording by Turibio Santos.

Golpe, how fast can you play no.1?

Golpe
02-03-2003, 08:02 PM
In no. 11 I was referring to the parts where you are sliding a major third interval up and down the neck against open strings, at some point punctuating on a CMaj7: C E G(open) B(open) E(open), then arrastre back down the strings (indicated to be done with the i finger).

I haven't played no. 1 in a long time. I like #7, #8, #10.

I saw Eduardo Fernandez play through all 12 completely effortlessly. Very musical and expressive. Completely relaxed the whole way through, rarely looked at his left hand.

Jamey Andreas touches upon what I consider the #1 technical concept all muscians (or martial artists for that matter) need to fully understand in his article on the secret of speed. I personally spent years thinking I was relaxed, but in fact I was just used to (and unaware) of all the tension I had.

http://www.ibreathemusic.com/play/article/41

The reason I mention this is that most of these etudes are damn difficult to pull off musically and eliminating tension is the key to getting over the wall. I spent years struggling with these etudes, never being able to get beyond a certain level of proficiency, and only started to improve again once I focused on tension/relaxation. (If only I got it earlier!)

Jazz83
02-25-2003, 09:47 PM
Although I've done jazz for a long time, for the past year or so I've been taking classical lessons and studying classical guitar. Really enjoyable. I haven't played the Villa-Lobos piece, though, although I should, because I like his stuff. Mostly I'm working on Tarrega, and for right now, that's tough enough for me!

www.eythorsson.com

If you haven't seen that, check it out! A whole pile of classical guitar transcriptions in standard notation .pdf format, all free. Really cool of those guys to do that.

Regards,
Jazz83 (first-day to post here too!)

jesus
02-26-2003, 07:39 AM
Hi, I play the Villa-lobos nš 1 etude, and some other pieces from him. The etude nš 1 is very
interesting, in fact all the etudes are. It is matter of time to achive the velocity and fluidity
needed for the arpeggio in this study. There is a
part of the study consisting on a chromatic descend of diminished seveth arpeggios, each of them is played twice. In this part I like to play the first arpeggio sul ponticello (near the bridge) and the repetition sulla bocca (near the neck) to make a question and answer effect. Try
this expressive technique, I was told that this way of playing the etude nš 1 was used by Andres Segovia.

Best wishes. Jesus

Golpe
02-27-2003, 07:39 AM
I've actually been spending a lot of time recently going through this Arnie Berle book on chord theory and technique. I spend a lot of warm up time every day just experimenting and playing around with it.

I've never really spent much time with Jazz (if only I had two lives) but I've always wanted to get a better understanding of that approach, because I think a lot of classical players totally miss out on this way of experiencing music. Also, I think the Segovia scales were a disservice in some respect (because it teaches the wrong approach in my mind to learning scales).

I'm always jealous of the fluidity and the ability of great jazz improvisers (and for that matter the great flamenco guitarists out of Spain like Gerardo Nuņez, many of whom borrow a lot from jazz nowadays).

I'm not too familier with the style that Berle is coming from, so I tend to end up playing everything with a slightly bossa nova/samba rhythm (I've enjoyed listening to a lot of Brazilian stuff!).

Most of the jazz I listen too is like Mingus or Monk or Miles (mostly M's) which is great music but not so guitar oriented.

Other than that, I've taken a break from purely classical and have been focusing more on flamenco solos (Sabicas, Oscar Herrero). But there is still some Rodrigo and Bach on my short list....

krakkils
03-05-2003, 12:53 PM
I play classical, as far as villa lobos goes, I can play prelude no.1, 3, 4.

Right now my big project is capricho arabe by tarrega, pretty much done...