Kevin Gallagher

It’s good to just get used to what classical music “sounds like” when great artists play but if you can, some analysis is very helpful as the harmonies and form are completely affecting the interpretation.

Studying music in this way is also a chance to learn from people you respect who are otherwise unavailable. I used to listen to John Williams…[Read more]

love these pieces, learned piano just to play a bit of them. Here’s a scored version played by Zimmerman.

I subscribe to many channels which have classical music scored just to study interpretations. There are also guitar music channels for this if you search. Highly recommended.

Best

K

Looks good, and the Dim7 is correct. Good Job Mike

Hi Julie,

I would recommend any scales/exercises you know between open to 7th position can be practiced an octave higher if you want to really “know” the higher position notes. I did this quite a bit until it became familiar – good luck!

Kevin

Study voice leading and apply it to the guitar. Notice it in all the pieces you perform.

For me, voice leading is the big difference between classical music composition and popular music composition. If you get that, you may find that you stop thinking of chord/melody ideas and more about separate voices and how they move. Voice Leading is at…[Read more]

As Steve said, Classical composers really didn’t think in term of maj or min7ths. You generally have triads and dom7 or dim 7ths with non-harmonic tones in this period.

It’s important to recognize this as an interpreter because there’s a big difference between 1. seeing a B as “part of a CMaj7” or 2. seeing a B as a “non-harmonic tone of C…[Read more]

Hard to say, but in general, highlight the areas you feel most strongly about. Ends of phrases should generally have a small breath before going on, and special areas (The Fmaj7 to E progression, for example) should be played in a more “magical” way. It’s really up to you to feel it and try various ideas. If you like what you are hearing, use…[Read more]

You’re doing very well Mike, good to hear you.

should have had the amps maxed out to make this more interesting.

Hi Blossom,

Keep in mind that if you touch the vibrating string with the nail directly, it will certainly buzz. Try to place your finger or thumb on the string with the fleshy part right before the nail instead. So, strike the string and then practice stopping the string with the flesh right before the nail. The flesh will mute the string…[Read more]

You are playing this great Tim. For the fast chord changes at the end (the counterpoint section we discussed), try to place the chord down at the same time you play the bass with the thumb. As the bass is an open A each time, it gives you an opportunity to press the chord before you play it. This kind of coordinated practice should help make that…[Read more]

yes, very good. Often we guitarists practice something with difficulty and strain thinking that time will relieve the problem. In a case like this, experimenting with the hand position or finger placement can resolve any difficulty quickly. If we see immediate relief, it suggests we are using a better approach for the passage.

Hi Manuel – you are doing great with that exercise and the duration of each note is correct. I would suggest that you relax your fingers more on the bass notes. In other words, you don’t have to play on the “tips” on the bass notes as much as you are attempting. All vertical stretches like this are easier if you allow the fingers to be a bit…[Read more]

Joan and I worked on this in the last online class. She just needed to make some adjustments to the left hand position to enable the reach of her 4th finger to the bass notes. It’s a common problem which needs understanding, not just slow repetition. The higher thumb position works for the majority of the piece.

Best

K

The shifting is more advanced certainly, but the beginning exercises in third position should be able to be done by anyone who can read the notation/tab. If there is an issue, I would say the hand position and/or lack of rest on the non-vibrating strings is most likely at fault.

Thanks – if you have any questions about the exercises, just let me know. good luck!

Kevin

Hi Nels, I would be surprised if it is not Sor as it has similar writing to his piece “Le Calme” Op.50. The sophistication of the harmony and voice leading certainly is a hallmark of Sor. I have the newest Tecla edition of Sor’s complete works and it is included as a WoO (without opus).

enjoy

Kevin

Lori, you are doing great – very musical playing.

Regarding the left hand – To me, the guitar neck seems very high and your arm is “hanging” away from the neck. This means that you are probably having difficulty reaching bass notes cleanly with the left hand and experiencing tension in the wrist and fingers in general. If that is the issue, I…[Read more]

Good job on the tone Martin – much better