Today we feature Ana Bragina performing Lipa vekovaia (Old lime tree). Rudnev is more of an arranger in this case: the piece is a variation set on on a Russian folk song. Matanya Ophee wrote a short article about this piece, including an old recording of it being sung. It’s worth it to have a listen to both.
Sergej Rudnev Himself
Thanks to Heike Matthiesen for the heads up about this video.
Rhythm can make a piece sound alive. It can take an ordinary phrase and turn it into something magical and moving. But rhythm only has that power if you are its absolute master. That starts with counting and understanding how the beats fit together.
Lessons Learned from Sight Reading
Anyone good at sight reading will tell you that the notes don’t really matter. It’s more important to keep the beat and keep moving. If you’ve ever been in an ensemble that had to stop every two bars to get people caught up, you know exactly why rhythm and counting are more important than hitting every not perfectly. Rhythm is kind of a big deal
On the other side of a the coin, Learning a piece is about developing and shaping habits over time. Nothing is perfect from the get go, but it’s your job to make sure every repetition is as close to perfect as possible. Develop a bad habit early only and you’ll spend hours fixing it later.
With an element as crucial and powerful as rhythm, it’s even hard to go back and reverse those bad habits. That’s why counting is so important. You cannot hope to push and pull a pieces beat, count and rhythm if you don’t fully understand it. So here are three ways to do that.
1. Put Down the Guitar
Too often we get so caught up in the finger mechanics of playing that we completely ignore the rhythmic aspect. Divorce the two. Your sense of beat and time should never be tied into the mechanics of playing the guitar, and one way to make sure that doesn’t happen is to practice reading rhythms separately.
Put down your guitar and try clapping the rhythms of each of the lines in your piece. Do it at tempo, slow, and fast. You should also clap rhythms while counting aloud (see point three).
2. Sing & Tap
Again, without the guitar, sing the musical lines of your piece in time.
If you do this without some sort of counting it doesn’t count (pun intended), so be sure to clap the beat or tap your foot while singing. The mechanics of music making should never be tied into your sense of time. This is another way to divorce the two.
3. Count Aloud
A teacher once told me that if you can’t count aloud while playing your piece, you don’t know it.
This is the only method of the three that involves your guitar. Count a loud while you’re playing a piece. But don’t just count when you play, keep a steady stream. In other words, pick the smallest subdivision in the piece and count that the entire way through. If that happens to be a sixteenth note, you’re count would be 1 e & a 2 e & a 3 e & a etc. the entire piece or passage. In most cases this involves you counting more than necessary.
You should also try the opposite: count less than necessary. If you have a passage in 16ths, try counting only 8th notes
This is, like the previous two methods, about divorcing your sense of time from the mechanics of playing guitar. Counting a loud is a convenient way to do that.
Should I Use Metronome For These Things?
Sure. But know when to put it down. If you want to really have some fun, get your tempo from a metronome, then shut it off and play/sign/clap a passage. When you’re through, immediately turn the metronome back on. Did your tempo wander? Or did you stay in time?
Its never a bad choice to use a metronome, but be careful that it doesn’t become the only way you can stay in time.
The Guitar Foundation of America convention, along with its International Artist Competition and youth competitions, just concluded yesterday (July 3, 2011).
International Artist Competition Winners
Watch Winner Vladimir Gorbach Play
Youth Competition Winners – Junior Division
Youth Competition Winners – Senior Division
Watch Winner Xavier Jara Play
There were three competition divisions at the 2011 Classical Minds Guitar Festival: junior, high school, and undergrad.
Junior Division Winners
First Prize: Juliette Farmer (11 yrs old)
Second Prize: Tiffany Chang (11 yrs old)
Third Prize: Reyna Orozco (12 yrs old)
Fourth Prize: Giancarlo Romo (13 yrs old)
High School Division Winners
First Prize: Kyle Comer
Second Prize: Tyler Rhodes
Third Prize: Vijay Meunier
Fourth Prize: Avi Medina
Undergrad Division Winners
First Prize: Michael Gratovich
Second Prize: Matt Bacon
Third Prize: Paul Morton
Fourth Prize: Byron Goble
The Boston GuitarFest was held June 15-19, 2011. There were two competitions this year: a composition competition and an open division performance competition. Performance competitors had three rounds of mostly free choice repertoire with the exception of a required piece by an Italian composer (or something using an Italian theme).
2011 Performance Competition Winners
Watch Winner Edel Munoz Play
This is a video from the final round of the competition.
2011 Composition Competition Winner
Jonathan Godfrey won the composition competition with his work Blue. Night. Pools. Jonathan won a cash prize and his piece will be performed at the 2012 Boston GuitarFest. Be sure to check out Jonathan’s youtube channel.
Let me tell you a secret. Now this secret is extremely powerful. It may even be a little bit offensive. This secret is so good that you might not want to share it. So don’t click that “Like” button at the top of the post unless you’re absolutely sure your friends are ready for this.
Very Few Thing Really Matter
In The War of Art, Steven Pressfield gives the distracting voice in the back of our heads a name. He calls it the Resistance. The Resistance is the thing that keeps us from getting things done. It’s the insecurity that causes us to look around for the best solution rather than just jumping it; it’s the fear that keeps you from doing anything.
Very few things are mission critical situations that demand immediate attention. Mostly they are distractions that take away time from getting real work done. Once your sort out what matters and what doesn’t, it’s easy to focus on the stuff that makes a difference. But sorting out what matters is not my job in this article. You’ll have to do that on your own, but here are a few thoughts to get your started.
What Matters in Practice
Because of the internet, a lot of young (in practice years) guitarists fall victim to what is termed analysis paralysis. In other words, they question whether or not they’re doing something the right way.
That’s all well and good when it comes to technique. Try to get stuff right from the start. But jumping around from practice method to practice method is not a way to improve. Consistent, persistent practice is. Stick with one thing until you see that it’s really not working.
One of my students this weekend was working on Carcassi etude number one. The arpeggio section was giving him trouble, but the previous week I assigned stop/go practice . He did it consistently for two weeks and I could tell it was working. Did I hear a perfect performance? No, but his hands were moving better and I could tell the practice method was working.
Things take time. Practicing takes time. And the only way to tell if something actual works is to give it time to do so. You have to ignore the face that your practice didn’t fix everything immediately and have faith that your practice is working.
Business & Marketing
In addition to my guitar playing activities, I work as a marketing consultant. A lot of my clients, especially those with newer sites, lose focus on what matters: building up an archive of useful, unique, engaging content. Information and reputation are the currencies of the web, and, as long as some basic technical stuff is inline, it’s fairly easy to master both.
Analytics and metrics and facebook fan numbers and twitter follower growth measurements are great as long as they don’t distract you from the real work: creating new, unique content. Too many times people get obsessed with data analysis when they should be obsessed with doing something.
The Art of Ignoring Everything
In short, the art of ignoring everything is about consistency. How long can you keep at one thing? Michael Thames knows this. His design and guitars have evolved very slowly and deliberately: he knows that you don’t master anything by jumping around.
How consistent can you be in your practice time? How good can you be at not wasting time online looking for the perfect answer?
Today we feature Daniel Murray performing Villa-Lobos’ seventh etude. I really enjoy the rubato and color in Daniel playing.
The Heinsberg Festival & Competition was held May 31 – June 4, 2011. The competition itself was one recording submission and three rounds of free choice music. Each round was 15, 20, and 35 minutes respectively, and competitors could not repeat pieces from round to round.
The 2011 Heinsberg Winners
Ian won 4,000 Euro, a concert guitar valued at 6,000 euro, a carbon fiber guitar case, and several concert engagements.
Watch Winner Ian Watt Play
The Koblenz Guitar Festival was held June 6-13, 2011. Its competition was three, free-choice rounds of 7, 15, and 30 minutes. Pieces could not be repeated from round to round.
The 2011 Koblenz Winners
First Prize: David Dyakov (Bulgaria)
Second Prize: Chia-Wei Lin (Taiwan)
Third Prize: Ian Watt (Scotland)
David Dyakov won…
3000 euro cash, a concert in Carnegie Hall New York City + $1000 stipend and travel/accommodation expenses provided by D’Addario & Company and the D’Addario Music Foundation along with a three-year supply of D’Addario strings (52 sets a year), CD production with KSG EXAUDIO, 10 concerts in Germany with a payment of 500 euro per concert including the record release concert at the 20th Koblenz International Guitar Festival 2012