I was asked for this arrangement from a few people last year, so I've finally gotten around to notating it. It's from my "Classical Guitar at Christmas" album which I recorded in the great year of 1993. It can be found as a pdf on this page along with last year's "The First Noel" arrangement.
http://www.guitar69.com/noel.htm
This solo arrangement was originally conceived as a duet, so some of the parts are difficult to master. Feel free to adjust it, add to it, subtract from it, and make it your own.
I'll put a lesson up soon on this piece on my other youtube channel - youtube.com/guitarchristmas. Look for that in the next few days.
Enjoy,
Kevin
Sunday, November 23, 2008
Friday, November 21, 2008
New Lesson on Youtube
I've put a new lesson on Youtube about Barre technique. Barres are problematic for many of my students, so I thought I would make a video explaining the technique. I hope it helps some of you who may be strugging with it. Happy Thanksgiving to all.
Friday, November 7, 2008
The score as image
"You cannot give what you have not got" - Horace
Our interpretation of a piece depends upon our level of understanding about the piece. Understanding comes from study.
When I was in school, most of my theory courses focused on the harmonic structure of music. This kind of analysis is important, but even more important is to look at a score simply as a graphic image.
If we think of a map, we understand that it's not the territory itself, but it represents what the territory is made of - what roads intersect, what changes there are in the land, what landmarks there are, etc. We get a deeper understanding of a territory by looking at its map.
In music study, I encourage students to look at their pieces like maps to collect facts about the music. The more we can notice on the map (or music score), the more we understand the territory (or music).
Here are some ideas to think about when looking at your music. Do this without the guitar in a relaxed, interested state of mind. Write any ideas that pop into your mind onto the score.
1. Images - What does this piece represent to your imagination. If it were a film score, what would it be? A king entering the court? A horror film? A mother singing to her child? How would that image "feel" musically? Do the scenes change? What about the camera angles? Let your imagination be free and write your ideas in the score.
2. Texture - is the music very thick (like 4 part harmony, or full chords) or is it thin (maybe a single line or two lines)? Notice that the textures change throughout the piece. How will you express those changes?
3. Accidentals - especially in Tonal Music. Accidentals are signs that something has changed in the tonality. We want to feel those changes and express them.
4. Lines - where does a melody begin and end? What about the Bass? What about the middle? Do any lines have something of interest? Do the lines jump around or are they linear? How would your playing express those differences? Many times you will notice that when one voice ends a melody, another voice then adds something of interest so that there is no "dead space" in the music. Pay attention to those "bridges" as well.
5. Counterpoint - one of my favorites. Look to see how the voices interact. Even in the simplest piece by Sor, the counterpoint is wonderful to witness and enjoy.
6. Rhythm - what is the underlying feel of the piece? Even in a very complicated piece there are basic points in each measure which give a "grounding" to the rhythm. Rarely do all the notes get the same emphasis. Find the groove by singing, tapping, and feeling it in your body.
7. Rests - do you notice the rests? Many times a rest is as important as the notes - or even more so. Notice all the rests in the score and choose if you are going to express them or not. Also notice if you need to stop notes from ringing over each other - for example, in bass lines with many open strings.
8. Articulation - Sing the piece with feeling - do you notice your articulation is different than when you play? How about vibrato? Notice the differences and experiment with them in your playing.
9. Harmonic Analysis - what is happening in the harmony? Are there surprises in the harmony? like I- IV - V - iv. If there are twists (and many times there are) we want to express them.
Other questions to ask may be -
What is the Highest / Lowest Note in the piece? Where are they?
What Dynamics are indicated? Why?
What fingering is used by the editor? Why?
What attracts you to this music? Does it remind you of something or someone?
How would this sound as an orchestra piece? What instruments would play which part?
How would this sound if (insert your favorite guitarist here) played it?
Now, you don't have to go through all the questions in one session. One day, just look at the counterpoint. Another day, the texture, etc. We want to build a relaxed awareness of the piece. I would recommend doing this work before you pick up the guitar, as the technical aspect of playing can be distracting for score study. Once you feel like you've become more aware of something, play the guitar and experience it.
There are many beautiful secrets to be found for those who take the time. The more awareness you have of the music, the more you can express it.
Our interpretation of a piece depends upon our level of understanding about the piece. Understanding comes from study.
When I was in school, most of my theory courses focused on the harmonic structure of music. This kind of analysis is important, but even more important is to look at a score simply as a graphic image.
If we think of a map, we understand that it's not the territory itself, but it represents what the territory is made of - what roads intersect, what changes there are in the land, what landmarks there are, etc. We get a deeper understanding of a territory by looking at its map.
In music study, I encourage students to look at their pieces like maps to collect facts about the music. The more we can notice on the map (or music score), the more we understand the territory (or music).
Here are some ideas to think about when looking at your music. Do this without the guitar in a relaxed, interested state of mind. Write any ideas that pop into your mind onto the score.
1. Images - What does this piece represent to your imagination. If it were a film score, what would it be? A king entering the court? A horror film? A mother singing to her child? How would that image "feel" musically? Do the scenes change? What about the camera angles? Let your imagination be free and write your ideas in the score.
2. Texture - is the music very thick (like 4 part harmony, or full chords) or is it thin (maybe a single line or two lines)? Notice that the textures change throughout the piece. How will you express those changes?
3. Accidentals - especially in Tonal Music. Accidentals are signs that something has changed in the tonality. We want to feel those changes and express them.
4. Lines - where does a melody begin and end? What about the Bass? What about the middle? Do any lines have something of interest? Do the lines jump around or are they linear? How would your playing express those differences? Many times you will notice that when one voice ends a melody, another voice then adds something of interest so that there is no "dead space" in the music. Pay attention to those "bridges" as well.
5. Counterpoint - one of my favorites. Look to see how the voices interact. Even in the simplest piece by Sor, the counterpoint is wonderful to witness and enjoy.
6. Rhythm - what is the underlying feel of the piece? Even in a very complicated piece there are basic points in each measure which give a "grounding" to the rhythm. Rarely do all the notes get the same emphasis. Find the groove by singing, tapping, and feeling it in your body.
7. Rests - do you notice the rests? Many times a rest is as important as the notes - or even more so. Notice all the rests in the score and choose if you are going to express them or not. Also notice if you need to stop notes from ringing over each other - for example, in bass lines with many open strings.
8. Articulation - Sing the piece with feeling - do you notice your articulation is different than when you play? How about vibrato? Notice the differences and experiment with them in your playing.
9. Harmonic Analysis - what is happening in the harmony? Are there surprises in the harmony? like I- IV - V - iv. If there are twists (and many times there are) we want to express them.
Other questions to ask may be -
What is the Highest / Lowest Note in the piece? Where are they?
What Dynamics are indicated? Why?
What fingering is used by the editor? Why?
What attracts you to this music? Does it remind you of something or someone?
How would this sound as an orchestra piece? What instruments would play which part?
How would this sound if (insert your favorite guitarist here) played it?
Now, you don't have to go through all the questions in one session. One day, just look at the counterpoint. Another day, the texture, etc. We want to build a relaxed awareness of the piece. I would recommend doing this work before you pick up the guitar, as the technical aspect of playing can be distracting for score study. Once you feel like you've become more aware of something, play the guitar and experience it.
There are many beautiful secrets to be found for those who take the time. The more awareness you have of the music, the more you can express it.
Saturday, November 1, 2008
New Youtube Video Lesson
I've put up a video lesson on youtube using John Dowland's little gem "Mrs. Winter's Jump".
http://www.youtube.com/watch?v=L6FOVF0CUKg
The pdf for the music is also available for those who might like to learn it.
www.guitar69.com/videos.html
I've been meaning to do more videos, but to be honest, I'm not quite comfortable talking to a camera without the interaction of a student, so I tend to find reasons not to do them. I keep telling everyone in my lessons to "keep stepping into the fire" in order to become comfortable with whatever is uncomfortable - knowing that with time the difficulty will get easier. Of course, it's harder for me to notice when I'm avoiding the fire - especially when the mind gives all kinds of "good" reasons not to step into it.
http://www.youtube.com/watch?v=L6FOVF0CUKg
The pdf for the music is also available for those who might like to learn it.
www.guitar69.com/videos.html
I've been meaning to do more videos, but to be honest, I'm not quite comfortable talking to a camera without the interaction of a student, so I tend to find reasons not to do them. I keep telling everyone in my lessons to "keep stepping into the fire" in order to become comfortable with whatever is uncomfortable - knowing that with time the difficulty will get easier. Of course, it's harder for me to notice when I'm avoiding the fire - especially when the mind gives all kinds of "good" reasons not to step into it.
Monday, October 27, 2008
Free classical guitar music gifts
God bless the guitarists on the internet - no other instrument has so many resources available to it because of their dedicated work. Students and others have been notifying me of wonderful, high quality free music sites in the last few months. As I become aware of more, I will post them here and at my website.
Here is the first - many thanks to Boris for letting me know about it. Enjoy....
http://creativeguitar.org/sheet-music
Here is the first - many thanks to Boris for letting me know about it. Enjoy....
http://creativeguitar.org/sheet-music
Thursday, October 16, 2008
Risk
"You will either step forward into growth or you will step back into safety." Abraham Maslow
For many people the word "Risk" implies something negative. "I risk losing this - i risk losing that". We rarely see the word risk as a positive thing, but in reality we must all risk failure to grow. With all risk is potential reward.
We are genetically programmed to grow and experience new things - and this means risking pain. Is it not risky to learn how to walk, to ride a bike, to drive, to travel, to try new foods, to speak up, to meet new people, or to study music seriously? The risks in life are never ending. Why do we risk? For the expansion and growth of the experience.
In playing we want to risk often, because with risk comes confidence and freedom. In trying to play safe, we lose life in our playing. We may feel safety now, but we avoid our fear - so the fear keeps us playing safe. It becomes a never ending cycle.
It's important to notice your fear based boundaries, question them, and decide to push past them. That means playing faster than you may be comfortable with, learning something that is more challenging than usual, learning music theory, performing for others, working with other instrumentalists, deciding to record yourself, etc. Study one aspect of your playing that you shy away from and go towards it in some way - step by step. You'll see that as you go towards that which you fear, it will get easier.
You don't have to book a concert at a concert hall tomorrow, or decide to suddenly perform only challenging pieces. Take some small steps towards that which you want. With time, the small steps will accumulate. Will it always work out the way you want it to? Maybe yes, maybe no - but that isn't the point. The point is to become comfortable with the uncomfortable. This is where true growth lies.
For many people the word "Risk" implies something negative. "I risk losing this - i risk losing that". We rarely see the word risk as a positive thing, but in reality we must all risk failure to grow. With all risk is potential reward.
We are genetically programmed to grow and experience new things - and this means risking pain. Is it not risky to learn how to walk, to ride a bike, to drive, to travel, to try new foods, to speak up, to meet new people, or to study music seriously? The risks in life are never ending. Why do we risk? For the expansion and growth of the experience.
In playing we want to risk often, because with risk comes confidence and freedom. In trying to play safe, we lose life in our playing. We may feel safety now, but we avoid our fear - so the fear keeps us playing safe. It becomes a never ending cycle.
It's important to notice your fear based boundaries, question them, and decide to push past them. That means playing faster than you may be comfortable with, learning something that is more challenging than usual, learning music theory, performing for others, working with other instrumentalists, deciding to record yourself, etc. Study one aspect of your playing that you shy away from and go towards it in some way - step by step. You'll see that as you go towards that which you fear, it will get easier.
You don't have to book a concert at a concert hall tomorrow, or decide to suddenly perform only challenging pieces. Take some small steps towards that which you want. With time, the small steps will accumulate. Will it always work out the way you want it to? Maybe yes, maybe no - but that isn't the point. The point is to become comfortable with the uncomfortable. This is where true growth lies.
Wednesday, October 8, 2008
Wanting vs Having
Over the last 2 years I've emphasised how important it is to visualize. The inner vision must be clear if we want to alter any present unsatisfactory results. In the mental sciences, it's often said that one must "have something before one can get something" - in other words, you must have it in the mental/spiritual world before it will manifest for you in the physical world.
Most of us fall into the trap of mentally "wanting" something as opposed to "having" it. If you think of your playing (or life) in terms of "wanting" to get better but don't ever see yourself playing or living in that way, then you are communicating to your subconscious mind that you don't "have" it - and that means, you probably won't get it on the physical plane.
If however, you visualize yourself playing the way you want to play regardless of the present circumstances, see it in the present tense, feel the sensations of playing well now, then you begin to "have" the idea. The subconscious mind will start to act on that image and help you create it on the physical plane.
Remember that our relationship with the guitar has been entrenched into the subconscious mind over many years. Changing the programming of the subconscious takes time and discipline - it's a muscle which must be exercised as any other.
For the next 90 days, when you wake up (before you read the news or talk to anyone), take 15 minutes to visualize how you really want to play. Make the image as detailed as possible - feel the strings with both hands, notice the lighting in the imagined room, listen to the sound, see the audience enjoying your playing, feel the fluidity of the hands and body, notice how good everything feels and how free it is.
Keep thinking about how well you are playing in this imagined scene. You can use affirmations as well such as - "My technique is fluid and effortless", "I'm playing with ease and beauty", etc. It might feel like a lie at first, but keep doing it regardless. You just need to get comfortable with this new idea.
Make sure you feel as if it is happening NOW - not in the future, but right NOW. I can't emphasise this enough. You have to feel and see the image NOW for the subconscious to "have" it. Do this same visualizing at night before bed. Remember to make the image as detailed as possible and feel how easy and beautiful your playing is in the NOW.
Also, use the amazing resource of youtube to watch great performers everyday. You don't have to watch many - even one or two favorite performances will do. Notice how the performer plays and imagine what that would feel like - again, in the NOW. Don't let your mind tell you "I can't do that" - just observe and imagine what it would feel like to play that way with your hands. During the day, let these thoughts simmer inside you. You don't have to force the thoughts - just let them come when they come and enjoy them while they last.
Lastly, have faith and expect what you imagine to begin to come. Look for results, but with patience. Ideas are mental seeds, and all seeds have a gestation period. The seed grows roots (the unseen part) before it grows into the tree (the seen part).
Do this mental work for 90 days - let's say until Jan 1, 2009. I guarantee you will start to see results if you are faithful. You will gain new insights, and notice techniques you've struggled with will suddenly start to come. This is the power of the subconscious mind. We really do create our world.
Most of us fall into the trap of mentally "wanting" something as opposed to "having" it. If you think of your playing (or life) in terms of "wanting" to get better but don't ever see yourself playing or living in that way, then you are communicating to your subconscious mind that you don't "have" it - and that means, you probably won't get it on the physical plane.
If however, you visualize yourself playing the way you want to play regardless of the present circumstances, see it in the present tense, feel the sensations of playing well now, then you begin to "have" the idea. The subconscious mind will start to act on that image and help you create it on the physical plane.
Remember that our relationship with the guitar has been entrenched into the subconscious mind over many years. Changing the programming of the subconscious takes time and discipline - it's a muscle which must be exercised as any other.
For the next 90 days, when you wake up (before you read the news or talk to anyone), take 15 minutes to visualize how you really want to play. Make the image as detailed as possible - feel the strings with both hands, notice the lighting in the imagined room, listen to the sound, see the audience enjoying your playing, feel the fluidity of the hands and body, notice how good everything feels and how free it is.
Keep thinking about how well you are playing in this imagined scene. You can use affirmations as well such as - "My technique is fluid and effortless", "I'm playing with ease and beauty", etc. It might feel like a lie at first, but keep doing it regardless. You just need to get comfortable with this new idea.
Make sure you feel as if it is happening NOW - not in the future, but right NOW. I can't emphasise this enough. You have to feel and see the image NOW for the subconscious to "have" it. Do this same visualizing at night before bed. Remember to make the image as detailed as possible and feel how easy and beautiful your playing is in the NOW.
Also, use the amazing resource of youtube to watch great performers everyday. You don't have to watch many - even one or two favorite performances will do. Notice how the performer plays and imagine what that would feel like - again, in the NOW. Don't let your mind tell you "I can't do that" - just observe and imagine what it would feel like to play that way with your hands. During the day, let these thoughts simmer inside you. You don't have to force the thoughts - just let them come when they come and enjoy them while they last.
Lastly, have faith and expect what you imagine to begin to come. Look for results, but with patience. Ideas are mental seeds, and all seeds have a gestation period. The seed grows roots (the unseen part) before it grows into the tree (the seen part).
Do this mental work for 90 days - let's say until Jan 1, 2009. I guarantee you will start to see results if you are faithful. You will gain new insights, and notice techniques you've struggled with will suddenly start to come. This is the power of the subconscious mind. We really do create our world.
Subscribe to:
Posts (Atom)
