Recuerdos de la Alhambra - Classical guitar tremolo technique

Classical Guitar news

recuerdo — Mon, 04 Feb 2008 16:47:35 +0000

Jason Vieaux program from Xavier University Concert Series

• Brazilian guitarists meld styles
The Ann Arbor News – MLive.com – Ann Arbor,MI,USA
Studying classical music in Brazil – eventually under Segovia himself, the acknowledged maestro of classical guitar – the brothers rose quickly to the top …

Fort Worth Guitar Guild
FWWeekly – Fort Worth,TX,USA
While Fort Worth Classic Guitar Society brings to town the best artists on this instrument, the Fort Worth Guitar Guild has carved out a niche by …

Guitar virtuoso Xuefei Yang in concert
By Eugene
Xuefei is a tremendous talent with an exclusive contract on EMI Records (a big deal for a classical guitarist). Her earlier CD of dedications (including by such noteworthies as Domeniconi) on GSP is worthy of its critical acclaim as …

Tremolo evaluation

recuerdo — Tue, 15 Jan 2008 23:33:13 +0000

Having trouble with the tremolo or Recuerdos still?

Let me evaluate your classical guitar technique. Send me a video via youtube.com or otherwise and I’ll happily help you improve your technique. Video should be of the entire guitar and the entire you from the waist up. Include a close up of your right hand technique for 16-20 measures and a closeup of your left hand technique for 16-20 measures. Cost is only $30 for a half hour consultation. If you’ve already purchased our guidebook, I’ll refund $5.98 from the consultation fee.

Index to tremolo posts

recuerdo — Tue, 15 Jan 2008 19:52:50 +0000

Practicing the tremolo technique when you don’t have much time

Learning the tremolo for classical guitar through Recuerdos de la Alhambra

Yoga and its application to classical guitar

Maintain your poker face – classical guitar tips

Use common sense when you practice

William Foden’s Grand Method for Guitar Book 2

Left (fretting) hand pressure and its effect on the right hand tremolo

Percussion to develop tremolo technique

Right hand blind

recuerdo — Sat, 12 Jan 2008 06:59:06 +0000

As guitarists, we often find ourselves focusing exclusively on our left hand as we play. Why do we stare intently at our left hand but rarely, if ever, look at our right hand? Are we more concerned with getting the note right than with our tone, volume or color? Or are we less likely to play the wrong string than the wrong fret? What would happen if we focused on our right hand when playing?

Try watching what your right hand is doing while you are playing. You may also notice an improvement in your sound and you may notice that your right hand is not behaving exactly as you thought it may have been. Bring this right hand focus with you to your tremolo technique. Notice what’s going on as you tremolo. Slow down the tempo of your tremolo and now watch what’s going on. Chances are you will improve because of the new focus.

Technorati Tags: classical guitar, sheet music, recuerdos de la alhambra, tremolo, tarrega, tremolo technique, guitar lessons

El dominio de Recuerdos de La Alhambra y algunos secretos sobre la tecnica del tremolo

recuerdo — Sat, 12 Jan 2008 01:54:26 +0000

Unos extractos del libro

Recuerdos de La Alhambra – Francisco Tarrega (1852-1909)

VI. Secretos para dominar Recuerdos de La Alhambra

El primer secreto para dominar Recuerdos no es el dominio de la tecnica del tremolo, sino el planear una digitacion eficiente para la mano izquierda. El sentido de esta prioridad es facilitar la ejecucion de la pieza, asi como permitir mantener una suave transicion de una forma (o digitacion) a otra. Esto va a garantizar una linea melodica coherente y un control del fraseo. Puede ser que te des cuenta, en la medida en que te familiarizas con la pieza, de la necesidad de variar la digitacion, por esto es muy importante definir, tan pronto como sea posible, una que resulte acertada. Toca la pieza compas por compas con el metronomo, con la mano izquierda solamente, para probar como moverla con suavidad de una forma (o digitacion) a la siguiente.

VII. El entrenamiento del tremolo

Como ya ha sido indicado en la parte anterior, Recuerdos presenta un reto significativo para ambas manos. Recomiendo trabajar la tecnica de la mano derecha independientemente de los cambios de acordes de la mano izquierda, y antes de intentar hacerlo todo junto a la vez. Solo cuando el tremolo salga suavemente y en cierto sentido “automatico”, sera el momento de intentar negociar con las dificultades de los movimientos de la mano izquierda.

Practica el patron del tremolo (p-a-m-i) en una cuerda sola, usando el metronomo en una medida baja, que te permita cuidar el ataque de cada uno de los dedos. Intenta que el sonido de cada nota individual sea el mismo, y trata de eliminar los ruidos (clicks) que pueden producirse, intentando precisar la manera como tocan los dedos las cuerdas. Cuando te sientas comodo, duplica la velocidad del metronomo, pero manten la velocidad del tremolo, de manera que los golpes suenen sobre p y m.

Cuando seas capaz de tocar el patron de manera limpia y confortable en una cuerda, muevete a cada una de las otras cinco cuerdas, siempre trabajando con el metronomo. Si estas tenso, frustrado o lo haces de manera inexacta, BAJA LA VELOCIDAD. Las articulaciones de los dedos de la mano derecha son un buen “barometro” para la medir la tension. Todos los dedos deben estar siempre sueltos y flexibles.

Muchas gracias a mi amigo, Alejandro Bruzual, para sa traduccion

Reader post on classical guitarist Olen MacCutcheon

recuerdo — Sun, 21 Oct 2007 13:59:09 +0000

Just purchased the set. William Foden is mentioned. Did you ever encounter Olen MacCutcheon in Parkersburg W VA? Mac studied with Foden in Chicago one summer in the early 1900s. Foden came through Parkersburg as part of a vaudeville show. Mac was hooked on classical guitar after he heard Foden. Mac went to UC, degree in piano/violin. After hearing a NYC live broadcast of a chilean or argentine guitarist by name of Ogurayen (sp?) Mac jumped a freight train to NYC with his duffel and guitar. He found the guitarist and followed him around like a puppy dog until he condescended to teach him. Mac would go on to become a peer of segovia’s, met him in 28 (I think) and then blew segovia away in 1935 at sophocles papas’ studio in dc.

Segovia had shown up with a Bach prelude and fugue. Mac asked to see it, sat down and then played it as if he had played it all his life. Mac did not naturally have a photographic memory but developed by looking at one bar looking away, visualizing
it and then playing it until over time he could do an entire piece. In the mid 1970s an acquaintance I met had a friend who was there that day and had raved about Red MacCutcheon ever since. Segovia walked around muttering impossible all day. Mac was light years beyond segovia. Mac returned to parkersburg in the 1950s after a couple of heart attacks. He was teaching at his home and the Powell and Clark music store the last time I saw him in the late 1970s. Bill Powell and I were talking one day. Bill said he had wondered about Mac’s story with the Prelude and Fugue. Bill ordered Lauro’s’ Venezualen Waltzes that had just been published and showed up at Mac’s with the Waltzes. Bill said Mac took the book, looked thru it. Went back into the house and came out with his guitar. Bill said he then played every one of them as if he had played them all his life. Just before Mac met Segovia for the second time in 1935 he had spent about two years practicing scales and chords
at his grandfather’s farm in blackwater falls VA. Mac had thought he would never be good enough so went there to practice. In the late 70s a few of us went to hear Segovia perform in Columbus. We couldn’t get Mac to come with us. All he said was ‘I’d rather hear you guys play than listen to that old shit.’ Afterward we went offstage to pay homage to Segovia. After thanking him for the performance we asked if he remembered Red MacCutcheon, His face lit up with a huge smile and he enthusiastically nodded yes. That was a miracle since Segovia was known not to be kind to competitors.

Foden was the first great American Classical Guitaris. There was a woman ‘Evelyn ?’ (I think first name is correct, can’t remember the last name) who was the first great woman classical guitarist. Mac had studied with each of them.

Regards,
Tim

Having trouble with four stroke tremolo, try five

recuerdo — Thu, 23 Aug 2007 02:17:26 +0000

I’ve found that the normal p-a-m-i tremolo is much easier after trying the five stroke, p-i-a-m-i tremolo for awhile. If you are having trouble with the traditional tremolo than practice the five stroker and then come back to the traditional style.

Other thoughts on tremolo – perhaps a p-i-a-m sequence makes better ergonomic sense. Try it and a see what you think.

Technorati Tags: classical guitar, sheet music, recuerdos de la alhambra, tremolo, tarrega, tremolo technique, guitar lessons

Mastering Recuerdos and the Tremolo Technique

recuerdo — Mon, 16 Jul 2007 05:05:17 +0000

Search inside book!

Secrets to Mastering Recuerdos de la Alhambra and the Tremolo Technique

by Karl Wohlwend

List Price: $11.95

Your Price: $5.98

You will receive download link via email

ISBN number – 0978899628

Mastering Recuerdos de la Alhambra and the Tremolo Technique

Tarrega wrote Recuerdos over 100 years ago yet why do so few guitarists play it well? Search the internet and you’ll find audio and video recordings of people attempting to play Recuerdos de la Alhambra. Listen closely and you’ll hear:
The Gallop – Di Dee Dum, Di Dee Dum, Di Dee Dum
Broken phrases resulting in no clear melody line
Pauses in the music
So few guitarists play Recuerdos de la Alhambra well (and for that matter, many other pieces) because they have no systematic approach to learning the piece. They get so caught up in the right hand tremolo technique that they fail to consider the other demands the piece makes on the player.

We’ve created a systematic approach to Recuerdos de la Alhambra and the tremolo technique that will get you on the road to mastery. We break the piece down into easier versions so that you progressively make your way through the piece. Rather than diving in the deep end and drowning or barely keeping your head above water, we gradually introduce you to the tremolo stroke. First you learn the best fingering for the left hand and ingrain that into your playing then you are able to forget about the left hand technique and completely concentrate on the right hand tremolo technique. This is a common mistake of many players – they fail to eliminate left hand fingering difficulties before working on the tremolo. You must separate the two and then later combine them. We’ve done all the work for you with our optimized left hand fingerings; we then show you how to master the tremolo technique. Learn those and then focus on the most important part – the tremolo – and you’ll be on your way to mastery.

Once you’ve mastered Recuerdos, move on to other tremolo pieces like:

Barrios’ Una Limosna por el amor de Dios

and Un Sueno en la floresta also by Barrios

Inside this Book

The Secrets to Mastering Recuerdos de la Alhambra and the Tremolo Technique, by Karl Wohlwend

Our Guide to Recuerdos de la Alhambra and the Tremolo Technique breaks down the piece and the necessary techniques in 10 simple steps leading to mastery. Learn one of the most popular pieces in the classical guitar repertoire. Our 10 step guide breaks down the piece into simple steps and focuses your practice on key elements of the piece. We’ll show you what to practice, how to practice, and the reasons behind our recommendations.

Don’t have the music to Recuerdos de la Alhambra? No problem. We provide the Wohlwend edition of the piece complete with easy and efficient left hand fingerings so you can concentrate on the right hand and becoming proficient with the tremolo technique.

Your payment also includes free membership to our classical guitar forum where you can post any questions you have concerning our publication and we will answer them for you. We will provide you with a link and password upon payment.

The Secrets to Mastering Recuerdos de la Alhambra and the Tremolo Technique

Product Details

Pdf ebook – 41 pages
View (print) with Adobe Acrobat Reader

Publisher – K&A Publishing (April 2006)

ISBN number – 0978899628

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_____________________________________________________________________________
Having trouble with the tremolo or Recuerdos still?

_____________________________________________________________________________

Performing Tremolo Pieces

recuerdo — Sun, 15 Jul 2007 15:40:44 +0000

I recently performed Jorge Morel’s transcription of Misionera which contains two tremolo sections that are each repeated. When performing any piece (let alone one involving the specific technique of tremolo), I find it very important to keep loose and flexible. This would apply to not only the hands and fingers but also the forearms, upper arms, shoulders, back and neck. If I tighten up, my tremolo technique becomes choppy and uneven. How to combat this?

1 – Consider checking in with your specific tight spots throughout the piece. Ask yourself, “How is my right shoulder?” It is tight, tense, raised?
2 – Loosen up before the performance by stretching and warming up.
3 – Before starting, check in with your body. Run through the entire body and perform a system analysis. If you find a trouble spot, take a deep breath and try to release the tension with your exhale.

4 – In Misionera, there are intro sections leading to each tremolo section. During these sections, perform a quick check of your tense spots and try to loosen up during them.
5 – Extend the tremolo intro sections. I double the length of each of these intros and spend that time trying to loosen up for the tremolo.
6 – Let the music breathe. Find spots in the piece where you can pause and relax.
7 – I try to instruct myself to play on the tips of my fingers and just glide over the string during the tremolo.
8 – If my tremolo is stilly choppy, I try not to bear down but ease up and slow down the tempo.
9 – If I’m really mentally aware, I will try to create space between the thumb and “a” finger as they often overlap when my technique gets choppy.
10 – From my instructor – Feel the weight of your right forearm sink into the top and body of the guitar. My right forearm will try to hover over the guitar when I get tense.

If your tremolo still wasn’t as satisfying as you would have liked, remember that the audience may not be attuned to listening for its evenness or for the spaces between the notes like you may be. In other words, it may have sounded just fine to them because they may not have heard the same as you.

Until next time, keep on tremolo-ing!

Technorati Tags: classical guitar, sheet music, recuerdos de la alhambra, tremolo, tarrega, tremolo technique, guitar lessons

Karl Wohlwend plays Seis por Derecho

recuerdo — Tue, 05 Jun 2007 21:47:04 +0000