Getting Back into Playing After a Break – My Recent Approach

 

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Well, I’m writing this post a little later in the year than I had perhaps first anticipated, first planning it back in July, and mentioning in my “She’s Back!” post that I’d like to talk about my approach to getting back into playing after a break.

However, the couple of additional months (OK, more than a couple – a couple of couple) has meant that I’ve also been able to reflect on my approach more and provide more information here about the sustainability of the approach and benefits to my practice and playing.

So as I mentioned back in July, I had a complete break away from the guitar for about 6 weeks (which I found to be really beneficial overall for a number of reasons) from mid may to late June or thereabouts. And come end June it was time to get back into playing again, which I was really excited to do after having a mental and physical refresh and reset.

First and foremost I think the most important thing to do is to just do it! Don’t prevaricate, or agonise over this, that or the other in terms of what you’re playing. Just pick up the guitar and play something, get back into the feel of it. If it has been a break of few weeks you will likely feel totally ham-fisted, like your right hand is a massive clump of barely moving tissues and your left hand like a bunch of sausages with fingernails on the end (oh yes, definitely make sure your nails are in good shape before cracking into any playing after a break. Or anytime really!). This feeling will pass after a few practice sessions as the fine-tuning and tone in your hand and finger muscles returns.

I should say at this point that I caveat this “just do it” initial approach quite heavily. Pick two or three easy pieces that you know are very accessible for you to get back into the swing of things with. For example, I launched back in with a couple of good ol’ “classics” – the good ol’ Spanish Romance by Anon. You know the one, quite hopelessly cheesy, all arpeggios and relatively simple left hand movements. It is actually these relatively simple right and left hand movements and lack of any complexity in the rhythm that make it quite an ideal “getting back into it” and/ or warm up piece. To start mixing things back up with some slightly more complex left and right hand movements and rhythmic variation I picked up Classical Gas by Mason Williams (yes, I know. Cheese central). I also picked a couple of South American pieces for the same.

And picking up the guitar again with these pieces I didn’t sit there for an hour at a time to play (and it was playing and not practicing I hasten to add). Initially it was just 15 or 20 minutes of really relaxed, gentle playing. I repeated that on a more or less daily basis (as work and other things permitted) for a good 3 or 4 weeks until I felt that I was really comfortably on top of things again. Now I’ve been playing for over two decades so my muscle memory is pretty strong, as you may imagine, for those of you who’ve been playing for less time (or even those of you who’ve been playing for similar lengths of time or longer) you may find you need to go the slow and steady route for a week or two longer. Be sure to listen to and be guided by your body. Just don’t try to push it too much too soon.

Then after those 3 or 4 weeks, I then took a look at what repertoire I wanted to start working on, both new repertoire, revisiting repertoire that hadn’t been played in a couple of years or so, or building on and polishing up “nearly there” repertoire.

Taking this approach meant I was in a really good space, physically with my body and my technique and mentally in terms of “yeah, let’s do this!”, to start hitting up some more challenging items (Bach Lute Suite BWV 997 and Domeniconi’s Koyunbaba are a couple of pieces, or rather collections of pieces, in the works now for example).

And hitting up the repertoire, I’m making sure I’m interspersing the more challenging new material with revisiting some of the older material (and getting some really great results with a new perspective, new fingerings, different sound qualities, smoother lines and so on) and still some of the easier stuff for a bit of fun and warming up with.

Now I’m fully back into the swing of things again, and properly practicing in a very focussed way rather than playing, I’ll be spending no more than an hour with the guitar. On average probably around 45 – 60 mins per session, most days (when work travel permits!).

So, my top 5 tips in a nutshell, in terms of how I approach getting back into playing after a break are:

  1. Just do it. Get back into the feel of it. Play something, but…..
  2. …..Select two or three very accessible pieces. Throw some scales in there for good measure too.
  3. Take it nice and easy. 10 – 20 minutes per day, on a more or les daily basis if you’re able, building up slowly. A little and often is key.
  4. And take it nice and slowly for 3 to 4 weeks. There’s no hurry here. We’re looking for longevity and sustainability of playing and getting solid technique rocking and rolling again.
  5. Get your repertoire lined up – some exciting new stuff, revisit some old stuff with some fresh eyes and hands, work up some “nearly there” stuff. Don’t be tempted to overdo it. Have fun with it.

Coming up in my next couple of posts (for real this time) –  my last album review for 2016 by fab USA guitarist Matthew Fish, and an exciting (well, I think it’s exciting. Hopefully you think it’s a little exciting too) announcement of a wee project of mine for early 2017 (or even late 2016 if I get my backside into gear!). Watch this space!

Album Review: Vast Expanse by Gidi Ifergan

Well, dear reader, once again I have been very privileged to wrap my ears around another utterly fabulous recording – Vast Expanse by Melbourne-based guitarist Gidi Ifergan.

And this recording is quite a special one, as far as I’m concerned, as aside from the fantastic playing (more on that shortly) it’s by a very talented guitarist that I used to share a teacher with (the marvellous Ben Dix, who also happens to be the producer behind this great recording) and brief conversations about all things guitar in the hallway of said teacher’s house.

Now, one could accuse me of slight bias here! But a listen to this recording and you’ll understand my feelings towards this recording and that they are entirely justified (that and I also have bit of an unwritten rule that I only feature positive reviews on the blog)

Vast Expanse, released on the UK label Cala Records in August of this year and recorded at Pughouse Studios in Thornbury, Melbourne, is a wonderfully sensitive, informed and thoughtful presentation of some equally fantastic repertoire ranging from J.S. Bach to Ralph Towner, Astor Piazolla, Villa-Lobos and Leo Brouwer.

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The recording kicks off with the latter composer and a beautifully reflective rendition of Cancion de cuna  – a glistening, rich and expansive piece that lives up to the title of the album. This is followed by an equally rich rendition of Ojos brujos, with exquisite tone and expert note placement and phrasing. This one could be a contender for favourite on the recording for me.

Or it could be the next one on the track listing – Alfonsina y el Mar (Ariel Ramirez arr. Dyens)  – all controlled passion, beautifully coloured, achingly delicious phrasing without slipping into trite territory. Ooh this is good stuff. Definitely worth getting yourself a copy of this recording for this piece alone. Yep, this one is my favourite on the recording.

But then again….. The Reluctant Bride (Ralph Towner, transcription Leonard Grigoryan) is equally beautiful. Gidi, you really do a have a lovely tone and sense of phrasing!

The Reluctant Bride is followed on by a couple more equally delightful Towner pieces – Green and Golden and Beneath an Evening Sky. This latter piece is quite beautiful, particularly with Gidi’s son joining him on an expertly played muted trumpet. I’ve been playing this one quite a lot recently – very atmospheric. Great balance between the two instruments too. A very good example of sensitive and considerate duo playing to bring the best out in the music.

Coming to Gidi’s interpretation of the much-loved Villa-Lobos favourite, Prelude No. 1 in E minor, I really liked the reflective, more laid-back approach to this piece. Too often there can be a tendency for this piece to become a bit of a race to the finish. Here Gidi allows the music, the phrases, the natural beauty of the piece to shine through. Really lovely.

And Gidi’s demonstrates he’s not too shabby with a bit of Astor Piazzolla either. Il Romantico  – again the phrasing is delicious, as is the rich tone. Mmm mmm.

Vast Expanse is rounded out by one of my favourite Bach Lute Suites, BWV 997. This is a suite I’m working up at the moment, so I will definitely be using Gidi’s interpretation as a reference recording. Again, a really beautiful, clear and musically sensitive approach to Bach’s fantastic phrasing. The Fuga is my particular favourite here, with the lines all so very clearly displayed in all their glory, and some of those lines are off the charts!

This recording is full of vivid, bright, deep, richly reflective and thoughtfully virtuosic guitar playing. If you’re into recordings that demonstrate a depth of thought and a depth of feeling that is matched in its depth of communication (and quality of recording) then it’s well worth you getting a copy of this recording for yourself. This album is genuinely going into the shortlist for my favourite recording of 2016. Seriously. And not just because I know Gidi. This is top notch stuff.

Vast Expanse is available to purchase as a download or CD format from the Cala Records website: http://www.calarecords.com/acatalog/info-CACD77023.html