Valuable Lessons Learnt from Playing Classical Guitar

In spite of having played some form of musical instrument for around 25 years – and the classical guitar itself for around 20 of those – there are still lessons that are sinking into this ol’ noggin of mine. It’s a funny thing.

In a philosophical kind of way it has taken this intense journey, over the last 7 or so years in particular, for me to begin to realise these lessons. It seems as if in any one moment over that time I’ve felt quite “switched on” in a “yep, I’ve got this practicing/ playing/ performing/technical development thing down pat“. Then I look back on where I was six months ago, or a year ago or two years ago and realised how little I seemingly know then, how far I have actually come, how much I have developed, changed and learnt, not just in my playing but also in my thinking and my approach to learning and playing.

That’s not to belittle or diminish my efforts or my thoughts of 2, 3, 5, whatever years ago – I believe we’re always doing the very best with whatever we have available to us in a given moment, be it knowledge, experience or physical resources. It’s just a reflection on how much the journey shapes us and changes us. We have to let it though. And this can be a difficult thing to do as it can mean at once recognising our plus points in what we’re doing at the same time as recognising areas that require improvement. It requires us to be aware of our own self-deception too, which can also be a very hard and confronting thing to do.

But do it we must if we are to grow and develop, not only as guitarists, but also as individuals. I have personally found some considerable benefits crossing over into other areas of my life by taking the valuable lessons learnt from classical guitar practice and playing.

Classical Guitar

Here are my most valuable lessons learnt (so far!) from playing classical guitar:

If you’re going to do something do it with your full attention and energy

Always approach your practice, your playing, a piece or sections of a piece with your utmost attention, focus and energy. Be single-minded about it for that moment. It’s part of that old adage really – if something is worth doing, do it well. If you’re going to spend your time playing guitar, make it count. Don’t play in a half-hearted way. Don’t practice in a half-hearted way. Commit and you will undoubtedly reap the rewards technically and musically.

Be honest with yourself

If you don’t want to play, don’t. Be honest. But understand the repercussions of not practicing this time when you could be. If you do want to play, then do, and give it your undivided attention (see item above!).

Forget time and focus

A bit like the clock-watchers in the office – folks that are probably not the most productive as they’re focussed on time rather what is being done and how it’s being done – watching the clock, or being overly mindful of time is quite an unproductive way to practice. How much fun is it watching a clock? About as fun as sticking needles in your eyeballs. Or worrying about how much time you have/ haven’t/ should be devoting to your practice? Same. A pointlessly painful exercise. Forget time in your practice and think about what you’re producing and how you’re producing it.

I’m not kidding you when I say I’ve increased my productivity (just to carry on the work-type analogy) on the guitar in the last 6 – 12 months by taking my focus right off of time and putting it squarely onto what I’m achieving when I sit down with the guitar. And incidentally, I’m actually spending less time practicing than I have done in the past 5 or so years, but achieving more. Yes sure there’s a compounding factor of all the practice that has gone before, but I’ve stopped messing around. I’ve stopped the useless fluffing around and focussed my attention on what really requires my attention.

Forget time spent, lose that worry and put your energy into focus and what you want to achieve. An incredibly hard thing to do (well, it has been for me!), and I’m not saying it’s an easy thing to do at all. But like anything, the more you practice, the easier it becomes.

Listen to your tone, but listen to your body too

Listening doesn’t just reside with our ears. We’re listening to our sound, our tone quality, how we’re playing, but it’s also vitally important to listen to your body. Treat it well. Rest when you need to rest and don’t push through your practice session. If I’m overly tired and try to practice three things happen for me (a) I get really frustrated and cross with myself for really no apparent reason very quickly, (b) I make silly mistakes and (c) I can push back my progress rather than push it forward. And don’t practice or play hungry either!

Listen to your body in terms of any aches and pains too. Playing guitar should not be a painful pursuit. It should be relaxing. If it hurts – stop! And if it continues to hurt seek some professional help – medical and musical.

Johannes Möller In Concert

I’ve seen a lot of guitar recitals in my time – some good, some not so good, some average, some spectacular. Well folks, let me tell you that the recital that I saw on a cold and foggy Tuesday evening here this week in Melbourne is one of those that I will remember for the rest of my life. It was exciting, enthralling and enchanting all at the same time.

Netherlands-based, Swedish guitarist and composer, Johannes Möller (who I had the enormous pleasure of interviewing a couple of weeks ago – check it out here if you missed it), held the audience captive with the weaving of a truly astounding display of guitar playing virtuosity, authentic and generous musicianship and some of the most imaginative (yet least contrived) use of the guitar as a musical medium I have witnessed. I know I’m prone to using superlatives rather freely on this blog, but please believe me when I say that this concert was simply breathtaking. Guitar playing of the highest order. Möller, dare I say it, could possibly be one of the best guitarists currently actively playing…..

And this wasn’t just my opinion either it seems. The reception from the audience all round was one of amazement and excitement. My friend sitting next to me turned to me on a couple of occasions and we just smiled and nodded at the simply fantastic playing and beautiful original music presented. No words necessary.

I was impressed by his super sensitive and well-thought out dynamics in the classic pieces presented (including Barrios’ Un Sueno en la Floresta and Albeniz’s Asturias (Leyenda)), his super soft (and masterfully controlled) pianissimo  playing that drew you in and urged you to pay close attention and his vigorous and refreshing approach to these classic pieces.

I was even more impressed by his original material. The first of these was a piece called From Her Source To The Sea – an effective musical reflection on the journey of the River Ganges from it’s source in the Himalayas, picking up speed and size before flowing out gracefully to the Bay of Bengal. This piece is one of Johannes many pieces inspired by north Indian classical music, with re-tuning of various strings on the guitar, to create an impressive sitar-esque sound. At one point during the performance of this piece I had to do a double-check of his right hand fingers – I couldn’t quite believe the masterful strumming and simultaneous rapid arpeggios. Incredible. This piece was followed by the incredibly beautiful and moving Song To The Mother, a particular favourite of mine and no less spine-tingling in the flesh (I just love the harmonics in this piece).

We were treated to some new works too, including 8 beautiful little Preludes (which will eventually turn into 24 Preludes in each of the musical keys) and a gorgeous Nocturne, apparently completed just two weeks ago (can’t wait for that one to be published as I’d love to play it myself). And we were also treated to a lovely, little-heard Regondi Nocturne and an inspiring original piece A Star in the Sky, a Universe Within…an exquisitely elegant philosophical reflection and musical exploration of the night sky – and an impressive exploration of the capabilities of the instrument including the highest pitches I think I’ve ever heard play on a standard classical guitar.

The standout piece in the concert for me was The Night Flame – a piece based on an Indian night raga (a raga is an Indian classical scale or mode). This was not only a fantastic display of Johannes’ outstanding capability as a composer, but also as a true virtuoso of the guitar. The passion and 100% commitment to the music and its delivery was awe-inspiring stuff. An intensely, energetic musical performance that is very hard to put into words. You have to see, hear and experience for yourself.

Overall I was really impressed with the incredible creativity and imagination that Johannes infuses into his pieces – use of harmonics, alternate tunings and non-Western classical influences, use of capo across half the fretboard, a number of different left and right hand techniques, tone colours, rhythmic interest and beautiful melodies.

What I was most impressed with was the authenticity, dedication, passion and love for the guitar that was evident in this concert. This is 5 star stuff. It doesn’t come much better.

 

If you’re in Australia, Johannes’ remaining tour dates are: the Araluen Arts Centre today (24th July), Sydney (25th July), Canberra (26th July) and Perth (23rd August). He has a number of tour dates lined up this year in the USA and Europe and I strongly encourage you to head along to your nearest show. Check out Johannes website for more details: http://johannesmoller.com/tour/

In summary, Johannes presented the audience with some stunning, mind (and technique) expanding playing that can only inspire players and guitar aficiondos of all types. The future of the guitar and its repertoire is very safe in the hands of this maestro. Bravo Johannes! 10 out of 10!