Melbourne Symphony Orchestra 2015 Season Launch!

This is one of those times where I call upon the “n Stuff” element of the blog’s title! Hah hah!

As you know (if you’ve been following the blog) I’m keen on promoting and bringing to a wider audience the various facets of our instrument, the classical guitar – classical guitarists well known and rising, classical guitar music also both well known and less so, the “hardware” associated with the art form, approaches to learning it, developing technique and so on.

I’m also extremely keen on helping breakdown the notion that classical music is some rarified and “special thing”. As I’ve said on the “About Me” page for a long time – Yes, it is special in that all music is special, but not special in that it should be accessed by only a privileged few. Classical music is for all. I’m keen as mustard, one might say, to encourage people to experience the wonders of Western classical music.

One of my favourite things to do is to experience a symphonic orchestra in full-flight. Witnessing 80 highly-skilled musicians, professionals at the top of their game, working to produce such beautiful (mostly!) music together is astounding. I fully encourage others to share that experience too, particularly guitarists who are often singular creatures by nature and who don’t often experience that wonderful experience of playing with a vast collection of other musicians. I find sitting back and letting those other musicians do all the hard work whilst enjoying the fruits of their labours is really quite inspiring thing for myself as a guitarist!

I was privileged this week to be invited to the launch of the Melbourne Symphony Orchestra’s 2015 season launch. I was rather excited! And I was rather excited to see some fantastic works coming up  – some more Tan Dun works (including one featuring the composer himself as conductor), film scores played live with screenings of their respective movies including Star Trek and Babe, Berlioz’s The Damnation of Faust featuring Welsh superstar bass-baritone Bryn Terfel, a full revisit of Beethoven’s famous 5 hour epic 1808 Vienna concert, a festival of all new music including the Jonny Greenwood’s (of Radiohead fame) orchestral suite There Will Be Blood and Britten’s War Requiem played as the MSO’s tribute to the 100th anniversary of the ANZAC landings at Gallipoli in World War One.

I am also rather excited to say that I will be extremely privileged over the coming months to feature previews and reviews, for you dear readers, of the marvelous Melbourne Symphony Orchestra (whoop!).

Head along to the Melbourne Symphony Orchestra website to check out the 2015 performance schedule – http://www.mso.com.au/whats-on/list?series%5B1105%5D=1105

And of course I can’t leave you without some music, so here’s a taste of the orchestra with a YouTube playlist. Enjoy!

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How To Get Really Good At Classical Guitar

English: Image based on this one, so I credite...
 (Photo credit: Wikipedia)

 

 

So you want to be a classical guitar hero? Or at least play as half as good as one?

 

Simple. Get born with, like, really, really, stupidly good musical or guitar-playing genes, right?

 

Nope.

 

OK then. Find a bottle, potentially with a genie in it. Rub said bottle and hope genie pops out. If genie does pop out request as one of your three wishes granted to be able to play classical guitar with the technique, proficiency and panache of your dreams?

 

Nope.

 

Clone some brain cells from Julian Bream or Karin Schaupp and have them implanted into your own brain?

 

Nope.

 

There’s a much easier solution. Easier, much more enjoyable, and one that will also exercise your patience muscle and appreciation for the journey – technical work!!

 

Your scales, arpeggios, exercises and studies are THE fundamental building block to excellent playing. They are not the be all and end all, and should always be studied, played and applied relevant to the repertoire you’re learning or playing at any given time.

 

And I should know.

 

I went for years, ages, aeons without really partaking in any technical studies, scales or exercises. I was motoring along, learning new repertoire pieces in quick succession, flying through graded material and more. My playing was going really well; really, really well. I managed to become a fairly reasonable player this way. And I thought I was a pretty good player too.

 

After a number of years, however, I began to hit a wall – and nothing that I was doing could help me break through. Doing the same things in the same way (without any really considered, methodical and applied development of my technique) was no longer taking me forwards. At this point I received instruction from a new teacher who opened up my eyes to the massive value and benefit of some good, solid, yet musical, technical study.

 

And, boy oh boy, did I have some work to do. Firstly, undoing some bad, old habits. Secondly, instilling new, good habits. Thirdly, getting my technical proficiency up to a level where I needed it to be – to the music I was hearing in my head that was just dying to bust loose, but couldn’t due to the relatively poor conduit it had.

 

So you can get so far without intentionally focussing on the technical aspects of playing – and yes, musicality is very, very important. In fact, technical work and musicality are in no way mutually exclusive – they are two sides of the same coin. They very much need to occur together in order for you to realise your full potential – musicality can be given its must full and generous expression being facilitated by a good, reliable technique.

 

Exercises that train specific aspects of playing or movements such as slurs, barres, rasgueado technique, tremolo, free stroke and rest stroke, playing in different positions on the fretboard, percussive techniques, or various combinations thereof can definitely be introduced through your repertoire pieces.

 

There comes a point though where the technique required to execute certain elements as well as you’d probably like needs a bit of looking at in isolation to really get to grip with it. And we’re all different in that, some are stronger in one technique than others, so I can’t really advise what it is that you should looking at here.

 

So you work on particular aspects in isolation – you study it from various angles with exercises and studies (they call them this for a reason…) and then apply it. You reveal the relevancy of the energy exerted, the movements carried out and effort you’ve just made, by applying it in a piece.

 

Then when you bring that reviewed and refreshed technique back to the piece you’re playing, chances are it will fit right in it, and make the piece easier to play and articulate and infinitely more musical.

 

How much of it should I do and when?

 

Well, the answer to that question really depends on what it is you’re trying to achieve at this particular point in your learning or playing. The short answer, however, is something (with whatever may be appropriate for you at the time) and often, or at least as often as you’re able to pick up your guitar – aiming for at least five days out of seven is probably a good target.

 

It’s like a daily walk, or physical exercise – as we do daily physical exercise to keep us fit and healthy (or we’re supposed to!), so we do the same with our guitar-based technical exercises. It’s the minimum we need for a fit, healthy and balanced approach to our playing lifestyle.

 

Whatever technical studies or exercises that you’re looking at, it should always be a means to an end however, for whatever you’re working on or working towards at a particular moment in time.

 

And if you’re not sure what technical exercises to start with, it really doesn’t hurt to go past a scale or three. One of my favourite quotes from Andres Segovia (which I’m sure I’ve quoted numerous times before on this blog) sums up the point of scales very nicely:

 

“The student who wishes to acquire a firm technique on the guitar should not neglect the patient study of scales…..he will correct faulty hand positions, gradually increase the strength of the fingers and prepare the joints for later speed studies. Thanks to the independence and elasticity which the fingers develop through the study of scales, the student will acquire a quality which is difficult to gain later: physical beauty of sound…”.