Listening to music to shape your learning

292/366 Music
(Photo credit: Mark Seton)

This may sound like a bit of a silly title for a bunch of musicians. From the general population we classical guitarists, as musicians, are probably more than likely than most to listen to music on a regular basis right?

Well, what I mean to convey is the active listening to music and using it as a tool for your learning of a particular piece. With the proliferation of online services and apps such as Spotify and YouTube, pretty much the whole widey world of music is at your fingertips, night and day, at the click of a button. Whatever it is you want to listen to is right there for you. These fantastic tools can now really assist us, in a cost minimal and effort minimal way to bring new approaches and shine new lights on our repertoire.

Spotify is a particular favourite of mine. When learning a new piece, once I’ve got my fingers and head around the basic skeleton of a piece, I’ll then hop onto Spotify to check out the myriad of versions that have been recorded. I tend to do this once I’ve started to get an idea in my own mind as to how I hear the music, rather than be directly influenced by another’s interpretation straight off the bat where I can (with some of the more popular repertoire I appreciate that this may not always be possible).

Once I’ve started to get a piece underway I do find it particularly useful to check out various other interpretations, listening in particular to:

  • Tempi – these can always be wide ranging, but does it sound better slightly faster or slightly slower? Am I wide of the mark in my general approach to target tempo I had in mind?
  • Voicings – do they draw out the same voices that I’d heard? Are there voices that I’d missed?
  • Phrasing, dynamics and tone colours – how do they shape the music? What is its direction? Are there are any interesting or unusual ways of shaping or adding colour that I like and I could employ?
  • Anything else that I may have missed or that interests me in an interpretation that I’d not heard of or thought about before.

When I’m going through this exercise, it’s not just guitar music that I listen to either. This is especially the case if the piece in question was not originally written for guitar. It really help you understand a piece to listen to it in its original intended instrumentation – transcriptions from the original violin, ‘cello and piano versions are typical with guitar repertoire. Whatever the original instrumentation is it can really help to shed light on what the composer may have been intending, how you can treat your tone colours and overall sound, where the main voices and phrasings lie perhaps.

I also like to see if I can find other arrangements for a piece too, transcribed for other instruments – i.e. not the original instrument and not guitar – and listen to how they shape, phrase, colour and play the music. I always find it fascinating to listen to how other musicians on other instruments aside from the guitar do this.

Solo pieces that are given group arrangement treatments – duos, trios or other ensemble arrangements – can also present an interesting perspective on a piece too, particularly with regard to voicings and how those are shared amongst an ensemble and how they are treated.

So, next time you’re learning a new piece or even now with one of your existing pieces that perhaps you want to take to the next level or freshen up a little, I highly recommend you to hop onto YouTube, Spotify or similar and put a bit of a listening list together. There are a wealth of resources available out there at your disposal and you’d be mad not to use them!

Expanding your guitarist horizons – Florian Larousse

Hands up who likes listening to the “old masters” of the guitar? Recordings of Segovia, Williams and, of course, Bream? Lots of Bream!

Yup, me too. And the likes of Isbin, Parkening, Bonell and so on.

Nothing wrong with that, but if that’s all you’re listening too (and I’ll put my hands up to having been guilty of it in the past) then you’re really limiting yourself. Limiting yourself in terms of the fantastic approaches some of the newer and up-and-coming players on the scene have to well-trodden repertoire. Limiting yourself in terms of listening to some really beautiful tone production, approaches to shaping and phrasing and playing the music we love. Limiting yourself in terms of exploring forgotten repertoire that some of the newer players are bringing to light again, as well as newer repertoire.

By investigating some of the newer players you can have all of this, as well as exposure to improved recording technology which really brings out the nuances in the respective players’ interpretations. So, I’ve begun a bit of an exploration myself recently of some of the crop of the new generation of guitarists bursting onto the classical guitar stage and thought I’d share with you. The first of the young guitarists I’ve been really getting into recently is Frenchman Florian Larousse.

He’s a young whippersnapper, born in France in 1988, and began studying guitar in 1996 at age 8. He continued on to study at the Conservatoire National de Region de Paris and then the Conservatoire National Superieur de Musique de Paris in 2006, studying with Roland Dyens and Judicael Perroy.

As the winner of the 2009 Guitar Foundation of America (GFA) competition he recorded his recital under Naxos’ Laureate Series, which is a recording well worth checking out. Larousse plays with a fantastically warm and round tone, a great deal of clarity and sensitvity in his playing. I would go so far as to say that his interpretations of Dowland’s “A Fancy”,  “Lachrimae Pavan” and “Fantasia in G Minor” are now my favourites.

Check the album out: It’s also on Spotify too (my new favourite music app!).

And here are some videos to whet your appetite…. Bon appetite!