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CLASSICAL GUITAR
Archive-Name: music/classical/guitar/faq
Here goes...
1.11 Where can I find classical guitar music (TAB and notation) on the net?
1.12x What is the difference between an A-frame and a footstool?
1.13x Who is a good teacher in my area?
ANSWERS
=======
A1.2 I want to start playing the guitar and to buy one. Which guitar
should I buy? (A quick guide to buying a guitar)?
If you are a complete beginner then I don't suggest you go out and
buy a guitar worth hundreds or thousands, but I guess you don't
need telling. On the other hand, some cheap guitars are really
awful - so here is how to try and tell the difference between a
bargain and a bad banjo.
Look in your local papers, and also ask at your local library
where they could well have a list of music tutors. In the UK, the
monthly magazine "Classical Guitar" maintains a list of teachers
who subscribe. Also, local music shops often have a list of teachers
who offer either group or private lessons.
In general, find a teacher whose competency you believe you can basically
trust, and give them your best effort. As your studies progress, judge
whether you are learning anything -- you're entitled to receive your
money's worth.
"The John Mills Classical Guitar Tutor", John Mills. Cost: 10 pounds
($14.95 US).
Guitar Notes: CLASSICAL GUITAR FAQ Page 5 of 22
Both the Noad and Mills method books offer cassette tapes of the pieces
included, as well as supplementary books of music, ie. Noad's, "100 Graded
Classical Guitar Studies" and Mills' "Music from the Student Repertoire."
There are many other tutors available, from modern works (the Parkening method
books) to reprints of older works (Carcassi's "Classical Guitar Method.")
And, of course, you need not limit yourself to a single method. You will find
good advice in having both the Noad and Mills methods available, for example,
especially if you are attempting to teach yourself.
A 1.7 What a good sample of classical guitar CD's that someone who
doesn't know much about them could listen to?
Guitar Notes: CLASSICAL GUITAR FAQ Page 6 of 22
Gomez Crespo
A 1.8 Where can I find music, strings, and other accessories for
classical guitar?
Guitar Solo
1411 Clement Street
San Francisco, CA 94118, USA.
Phone: Voice: 415/896-1144; FAX, 415/668-2816.
Hint: While Guitar Solo obviously tries to keep a large stock, they are often
out of stock on titles or some supplies. If you elect to have them Back Order
out-of-stock items, you'll pay shipping on each item as it is shipped. At
times you may pay more in shipping charges than the item's actual cost. It
may be best to ask for No Back Orders and simply order the items again at a
later date.
The Spanish Guitar Centre has possibly the most comprehensive catalogue
of all. They will do mail order, even to the US at
competitive prices. That's all I know...
There are several ways of doing this but all can be put into two classes.
The first is to tune a single string and then tune all the other strings
relative to this one, or otherwise to tune each string to another
instrument.
which offer all notes (guitar specific tuners provide for the six strings
only) are also available, handy for those who explore alternate tunings or
pieces that require a specific string be tuned down a step, etc.), such as
the Matrix Automatic Chromatic Tuner ($54.95, Guitar Solo).
Instead of electronics, you can use pitch pipes. These are cheap and provide
a reference for each string. Just blow into the right pipe and tune the
string until they are in tune (you know when your reaching the right pitch
because you'll hear a kind of wavering, or beating, or the note. When you
fine tune the string so that the beating goes away - your exactly in tune!)
Instead of pipes, you can use another instrument, such as a piano or another
guitar. If you plan to play with someone else, this is often the
best way as long as the first instrument is known to be tuned correctly.
OR, the other class, is to get a single reference point and tune your
guitar from that. Ideal for this is an A=440Hz tuning fork. Tune
the 5th string to this by striking the fork on a hard object like
your knee and placing it on the sound board of your guitar to amplify it.
Once the 5th string is in tune by this method, or in fact any other, follow
these instructions:
Tune the 6th string by fretting it at the 5th fret and comparing
it with the open 5th string.
Tune the 4th string 7th fret with either the open 5th or 5th string
12th fret harmonic.
tune the 3rd string 2nd fret in the same way.
tune the 2nd string 10th fret in the same way.
tune the 1st string 5th fret in the same way.
What you shouldn't do is tune the guitar by comparing the open string with
the adjacent and lower pitched string fretted at the 5th position all the way
through the strings (except of course for the 3rd and 2nd strings). This is
because any errors you make in the tuning will be compounded by this method.
The above described method elliminates this. Also, do not tune your
guitar by comparing the 5th and 7th fret
harmonics of adjacent strings. The reason for this is that your classical
guitar is designed and built as a tempered instrument ie. it follows the
tempered tuning, rather than the diatonic tuning. To use the 5th and 7th
harmonics to tune your guitar will mean, strictly speaking, that your
guitar will be out of tune.
A 1.11 Where can I find classical guitar music (TAB and notation) on the net?
FTP Sites: For all of these ftp sites use the user name 'anonymous' and your
e-mail address as the password.
Web Sites:
-- Personal Sites --
http://www.seas.upenn.edu/~fjorado/felipe.html (music instruction software)
Guitar Notes: CLASSICAL GUITAR FAQ Page 10 of 22
-- Stores --
BPM Music Express http://www.csn.org/~derick/
There are at least a dozen primary string companies producing product for
the classical guitar, and each company offers a selection of finish and
tension. Where does one start to sort out the lot?
While classical guitars were once fitted with gut (usually swine) strings,
the introduction by Augustine of nylon strings in the 1940s has allowed for
much more reliability in strings. All companies offer good quality control
at all ranges. Nylon strings do not, usually, have a long life once installed
on the guitar, so price will likely be a prime consideration. The beginner,
while learning, might change strings every few months, while professional
players might use a new set every day. Over time you'll begin to hear when
strings go "dead" and need replacement.
Among the more popular brands at present are Augustine, D'Addario, GHS,
Chorus, Martin, Savarez, Hannabach and private label strings offered by Guitar
Solo and other music shops. Many brands offer several "levels" of quality and
type, as well as two or three tensions, ie. normal, hard, extra hard.
Prices can vary from $5.00 US to $25.00 US (3 pounds to 9 pounds UK)
for a full set of six strings.
Your selection of string will be greatly influenced by how each feels and
sounds on your guitar. A normal tension Augustine, for example, placed on
a guitar with low "action" (less distance between the string and frets) may
produce a lot of buzz and noise, while a normal tension GHS string (by GHS
measure) offers a higher tension that reduces the noise. (Alternately, you
may decide to use lower tension strings and have the nut and bridge of your
guitar altered to a higher action, or to use higher tension strings and have
the action lowered. Consult a good guitar technician/repair shop.)
A suggested start for quality strings for the beginner would include
D'Addario's "Pro Arte" series offered in Normal, Hard, and Extra Hard
tensions, which have won wide acceptance among many classical guitarists.
Souces for strings include local shops, though discounts are often meager
for something you'll replace so often. In the US, Musician's Friend offers
D'Addario (Pro Arte Normal and Hard Tension, $4.99) and Augustine strings
at low prices. Guitar Solo offers a much wider range of strings, including
single strings, at attractive, though somewhat higher, prices. (See: Sources
for Music, Strings, etc. in this FAQ section).
Nail Maintenance
----------------
The length, shape and surface of your fingernails have a direct effect
on your playing: how you care for your nails will affect your music as
much as how you practice. A short, well-shaped, smooth-edged nail
will facilitate fingerstroke and produce a clear tone; a neglected
nail will interfere with right hand efficiency and will sound raspy.
Differences between individual nails will disrupt right hand technique
even further, particularly in alternation and arpeggios. For the
developing student, this can cause a great deal of wasted practice and
frustration. Finally, regular and proper care of your nails is the
single, foremost way to prevent them from breaking and requiring
Guitar Notes: CLASSICAL GUITAR FAQ Page 11 of 22
repair.
filing: Hold the file pointing toward your face (looking down its
length), with the finer surface facing upward. Holding your
finger at a ninety degree angle (perpendicular) to the file,
place the nail on the surface. The vector of your finger
should be around forty-five degrees to the plane of the
file, so that the nail is being filed somewhat from beneath.
File the nail by evenly drawing the file back and forth with
the left hand, exerting even pressure and guiding it in
place with the right thumb.
length: Hold your hand with the palm facing you, fingers extended
with the tips pointing upward. You should see the tips of
the nails just peeking past the fingertips (1 to 2 mm past
the fingertip is plenty). Excessive length causes the nail
to drag along the string, causing wasted effort and
disrupting the timing of alternation and arpeggios. Uneven
lengths are also disruptive; make sure no nail is
significantly longer or shorter than the others.
shape: Hold your fingers pointing toward you, so you see only the
edge of each nail; each edge will form a more straight or a
more curved line. Now look at the entire nail, from above.
If filed perpendicularly and from beneath, the straight-
edged nails should have a more square shape, and the curve-
edged nails should have a more elliptical shape. If the
edge of the nail is straight but the shape is not very
distinctly square, you've probably been filing the nail from
its side and the nail will have to grow out a bit to develop
more body on the corner. If the corners of the square
shapes are sharply pointed, use the file to round them (but
don't alter the basic shape).
surface: After the nail is filed, its edge must be finely polished.
Take a small portion of 500 grade open coat sandpaper and
rub, with a back and forth motion, the same spot of
sandpaper on the edge of the nail, particularly
concentrating on the left side of the nail. The surface of
the sandpaper will wear down as you rub, creating an
increasingly smoother polishing surface. Keep rubbing until
the edge is as smooth as a glass surface.
for flaws in smoothness and shape. If your nails are properly shaped
with the edges finely polished, there should be a distinct increase in
ease of execution, and also in tone quality.
---
Stuart LeBlanc
gustav@mintir.new-orleans.la.us
The following tips have also been successful for at least the author:
1. Avoid getting your nails wet. Use rubber gloves when you
have to wash dishes, the car, etc.
2. Get into the habit of using your left hand for things such
as opening doors/drawers, flicking switches, anything where
you might catch the nails on something.
3. Let your left thumbnail grow a little long so you can use it
for prying instead of the right one.
4. Keep the nail edge very smooth with a file and ultra fine
sand paper (around 600 grit). This will prevent little snags
which can catch on things and maybe rip off the nail tip.
5. Apply two or three layers of clear nail polish. Put polish
on the overhanging underside of the nail too.
6. Don't let the nails get too long. They can hamper your playing
and they may break easier.
Get some superglue and use this to put the nail back together
and in place. Do I need to say be careful? Why not. BE CAREFUL. Alternatively,
or in addition, buy a little pack which is designed for this purpose - I
believe they sell them in pharmacies. They consist of little bits of tissue
paper strengthened by fibers and a bottle of nail varnish. Follow
the instructions on the box, but basically its a case of pre-wet the
tissue with nail varnish, place it on the wounded nail and then apply
several more coats of nail varnish. Leave to dry.
There are many approaches to take, and it's probably a good idea to use
as many of them as possible.
First, try to learn what the large scale structure of the piece is. Is it
binary? Ternary? Rondo? That way you are basically beginning by cutting
it up into more manageable chunks.
Try to learn it by ear (can you sing the piece all the way through without
the music or the guitar?). This is easier for people who are more "aurally"
Guitar Notes: CLASSICAL GUITAR FAQ Page 13 of 22
If you are more "visual" try to memorize the page to as great an extent as
you can. The harp prof here gave a lecture about memory & learning
techniques, and said that visual memory really was more stimulated by
looking up (and to the left, I think) so if you can, try placing your music
stand VERY high (for practice & learning) such that you are looking UP at
the music.
I knew many guitarists in Spain who memorized the solfege syllables - they
could sing their pieces from start to finish (mi re mi fa mi re mi...)
Try to memorize the piece starting at the back (This is a tip from David
Russell) - we always go from front to back, often bogging down, so usually,
the farther into a piece we go, the less familiar & comfortable it is. If
you learn the LAST measure, then the next to last measure, etc. you are
setting up a situation where the farther you go, the MORE familiar and
comfortable things are.
This also brings up the issue of learning single measures (apart from
whatever musical context they might have). Jose Tomas used this technique
as a way for his students to learn 30 minutes of *new* repertoire in
1 month: at the beginning, make a learning plan, in which you assing
yourself X measures to learn each day, making sure that every day you
learn some of every piece (instead of working on piece A, then later
starting on piece B, etc.). Learning very short chunks helps you program
your physical movements much better.
For example, play the piece with the right hand only (i.e. all open
strings, but using the *EXACT* right hand fingerings).
Then, try playing the left hand alone. This is a bit harder, because it
doesn't really necessarily function as well without the precision of the
right hand. Barrueco's solution is to mis-tune the guitar to some random
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
piece, concentrating on plainingg the fingering perfectly.
Practice as much as you can, but make sure that when you practice you
practice properly, and don't just play around. Playing around is fun,
but you will make much faster progress and have more fun in the end if
you learn to distinguish it from serious practice (which is not really
fun).
A couple of other quick points: Don't over do the practise so that when
you say to yourself 'Right, time to go and practise' you don't give an
inner-groan and the prospect of more dull playing time. Don't do so much you
Guitar Notes: CLASSICAL GUITAR FAQ Page 14 of 22
get bored with it. You practise so you can play and have fun and enjoy it.
Also, if either of your hands or fingers do begin to hurt - rest. Little to no
benefit is gained by playing whilst in pain. You can build stamina by
playing after resting!
This is a letter that was put to the group once. NOTE: We are
not doctors.
==================================================
I have a pretty trashed right hand. I broke
my wrist twice, and I have a classic boxing
fracture (little finger meta-tarsle) that points
my little finger knuckle down by ten degrees.
A 2.8 You know that piece in the the advert for ... , what is it?
Lexus ad - Asturias (aka Leyenda), from the Suite Espanola by Isaac Albeniz,
performed by Manuel Barrueco. The CD is listed in section A1.7.
Basically, get a hard case. A soft case will not adequately protect
your guitar. Hard cases cost as much as a cheap guitar, but when the
guitar is worth hundreds or maybe even thousands, its well worth it.
Insurance may get you your money back, but some musical instruments
are priceless.
On airways, and perhaps in general, guitars are safe in the hold inside
their hardcases if they have 'fragile' stickers clearly placed on them.
According to many posts lately, most guitars can be carried on and put
in the overhead compartments.
If your going to a hot and humid place then it is a good idea to put a
home-made dehumidifier in the case along with your guitar. This is made
by getting a sponge and placing it in a plastic bag which has holes
cut into it. Apparently, it works in Sunny South Africa :-)
A 2.10 Who are the composers and performers for the classical guitar?
The performer list includes only those performers who have recordings
readily available. No sense was seen in including such outstanding performers
as Tarrega of Giulliani.
The composer list includes some who did not write specifically for the
guitar but are none-the-less crucial to the guitar repertoire (e.g. Albeniz)
Please make a note that the periods have no exact beginnings or endings. There
is definite overlap. The composers are listed more by style rather than
strictly by period. I'm sure people will disagree. That's fine.
Individuals:
Odair Assad
Segio Assad
Carlos Barbosa-Lima
Manuel Barrueco
Dusan Bogdanovic
Liona Boyd
David Brandon
Julian Bream
Eduardo Fernandez
Eliot Fisk
Nicola Hall
Sharon Isbin
William Kanengiser
Alexandre Lagoya
Christopher Parkening
Ida Presti
Guitar Notes: CLASSICAL GUITAR FAQ Page 16 of 22
Ensembles:
COMPOSERS:
KEY:
REN = Renaisance
BAR = Baroque
CLA = Classical
ROM = Romantic
MOD = Modern
CON = Contemperary
A 2.11 What is the difference between flamenco guitar and classical guitar?
(See the Flamenco FAQ)
Flamenco has various techniques that are not used either at all, or not
as much in classical guitar. Some say that the techniques of rasgeo
and tremolo make up 90% of a flamencoists playing time.
A 2.13 How can I learn to sight read? (by John Rice, jrice@fa.intel.com)
I got these techniques from Randy Tucker, my current teacher. I studied with
two other teachers for a total of 3 years and made zero progress on sight
reading. After applying these techniques, my sight reading is much improved,
and continues to improve. You can develop an understanding of the fretboard
in couple of months. More importantly, this understanding is self-nuturing.
Guitar Notes: CLASSICAL GUITAR FAQ Page 20 of 22
By the way, Randy is the best sight reader I've seen. These are some
of the techniques he used to help himself.
The best way to learn the fretboard away from the guitar. Learning the
fretboard away from the guitar opens up tons of other opportunities to
practice (like in the shower....) and helps you visualize the guitar.
The basic strategy behind all these ideas is the break the problem down
into small, managable chunks.
1. Take some 3x5 index cards and make some flash cards. You will need
12 cards, one for each fret. Put a fret number on 1 side of the
card and names of the notes at the fret on the other side. When
you're through you should have the following:
1 2 3 4 5 6 7 8 9 10 11 12
bottom (string 6)
F F# G G# A B~ B C C# D D# E~ E
B~ B C C# D E~ E F F# G G# A~ A
E~ E F F# G A~ A B~ B C C# D~ D
A~ A B~ B C D~ D E~ E F F# G~ G
C C# D D# E F F# G G# A A# B~ B
F F# G G# A B~ B C C# D D# E~ E
top (string 1)
last.
Do this exercise at least once a day.Shuffle the cards and flip them
number side up. Name the notes at the fret indicated for each card.
Read all the material you can. Read simple stuff. Start with
the simplest material you can find. Tunes like Mary Had A Little
Lamb and Twinkle Twinkle are not too simple. You want to practice
sight reading on material that is well below your ability to play.
Play them at different fret positions eg. 3,5,7,9, dont' stick to the first
position. In fact, if you are already familiar with the first position,
try and avoid using it to some extent to avoid memorizing the tunes.
Method books for other instruments (clarinet, flute...) are good sources,
song books of folk music from the library are good sources too.
When you read, do not stop when you make a mistake. Keep going and
try to keep the rythm. Play as slowly as necessary to play and keep
a steady rythm. When you finish a tune, go on to the next. Go through
all the tunes you have, until you run out time or until you utterly fail,
then start over. The importance of keeping going when you make a mistake
can't be overemphasized. You don't want to memorize the piece. Also,
keeping the beat is critical. Drop the odd note if you have to ,
but keep going in time with the rythm. The ear will quickly forget a flubbed
note if you're able to keep the beat.
Many people (me especially...) have trouble site reading not because
they don't recognize the notes, but because they don't recognize
the rythm.
Using your simple songs, clap the rythms. Meaning, put your guitar
Guitar Notes: CLASSICAL GUITAR FAQ Page 22 of 22
down, and instead of plucking the notes, clap the notes. An execellent
book to do this with is Leavit's "Melodic Rythms For Guitar". It
systematically breaks rythms down and presents exercises. Don't
play the exercises, clap the notes. You can read the exercises
later when your sight reading skills become stronger.
6. For this excersize you will need someones help. Prepare to play whilst
reading some music. Then get someone with a piece of card to cover up the
note(s) you are about to play by moving the card along the score. As you
get better, they should be able to cover up notes further and further ahead
of the ones you are playing. If you can read more than two bars ahead of what
you are playing, I reckon you're pretty much there! But this excercise is not
easy, either for you or the person with the card. The person with the card
must be able to read music to some extent, so it may well end up being your
tutor.