Ana Vidovic: Artist Spotlight & Q&A!
International superstar Ana Vidovic returns to tonebase for this very special Q&A-style livestream. ↓ Ask her your own questions by replying to this post below! ↓
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When I'm feeling uninspired and the music I'm working on just isn't going well, I like to open up to a simple Sor study. His music always seems to bring the joy of playing back to me. Do you have similar music for yourself? (And if so, what is it?)
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Wow...this will be a great session. Unfortunately I will be unable to attend. Will be sure to see the recording of it. Great job Tonebase of having these valuable sessions!
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Apart from the technical angle, I'd be curious to hear how she approaches a piece mentally and emotionally. Does she have a story, certain feelings, or other method in mind when deciding what to bring out in the piece and how to approach phrasing and articulation?
Thanks in advance.
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Steve Price Great question!
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Eric Phillips I just watched the Borbála Seres livestream on the topic and my mind was kind of blown. Definitely a lot more layers on that onion to discover.
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What etudes or studies do you recommend for technique?
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What does your typical practice session look like?
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Dani Santiago I have the same question and how much time do she usually practice each day ?
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Unfortunately i can not assist life but I have a question to this extraordinary guitarrit.
How do you recommend to approach the issue of speed to an intermediate player when learning a piece of let’say 100MM and 16th. Should the speed come from the beginning( after knowing the notes of course), sacrificing a little of accuracy, and maybe with small parts or better to have first a good premeditated practice at low speed? Thanks Ana.
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Hello. My question Is, how improve the interpretative when you play. Share your feeling when you play?
I'm pleasure for this session.
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I don't like to base these kind of questions in interpretations of popular pieces for classical guitar, but the way Ana does so for Asturias is, indeed, overwhelming. If this question doesn't bore her much, could she talk about her process and approach for Asturias, specially in the right hand. Greetings Mircea, and thank you for this great event!
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Dear Ana,
I would like to ask a more psychological question, if possible. You probably know that all great chef’s have a so called fingerprint dish. Something that makes them unique and makes people travel all over the world to taste it themselves.
Well, you are without any doubt one of the most famous chef’s of classical guitar music. People travel long distances to hear and watch you play.
What would you say, without being humble, is your fingerprint Ana? What makes you YOU?
Kind regards,
Cees (pronounced as ‘case’)
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Hi Ana,
I find that the hardest part of learning a piece is getting it from 95% ready to 100% ready. I can quite quickly get to a point where I can play a piece accurately and with musicality most of the time, but it doesn't feel completely secure. But getting from there to a point where the piece feels completely ready seems to take forever.
When you are learning a piece, how do you get the piece from 'nearly ready' to 'ready'? And how do you know when it's 'ready'?
Many thanks,
Andrew
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Hi Ana,
first of all thank you for taking your time to do this Q&A.
I've got two questions that really bother me quite a bit.
The first one is related to practicing. What is your opinion on balancing repertoire and technical practice? Do you prefer one over the other and do you think doing too much technical practice can be harmful to one's playing?
The second question is regarding playing different styles of music. How do you go about approaching different genres/styles in your daily routine? Do you think in terms of genres/styles or do you rather focus on the project in front of you?
:) Thank you alot!
Kind regards,
Lukas
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My question for Ana. I notice that when you play Tremelo pmim, you sometimes rest your annular finger on the 1st string when playing the melody on the 2nd string. I would be interested to know more about the benefits of this technique and thank you so much. Regards, Jeff
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How do you develop your 4th finger on your left and right hand for balance and control?
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Fantastic chance this)) Ana, 3 important things in developing the im alternatation fingering in RH because Ii can see I m way and way better with m a fingering and really need to progress on my almost stucked i m alternation, grazie di esistere, Paolo S from Italy)))
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Pase I was doing recuerdos pami. I tried Ana’s pmim and it works much better. Tone on all notes much more even. The a finger being weaker hurt that.
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How do you practice to maintain and grow your large repertoire?
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The countries of the former Yugoslavia have produced a lot of very fine guitarists in recent years. Could you speak a little about the ‘guitar culture’ of this region of Europe? Also, could you say a few words about your 19th compatriot (and fellow virtuoso) Ivan Padovec? Thank you!
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Hello Ana, Thank you for the Torroba l recording. Is there a II in planning?
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Has anyone else lost the live stream?
End of the Year Challenge: Finish Strong!
