Group 4
Attention Classical Guitarists: Introducing the "Two Week Intensive" with Eduardo Inestal on "Interpretating Spanish Repertoire"
Hola tonebuddies and fellow guitar aficionados!
We are absolutely thrilled to announce an exclusive opportunity for our community of classical guitarists: a "Two Week Intensive" course on "Interpreting Spanish Repertoire" with the world-renowned guitarist Eduardo Inestal!
This unique course is designed to provide in-depth insights into the heart and soul of Spanish guitar music. Throughout the two weeks, Eduardo will share his immense knowledge of Spanish idioms, techniques, and interpretation, enriching your playing and enabling you to truly understand and convey the passion behind this beautiful musical tradition.
During the course, participants will be immersed in the rich history and cultural context of Spanish guitar music, while receiving personalized guidance from Eduardo himself. This is truly a once-in-a-lifetime opportunity for classical guitarists looking to enhance their repertoire and expertise.
Don't miss out on this incredible opportunity to learn from a true guitar maestro. We can't wait to see you at the Two Week Intensive with Eduardo Inestal!
Happy plucking, amigos!
Details
- Sign-Up: May 11th - May 14th in an extra thread!
- Course Period: May 15th - May 26th
- Optional check-In via Zoom: tba
All Courses by Eduardo on tonebase here!
Assignments
In the assignment videos, you will:
Discover the rich tapestry of Spanish music and journey through five centuries of its history, from the Spanish vihuela school to today's contemporary compositions.
Immerse yourself in the passionate era of Spanish romanticism and nationalism, exploring the profound changes in music during the late 19th and early 20th centuries.
Understand the profound influence of popular music and folklore on classical music. Dive into the works of great composers like Gaspar Sanz, Scarlatti, Aguado, Llobet, Falla, and more contemporary authors.
Feel the rhythm and power of flamenco as you examine its influence on the classical guitar. Master the "rasgeado" technique through the music of Joaquín Turina, Joaquín Rodrigo, Ángel Barrios, and Regino Sáinz de la Maza.
Identify and interpret the typical elements of Spanish music on the classical guitar, including recurring motives and the "Cadencia Andaluza". Discover how popular song has left its mark on these timeless pieces.
Unleash the Spanish "fire" in your playing, embodying the unique character and spirit of Spanish music. Appreciate the importance of understanding the mentality of the people to truly capture the essence of their music.
This immersive course is designed to not only educate but also to inspire, as you delve deep into the soul of Spanish music and learn to interpret it on the classical guitar with authenticity and passion.
Assignment 1 - Introduction and Rasgueado
- Watch Eduardo's Introduction about Spanish Music!
- Learn about Eduardo's approach to Rasgueado (starts at 6:00)
- Share a video with Eduardo's Rasgueado Exercices with the regular Rasgueado (ami) and with the additional index finger (ami i)
- Find a piece where you can use that Rasgueado (the most famous piece for guitar for example ;). Also feel free to share great examples of Rasgueado!
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NEW ASSIGNMENT!!!
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Eduardo Inestal I'm looking forward to this exercise! Thank you for sharing it. I wonder: Are you concerned at all what your thumb is doing? Does it matter if it "floats" or is anchored. I realize that on the bass strings it'll have to float. (Floating is my tendency, as my previous video may have illustrated...) but I'm curious about, for this sort of playing, does your thumb anchor for the high strings and release for the bass-ier strings?
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Spare Machine Hi Mark. Is always better to have your thumb anchored, in order to have stability on your hand (by using it as a reference). Of course, once you get to the 5th string, the thumb must leave the string (in case you placed it on the 6th), but once you go back to the 4th, you can place it again on the string. Floating is of course possible, but I think is more risky and the possiblility of make a mistake is higher.
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Eduardo Inestal Thank you!
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Hi, I'm a bit behind the curve so here is assignment1 with practicing rasgueado (not sure what my little finger was doing!)
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Philip Rutter Hi Philip! Awesome job! it sounds very good. A couple of things:
1. When you try it slowly, try to release your a finger faster (the movement the finger does should be faster. Rather hit the string than slide.
2. when you play at your fastest tempo, i do not feel you have to absolute control of the movements of your fingers. Try to keep always this control. You may try using metronome in order to monitorize the bmp and the accuracy.
Looking foward to listening you again!
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...and for excerpt I chose the first section of a piece called Malaguena by Robin Pearson
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Philip Rutter
Great work Philip and thanks for sharing.
I noticed that in the rasgueado exercise, you anchored your thumb on the 5th string but when playing the piece Malaguena you anchored your thumb on the side of the fretboard.
By anchoring that way, you looked much more in control and fluid.
I will try to do that in my practice today and see if it help me making some progress.
Thanks again
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Philip Rutter Great piece to practice the rasgueado. Here I would say the same as in my previous comment.
Eduardo Inestal said:
2. when you play at your fastest tempo, i do not feel you have to absolute control of the movements of your fingers. Try to keep always this control. You may try using metronome in order to monitorize the bmp and the accuracy.always try to keep the movement under control! and you will see (hear, in this case) that it sounds more precise.
Next piece: Aranjuez?
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Eduardo Inestal Thanks Eduardo - I'll work on my control & Aranjuez & scales!
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Andre Bernier Very observant Andre, yes feels easier anchoring on fretboard but fingers have to move a bit more - good luck with your practising
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Eduardo's scale exercise
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Marilyn Blodget I think you should lead this 2 weeks intensive course instead of me! You played amazingly well!! Actually I do not have a lot to say. Left hand is very close to the frets/strings, RH is fully relax.... Only suggest you to try to increase the speed (because we are gonna need it for the scales of Aranjuez!)
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Eduardo Inestal Ha! Thanks Eduardo. How do you recommend increasing speed while maintaining relaxation?
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Marilyn Blodget Being aware of our body (not only our fingers!) the whole time. Even the smallest tension in your feet can increse your tension in your hand!
Then, try to use metronome and working with it, and the most important thing... be Patient. It takes just a looot of time :)
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Eduardo Inestal Thank you!
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Take 2 with metronome. On the 6th string Rasgueado and subsequent 4 string I used the 4 finger
tremolo. Thanks Eduardo.
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Marilyn Blodget Great job!! I just need a bit more of percusive sound when you play the rasgueados. Sometimes, you slide your fingers through the strings instead of hitting them. Try to release your fingers faster while playing the rasgueado.
Another small thing: try no to play with your RH so close to the fingerboard, is going to sound a bit too "dolce". :)
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Eduardo Inestal Thanks Eduardo!
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Hola Eduardo, muchísimas gracias por este ejercicio de escalas! lo voy a practicar todos los días con metrónomo, Suena bonito y es bastante adictivo! Good to practice apoyando, I tend to forget....it will get better I am sure
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Emma Emma! Terrific job!! it sounds very good and it looks very good (no tensions, very relax, and equall rhytm and sounds. You only need time to get more secure and to increase speed!
Otherwise, just great.
btw: You made a variations on the exercise. It doesnt matter at all, but your FYI.
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This was harder for me than the scales exercise, but thank you so much! now I know the theory and how to practice it slowly and with metronome. I was faster now to try to keep with the music... I dont like so much the sound of it, a lot of nail, can it be that the nail is too flat against the strings? Gracias por quitarme el miedo al rasgueado, ahora por la danza del molinero jajajj no todavia no... Thank you so much for this 2 weeks intensive!!!
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Emma I do not know how you are "scare" of rasgueados, because you play amazingly!! de verdad!
I liked very much. Now, lets work a couple of things:
1. Read the score properly :) you played some extra chords not included.
2. In order to get a better rasgueado, try to let your fingers hit the strings faster (it doesnt mean you have to play faster, but the have to leave with a rapid movement in order to sound more percusive.
3. You can try to make dinamic, The effect would be amazing. It sounds a bit lineal.
Regardings the nails. It doesnt matter at all. what we want is percussive sounds. Rasgueado does not necessary means beautiful sound, but rhythmic and percussive (in this case, of course, are exceptions, but here is not the case).
Deseando escuchar a Falla!
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Eduardo Inestal thank you so so much!!! Gracias!
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I'm hoping to post the chromatic-ish scale exercise soon. I'm having the following hiccups: 1) when I get into a groove, there a patches where I sort of forget what comes next (= improve concentration/focus, 2) shifting between "floating" and anchoring my thumb, 3) I try to keep my non-fretting fingers close to the fretboard, but my "pinky" finger doesn't behave itself!
