Group 2
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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Hi all!! Here the new assignment: Check this video and I am looking foward to listening and watching you!!
Cheers!!!
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Thanks so muich for that score.
Peter
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NEW ASSIGMENT!!!
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Hello Martin, Can you provide a link to the previous scale lesson that Eduardo referred in this video on 'new assignment'? Thank you. Vincent
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Eduardo Inestal Hi Eduardo, I'm going to start working on the opening Rasgueados. Angel's version has always been my favorite interpretation of the Aranjuez. I like his pattern choices of Rasgueado vs. block chords in the Introduction section. It's a little different than yours (you use some more block chords), but I think his may be more comfortable for me. What do you think? Thanks!!
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Barney Angel Romero is just a terryfic guitarrist and above all, musician. Extrem virtuoso in all its components. I like it very much how he does it. I have to say, I do not find much of difference. Only he plays it a bit more articulato than me, and he does not use the three rasgueado. The best thing about hearing different versions is that we can get inspiration and by imitating we learn alot. I will definetly try it!!
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And New Video with new Information!! Take a look!!
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Eduardo Inestal What edition of the Arroyos de la Alhambra by Angel Barrios are you using?
Is it possible to share the score with us? Thanks!
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Barney here we go!
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Eduardo Inestal Thanks Eduardo! The fingering in the score is different thank how we actually play the first 8 bars. Am I seeing that correctly?
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Eduardo Inestal Hi Eduardo, Here are the Aranjuez Intro Rasgueados and Scale exercise. I used a metronome at a slower speed. Please let me know your comments and suggestions. Thanks!
Best, Barney
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Barney Hi Barney! I forgot how good quality your videos have!! great!
I love your version of the Aranjuez. Despite you only use your index finger on the simple rasgueados, it works very good. I like also the fact that you use the complex one on the highest part of the thema. It works very good. If I have to suggest you something should be following: Try to glue the diferent bars a bit better, specially when you have to shift chords. Sometimes you come late.
The last scale: dont be affraid playing it apoyando!! try it
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Barney Regarding the scale ex...: just amazing. You master it. Nothing else to say. You are absolutly profi.
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Eduardo Inestal Thanks Eduardo! On the simple rasgueados, I'm using both i and m. For example, in the first 9 chords I play: m-m-i-i-m-m-i-i-m ( as down-down-up-down-down-down- up-down-down).
The shifting of some chords is very quick with no common fingers. Any suggestions to make easier and achieve on-time results?
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Eduardo Inestal Thank you Maestro!!
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Eduardo Inestal Here is the Arroyos exercise. I like to use Apoyando to bring out melody notes. This has beautiful Spanish themes which I really like. Is this piece sometimes played in concert?
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Barney Thanks for posting it! very well done... but I have a question for you: What happen if you play the melody apoyando? you will stop the 2nd string, and for instance, you will stop the acompaiment and will lose a part of the full sonority of the chord. So, I advice you not to do it. Never, When you have this kind of melody/acomp pieces (like Lágrima, etc.).
This piece is not very well known. Neither the composer, despite he was born in Granada. (actually, the music conservatory of this city is called after him). But slowly his music is becoming played. For that reason i wanted you to show you something not very well known. I will suggest you to play it both. Evocación and Tonadilla. It works very well and are no soooo demanding!
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Eduardo Inestal I understand about the Apoyando in the melody stopping 2nd string. I like the sound more, but you are right--it cancels the full sonority of the chord. I will instead use Tirando with emphasis on the melody string. Thanks for reminding me about this.
I agree this piece is relatively easy , but interestingly, I see a posting online of Pepe Romero playing it live at an event.
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Eduardo Inestal I just wanted to say thank you again for doing this TWI and extending the time for our participation. It is very kind of you and I greatly appreciate it.
Every time you share your knowledge and wisdom about music and guitar technique with us , I learn a lot.
Hope to see you again soon on Tonebase!! All the best, Barney
