Summed up in the nicely phrased "illusion of legato;" advocating a different perception of what we would consider to be a difficult piece of music to play, to one that is actually "easy," after a mindful reevaluation of/change to certain fingerings, finger 'preparations', positionings, etc.
Very pertinent and timely. Funnily enough the two pieces that you played/used as examples are two pieces that I've recently dragged out of mothballs into my performance/pedagogical repertoire. After seeing so many (imo) weak and flawed right hand techniques from other UA-camrs it was good to see, what I consider to be, a strong and 'correctly positioned' right hand. Your first teacher must have known what s/he was doing and taught you well. That shift in the Villa Lobos etude 01 is something that I've had to practice isolated a great deal to make it clean. It still gives me trouble at times. Psychological ?? Maybe I talk myself into difficulty there. Your advice in that regard is great advice. Thanks for the upload.
Hello Maestro Marco Tamayo. Thank you very much for your very insightful and helpful contribution to music and classical guitar performance. Best wishes
Really great videos Marco...would love to watch more lessons, especially how you approach a practice session or warm up and approaches to tremolo or learning a difficult passage within a piece of music.
I think I understood him to say that the "time is over" for fingering that repeats the same pattern in the right hand. He seems to be advocating creating fingerings based around first preparing the fingers(at least some of the fingers) on the strings ahead of time..
3:30 min, I heard that bases were stopped .. However, that means you are "rephrasing" the piece, or, "reinterpreting", making it sound slightly different to help yourself with fingering. That approach is fine. Not a single performance by Mozart, of the same piece, was same; he would change it each time. Regarding the guitar, many composers had no idea how difficult it is to play the guitar, and many guitarists did not adapt music for guitar with best fingering, or best interpretative idea in mind: unlike Mozart's, their composing vocabulary was modest, not best. However, in such instances you need to take a look at the entire piece, and interpret it accordingly, not only its difficult passages. The idea must have consistency.
I salute the security of your right hand. However, speak for yourself when you claim that "no one notices" the absence of the basses prior to the shift in VL study #1. To me it stood out like a slap in the face and does not produce a good musical result. In my view it's better to sacrifice the tempo chosen and maintain the musical integrity. You obviously come to different conclusion, but I can assure you I won't be the only listener to think my way. It's great that you present new fingerings but all accomplished guitarists should explore many possible fingerings in every piece they study. It should be done as a matter of routine . Their final choices made by weighing the merits of both musical and technical considerations. As such fingering exploration is a common practice I believe the title of this clip is a little pompous and doesn't change much at all, unless you are referring to your personal approach to one particular work.
The book is online to be bought at shop.marcotamayoedition.com chose your language among german and english and go for it. In case of any doubt, get back to me. Best regards! Marco Tamayo.
a great player, I love his style but unfortunately not so much in speaking! here there is a very important subject in his mind but he could't translate it into words.
Segovia did a lot for the guitar (repertoire, nylon strings with Augustine, promoting the guitar as a serious concert instrument etc) but he was overrated as regards his tone. That may have had something to do with using gut strings and then the early attempts at nylon strings with Augustine (his work there can't be lauded enough) which were thin sounding and nothing like what we take for granted today. I still think that he was overrated as an interpreter of classical music and was hubristic to the point of sin. It was Segovia's way or the highway and he was wrong much of the time.
This is probably the most progressive video that I have seem about the classical guitar technique. Thank you!
This dude is UNDERRATED! he’s amazing
Dear Marco, your explainations are very interresting and a way to progress towards the best playing possible. Thanks a lot
Summed up in the nicely phrased "illusion of legato;" advocating a different perception of what we would consider to be a difficult piece of music to play, to one that is actually "easy," after a mindful reevaluation of/change to certain fingerings, finger 'preparations', positionings, etc.
I had the pleasure to be at the concert of Marco Tamayo in Poland my hometown of Lublin in the Philharmonic. Brilliant memories.
Toda mi admiración por tu trabajo Marco! Un saludo desde Cádiz 🎼👍
Very pertinent and timely. Funnily enough the two pieces that you played/used as examples are two pieces that I've recently dragged out of mothballs into my performance/pedagogical repertoire. After seeing so many (imo) weak and flawed right hand techniques from other UA-camrs it was good to see, what I consider to be, a strong and 'correctly positioned' right hand. Your first teacher must have known what s/he was doing and taught you well. That shift in the Villa Lobos etude 01 is something that I've had to practice isolated a great deal to make it clean. It still gives me trouble at times. Psychological ?? Maybe I talk myself into difficulty there. Your advice in that regard is great advice. Thanks for the upload.
Eres un excelente intérprete , que sabroso es escuchar una guitarra así, esa fuerza, presicion e interpretación.
Great sharing, thank u Maestro !
Excellent presentation. See 3:20 to 3:40 for the key point and demonstration in this video.
Wonderfully explained and performed ❤️
Hello Maestro Marco Tamayo. Thank you very much for your very insightful and helpful contribution to music and classical guitar performance. Best wishes
Really great videos Marco...would love to watch more lessons, especially how you approach a practice session or warm up and approaches to tremolo or learning a difficult passage within a piece of music.
Thanks a lot. OK I take notice and wil prepare a Video for this request. Thank you again.
I shall look forward to it :-)
excelente video Marco. completamente de acuerdo con tus palabras. saludos desde argentina
I think I understood him to say that the "time is over" for fingering that repeats the same pattern in the right hand. He seems to be advocating creating fingerings based around first preparing the fingers(at least some of the fingers) on the strings ahead of time..
Buenísimo Marco!! sigue subiendo vídeos!!
Great! Awesome and Wonderful information!
Muy bueno el video, deberías colocar subtítulos en español para nosotros los latinos.
3:30 min, I heard that bases were stopped .. However, that means you are "rephrasing" the piece, or, "reinterpreting", making it sound slightly different to help yourself with fingering. That approach is fine. Not a single performance by Mozart, of the same piece, was same; he would change it each time. Regarding the guitar, many composers had no idea how difficult it is to play the guitar, and many guitarists did not adapt music for guitar with best fingering, or best interpretative idea in mind: unlike Mozart's, their composing vocabulary was modest, not best. However, in such instances you need to take a look at the entire piece, and interpret it accordingly, not only its difficult passages. The idea must have consistency.
this guy is gifted no more to say
A MACHINE !!! HUMAN GUITAR GENIUS
Wow que sonido de esta guitarra, que guitarra es maestro? Gracias por compartir sus conocimientos.
Muchas gracias. la guitarra es una Simon Marty, de Australia, en cedro.
genius !! simple as that !! u will never do whT HE DOES !! FACT.. HE IS UNIQUE
HE IS SPEAKING ABOUT RIGHT HAND PLANTING, RIGHT?
muy brilliante
I salute the security of your right hand.
However, speak for yourself when you claim that "no one notices" the absence of the basses prior to the shift in VL study #1.
To me it stood out like a slap in the face and does not produce a good musical result.
In my view it's better to sacrifice the tempo chosen and maintain the musical integrity. You obviously come to different conclusion, but I can assure you I won't be the only listener to think my way.
It's great that you present new fingerings but all accomplished guitarists should explore many possible fingerings in every piece they study. It should be done as a matter of routine . Their final choices made by weighing the merits of both musical and technical considerations. As such fingering exploration is a common practice I believe the title of this clip is a little pompous and doesn't change much at all, unless you are referring to your personal approach to one particular work.
Where’s the book in U. S.
Not for beginners
The book is online to be bought at shop.marcotamayoedition.com chose your language among german and english and go for it. In case of any doubt, get back to me. Best regards! Marco Tamayo.
たまよ、うまいな
a great player, I love his style but unfortunately not so much in speaking! here there is a very important subject in his mind but he could't translate it into words.
SEGOVIA WAS NOT AS GOOD AS THIS GUY... NEW ERA !! A GENIUS HERE UR LOOKING AT
Segovia did a lot for the guitar (repertoire, nylon strings with Augustine, promoting the guitar as a serious concert instrument etc) but he was overrated as regards his tone. That may have had something to do with using gut strings and then the early attempts at nylon strings with Augustine (his work there can't be lauded enough) which were thin sounding and nothing like what we take for granted today. I still think that he was overrated as an interpreter of classical music and was hubristic to the point of sin. It was Segovia's way or the highway and he was wrong much of the time.
sorry but you give me anziety to listen to you talk
Kinda like seeing you spell...