Some people simplify Matteo's technique by saying it's just classical guitar technique applied to electric but I think they don't have any idea of classical guitar. Matteo is one of a kind and what he does has not been seen before. It's not just the innovation, it's the mastery of his innovation!
So true. I find his technique much closer to Flamenco than Classical but as we all have seen he can do it all, much smoother and faster than anyone ever seen before. And it swings!
Great video Cody. I'd been thinking of posting a reaction to Matteo video on my channel too. He's a true phenom that has successfully merged classical, flamenco, and bass techniques into his own uniquely formidable style.
Great review and analysis, Cody - Thank you! I've become a big fan of Matteo. He knocked 'em out at NAMM this year where a LOT of people got to see him live.
Observation on the tremolo-style he uses for the eruption and similar - there’s a passage half way through the Aranjuez 1st movement with triplet notes… I’ve noticed a few guitarists don’t attempt it at all and instead play double notes with i and m (Ana Vidovic for example), however some players such as Manuel Barrueco play the triplets properly and he uses exactly the same rest stroke tremolo style (without thumb obviously), I’m working on it just now and I’ve had to adjust my nail size and hand position quite a bit in that section to make it work, but rest stroke is essential to project strongly!
Yes, I know exactly what you’re talking about. Christopher Parkening also plays it as 16th notes instead of triplets. When I studied the Aranjuez concerto with him, he explained that reason was for the sound quality. Because the triplets are so fast, it’s difficult to hear them clearly while playing with the orchestra. He also worked on the concerto with Joaquin Rodrigo and got his blessing so to speak to make such a change.
Playing electric guitar with bass pizzicato fingerstyle is harder than on bass which is why when I first saw him 4 years ago I was blown away. Not sure about how it would be for classical guitar and you would know better, it's just that as a bass player even switching from 19mm to 16.5mm string spacing is still a challenge. Granted if you start on the narrower spacing it's faster and I expect I'll be faster eventually. I think that made sense 😅
So glad Cody that you're appreciating Matteo's style & approach - I think that most classical masters would sound similar to this on an electric - and it's too funny when the 'guitar world' (which is mostly rock based) comes up with the lame 'greatest' lists - and never really includes classical - classical style on an electric would be too intense & complicated for most - plus amps would get overwhelmed with the advanced phrasing of any virtuoso - ex: could you imagine if Liona Boyd was used to an electric w/distortion used at that time, and performed at Monterey Pop Festival in '67 or Woodstock in '69? - the amp stacks would've burned up. Tina S is another good example of a classically trained guitarist transitioning to electric rock - she's also blowing away everyone notably in the rock world - check her out - she's all over YT - also check out Yamandu Costa (on a 7 string classical acoustic). Great job on this review!
@@davparksoh I'm not really up to the play with the latest n greatest flamenco players however I do enjoy Grisha Goryachev, Vicente Amigo, and Paco Pena. My favourite alternative players are Ken Nishimura, Mike Dawes, and Tommy Emmanuel (not sure if they're alternative tho). WBU?
his guitar amplified so much if you blow air on it it will sound. it takes a lot of practice to make it look that he is actually touching the fret.he is using as a "fretless" guitar
I remember there once was this english guy in his 50s or 60s that made tutorials on how to play everything on electric with classic technique. He was sooo good. Can't find him anymore. Help anyone?
A classical guitarist must study the music of others, which many great guitarists have already played, making sure that people hear the entire piece of music and perceive its overall meaning. So every time you play music written by geniuses you have to do it with respect but with your own personal interpretation. For example, I finally understood the beauty of Villa Lobos' music thanks to a guitarist who made me feel its impressionism, whereas before it seemed like a boring collection of Spanish tricks. A rock, jazz or folk guitarist does not have this serious requirement and can change the original a lot, he can also improvise.
Has anyone ever tried to build a classical guitar with a thinner neck and closer together strings? I don't think this would change the tone significantly and it may make using the instrument easier... (Even if this may be considered blasphemy)
A lot electric guitarists play those types of guitars to achieve a nylon sound, and they do sound good, however, I’ve never seen a high level classical guitarist play one in concert. I think the sound difference is too great. I think most of those types of guitars are probably factory made. Where as all high end classical guitars are made by hand from luthiers that usually dedicate their lives to making instruments.
"how"... sigh um you have a technique and you practice it a lot .. he literally tells you how he does what he does lmao it isn't like magic where its a big secret. you see him play with a pick? he can't because he didn't practice it that way, to him the pick is weird to us fingers are weird... its what you learn, what you practice i don't get why people are like jaw dropping with this.
Matteo has already established himself as one of the greatest guitarists who has ever lived. Another contemporary great for classical and fingerstyle is Stephanie Jones who is possibly the greatest who has ever lived for what she does.
Some people simplify Matteo's technique by saying it's just classical guitar technique applied to electric but I think they don't have any idea of classical guitar.
Matteo is one of a kind and what he does has not been seen before. It's not just the innovation, it's the mastery of his innovation!
So true. I find his technique much closer to Flamenco than Classical but as we all have seen he can do it all, much smoother and faster than anyone ever seen before. And it swings!
the way you framed this is top notch
I appreciate your input on this interview! That right hand is bananas
Matteo is soooo talented, and he is also unique in his way of playing the guitar!
I am proud to have a compatriot who is so appreciated abroad too!
He's clearly mastered his instrument and is such a high level musician
Great video Cody. I'd been thinking of posting a reaction to Matteo video on my channel too. He's a true phenom that has successfully merged classical, flamenco, and bass techniques into his own uniquely formidable style.
Great review and analysis, Cody - Thank you! I've become a big fan of Matteo. He knocked 'em out at NAMM this year where a LOT of people got to see him live.
Hey, thanks so much for watching. I bet it was something special to see and hear him play live at NAMM. What a cool experience!
Thank you Cody. Very good and interesting, your words (from an italian piano player)
Love your content bro. Would love a video where you attempt some of Matteo's lines 😂😂
You inspire me to practice my guitar tho.
Hey, thank you! Oh gosh, maybe I could try. Thanks for the video idea. Appreciate you watching and leaving a comment.
Observation on the tremolo-style he uses for the eruption and similar - there’s a passage half way through the Aranjuez 1st movement with triplet notes… I’ve noticed a few guitarists don’t attempt it at all and instead play double notes with i and m (Ana Vidovic for example), however some players such as Manuel Barrueco play the triplets properly and he uses exactly the same rest stroke tremolo style (without thumb obviously), I’m working on it just now and I’ve had to adjust my nail size and hand position quite a bit in that section to make it work, but rest stroke is essential to project strongly!
Yes, I know exactly what you’re talking about. Christopher Parkening also plays it as 16th notes instead of triplets. When I studied the Aranjuez concerto with him, he explained that reason was for the sound quality. Because the triplets are so fast, it’s difficult to hear them clearly while playing with the orchestra. He also worked on the concerto with Joaquin Rodrigo and got his blessing so to speak to make such a change.
I’ve never heard of this guy. But he sounds good.
If you never heard of this guy maybe it's because you are a drummer?😉
@@piter127 nah, I haven’t played drums in years.
Playing electric guitar with bass pizzicato fingerstyle is harder than on bass which is why when I first saw him 4 years ago I was blown away. Not sure about how it would be for classical guitar and you would know better, it's just that as a bass player even switching from 19mm to 16.5mm string spacing is still a challenge. Granted if you start on the narrower spacing it's faster and I expect I'll be faster eventually. I think that made sense 😅
So glad Cody that you're appreciating Matteo's style & approach - I think that most classical masters would sound similar to this on an electric - and it's too funny when the 'guitar world' (which is mostly rock based) comes up with the lame 'greatest' lists - and never really includes classical - classical style on an electric would be too intense & complicated for most - plus amps would get overwhelmed with the advanced phrasing of any virtuoso - ex: could you imagine if Liona Boyd was used to an electric w/distortion used at that time, and performed at Monterey Pop Festival in '67 or Woodstock in '69? - the amp stacks would've burned up. Tina S is another good example of a classically trained guitarist transitioning to electric rock - she's also blowing away everyone notably in the rock world - check her out - she's all over YT - also check out Yamandu Costa (on a 7 string classical acoustic). Great job on this review!
I wish those lame lists would include more classical, flamenco, and alternative guitarists too.
Who would be your top in each category?@@nbnguitar
@@davparksoh For classical I'd say top 3 active guitarists could be Kyuhee Park, Cecil Rafik Kaya, and Marcin Dylla. Yamandu is great too
Great suggestions - didn't know C. Rafik Kaya - any for flamenco & alternative? - appreciate it@@nbnguitar
@@davparksoh I'm not really up to the play with the latest n greatest flamenco players however I do enjoy Grisha Goryachev, Vicente Amigo, and Paco Pena. My favourite alternative players are Ken Nishimura, Mike Dawes, and Tommy Emmanuel (not sure if they're alternative tho).
WBU?
his guitar amplified so much if you blow air on it it will sound. it takes a lot of practice to make it look that he is actually touching the fret.he is using as a "fretless" guitar
I remember there once was this english guy in his 50s or 60s that made tutorials on how to play everything on electric with classic technique. He was sooo good. Can't find him anymore. Help anyone?
Oh really? I’d be interested in watching his videos as well.
@@GuitarCody9 can't find him anymore. He shredded picking each note with pami tremolo.
@@GuitarCody9 found him. His name is Steve Gilson.
ua-cam.com/video/5Rm-xCiv-aE/v-deo.htmlsi=ouoeFOaTC-zFZhe8
What do you think about Marcin technique? Maybe Ain't No Sunshine reaction.
A classical guitarist must study the music of others, which many great guitarists have already played, making sure that people hear the entire piece of music and perceive its overall meaning.
So every time you play music written by geniuses you have to do it with respect but with your own personal interpretation.
For example, I finally understood the beauty of Villa Lobos' music thanks to a guitarist who made me feel its impressionism, whereas before it seemed like a boring collection of Spanish tricks.
A rock, jazz or folk guitarist does not have this serious requirement and can change the original a lot, he can also improvise.
You should know that this is Claudio Quartarone s technique
Matteo has a white bar he rests his thumb on
Has anyone ever tried to build a classical guitar with a thinner neck and closer together strings? I don't think this would change the tone significantly and it may make using the instrument easier... (Even if this may be considered blasphemy)
A lot electric guitarists play those types of guitars to achieve a nylon sound, and they do sound good, however, I’ve never seen a high level classical guitarist play one in concert. I think the sound difference is too great. I think most of those types of guitars are probably factory made. Where as all high end classical guitars are made by hand from luthiers that usually dedicate their lives to making instruments.
You can get cross over guitars that are basically classical guitars that have been designed for people used to steel string guitars.
Matteo is Maradona of guitar STOP
Add Michelangelo, Van Gough, Shakespeare, Mozart, all great guitarists from 1960s-1980s, shake and pour into Matteo mold.
"how"... sigh um you have a technique and you practice it a lot .. he literally tells you how he does what he does lmao it isn't like magic where its a big secret. you see him play with a pick? he can't because he didn't practice it that way, to him the pick is weird to us fingers are weird... its what you learn, what you practice i don't get why people are like jaw dropping with this.
Matteo has already established himself as one of the greatest guitarists who has ever lived. Another contemporary great for classical and fingerstyle is Stephanie Jones who is possibly the greatest who has ever lived for what she does.