If it weren't for Zoom guitar lessons, I wouldn't be living my best Arpeggiato life! Thanks for sharing this, Brandon. It's always good to hear from the teachers of teachers!
Thank you so much for this, Brandon and Xavier--such a rich and stimulating conversation! I was particularly intrigued by your discussion of playing nearer the bridge on theorbo and archlute--also German baroque lute, as the iconography shows us. In the world of keyboard instruments we have the enigma of the 'Lautenwerk', a harpsichord strung with gut strings so as to imitate the sound of the lute. We're told that Sebastian Bach was very interested in the possibilities of this instrument and worked with his friend, the organbuilder Hildebrandt, trying to perfect it. Unfortunately we know very little about what they achieved. Our one and only source* reports that "in its regular setting (that is when only one [8-foot] stop was drawn) it sounded *more like the theorbo* than like the lute." But with a more complex registration, "it was almost possible to deceive even professional lute players." (!) Several modern harpsichord makers have attempted to reconstruct the Lautenwerk, but none of the ones I have heard would deceive any lutenist, not for a moment. That is, *if* the lute tone one expects is the sweet sound obtained playing near the rose. But the more incisive tone obtained close to the bridge, maybe even playing with nails, suggests a solution to the mystery. How I wish I still had a workshop where I could put it to the test! Or maybe somebody already has? I'd love to know. ___________________ * The source is second-hand, once removed: Agricola quoting Bach's pupil Adlung in 1768. See 'The New Bach Reader' p. 366
I've had the opportunity to take some courses with Xavi via the lute society's lute fests. Such a knowledgeable and gracious individual. Great conversation!
You studied with Xavier!!! He is really amazing, his recordings with Savall are great, also his Bach suites. No longer ago I watched a video of him talking about Luis de Narvaez, and it was Brilliant.
I was intrigued by your discussion about how to play etudes. When I was studying cello many years ago I didn't think of the Dotzauer etudes as music, and it showed in my playing. I completely abandoned striving to be musical. That was embarrassing when my teacher pointed it out. And I agree that people need to learn (and be taught) how to practice. In my opnion, that is one of themost important skills and processes that an excellent teacher must convey and demonstrate to a student. It means the student could eventually study a piece and prepare to perform on her own--being an independent student of oneself. Wonderful interview, Brandon.
lol oasis were one of the worst bands ever imo . When they first started out I am very proud of the fact that I wouldn’t even cross the road to go see them at an early gig in Liverpool. Shockingly bad just happened to be promoted by the usual suspects.
It depends on your taste and what you are going for. I don't like them. They seem suited for high tension modern classical guitars and that is not my cup of tea. I'd go for nylgut by Aquila if you can't afford gut strings.
Yeah, agree with Brandon (shocking :p). I ordered a bunch of different Aquila nylgut sets, after figuring out my reservations about low tension strings were kind of ridiculous and childish. And while the bass-strings in the Aquila sets are not superb(...still fine), the treble strings are pretty interesting. I've only tried actual gut-string once, for about ten minutes while the owner of the instrument was trying to make me hurry up as much as possible XD. But if you're looking for a little bit more feel on either low or normal("normal") - or higher tension - strings, the nylgut sets offer a little bit for every setting. Like Xavier maybe suggests on how to generate a carrying sound on gut (without the hammer-like immediacy of extreme tension nylon), these afford you that snap with a different playing style, while still on normal tension. They also work with nails, no problem. So you can just play as before, and have this experimentation sphere. And then the lower tension strings let you create some dynamics, specially without nails, that you just can't have on a normally strung guitar. So it's not gut, it's absolutely still plastic, and they're still sort of what I think of as concert-strings. But you can tune the guitar down a little bit, or go with the lower tension strings -- and get some depth to the playing that is just not there on normal nylon strings. On my.. pre-Ramirez style classical thing as well, with the narrow neck and things like that, it just makes a lot of sense to not slam and crackle the fingers and nails on the strings. Or to tap with "vigor!", as one of my teachers screamed at me once, on the left hand. If you do, though, something else probably makes more sense for you. But if filing down the saddle a bit, tuning the guitar down, and playing slightly differently seems appealing to you, then getting the nylgut strings is a good idea, for sure. Or, nylgut is a really neat compromise between the concert-strings for a classical guitar (that wants the guitar to be a harpsicord) - and the unaffordable, brittle, difficult gut-strings, that probably never made sense on a Ramirez style guitar anyway. In a modern setting for someone who don't have a royal patron to pay for the instruments as well, it makes a lot of sense. But that being said, the nylgut treble strings afford you a genuinely rewarding no-nail playing style without ending up in the "yeah, this was fun, but I need 100 euro per string strings to continue this experiment in any fashion whatsoever. **** and ****, I've wasted five years"- land that I'm sure a lot of people have before. 11/10, would go through that process again :p
wth? tune down by a third? like 3 halfsteps? wow. i am puzzled and trapped at the same time. ok, i'm a metal guy and i like low tunings but i also need definition in the tone and also go for like 27" 30" scale to have enough tension to not floppy around. then what GM Xavier says is, play at low tension to articulate yourself better. bzzzzzzz. *mind offline*
Learn to play classical guitar without fingernails in just 10 days with Brandon Acker 🎸 classicalguitar-pro.com/p/no-nails-in-10-days
I love Maestro Xavier’s playing, and generous personality, Great interview!
Great !! Thank you ♥
Extraordinary discussion, so much knowledge, background and heart. Easy to see why you revere this master. More please!
Saw/heard Brandon in a wonderful concert (Couperin, de Visée); his playing was, as you would expect, magnifique.
Thanks for coming and the kind words 😊
I believe Latorre to be the best guitarist (of his stile) alive.
If it weren't for Zoom guitar lessons, I wouldn't be living my best Arpeggiato life! Thanks for sharing this, Brandon. It's always good to hear from the teachers of teachers!
Thank you so much for this, Brandon and Xavier--such a rich and stimulating conversation!
I was particularly intrigued by your discussion of playing nearer the bridge on theorbo and archlute--also German baroque lute, as the iconography shows us. In the world of keyboard instruments we have the enigma of the 'Lautenwerk', a harpsichord strung with gut strings so as to imitate the sound of the lute. We're told that Sebastian Bach was very interested in the possibilities of this instrument and worked with his friend, the organbuilder Hildebrandt, trying to perfect it. Unfortunately we know very little about what they achieved. Our one and only source* reports that "in its regular setting (that is when only one [8-foot] stop was drawn) it sounded *more like the theorbo* than like the lute." But with a more complex registration, "it was almost possible to deceive even professional lute players." (!) Several modern harpsichord makers have attempted to reconstruct the Lautenwerk, but none of the ones I have heard would deceive any lutenist, not for a moment. That is, *if* the lute tone one expects is the sweet sound obtained playing near the rose. But the more incisive tone obtained close to the bridge, maybe even playing with nails, suggests a solution to the mystery. How I wish I still had a workshop where I could put it to the test! Or maybe somebody already has? I'd love to know.
___________________
* The source is second-hand, once removed: Agricola quoting Bach's pupil Adlung in 1768. See 'The New Bach Reader' p. 366
I had no idea he was your teacher! Xavier is fantastic, everybody listen to his Laberintos Ingeniosos!
I've had the opportunity to take some courses with Xavi via the lute society's lute fests. Such a knowledgeable and gracious individual. Great conversation!
You studied with Xavier!!! He is really amazing, his recordings with Savall are great, also his Bach suites. No longer ago I watched a video of him talking about Luis de Narvaez, and it was Brilliant.
Yay podcast episode!! What a treat getting to hear from your teacher❤ Thank you both I really enjoyed this
I was intrigued by your discussion about how to play etudes. When I was studying cello many years ago I didn't think of the Dotzauer etudes as music, and it showed in my playing. I completely abandoned striving to be musical. That was embarrassing when my teacher pointed it out. And I agree that people need to learn (and be taught) how to practice. In my opnion, that is one of themost important skills and processes that an excellent teacher must convey and demonstrate to a student. It means the student could eventually study a piece and prepare to perform on her own--being an independent student of oneself.
Wonderful interview, Brandon.
Yay, big fan of Xavier
What an awesome video. Super inspiring...
It would be very interesting to see a video recording of a lesson between Brandon and Maestro Xavier Diaz Latorre.
1 week ago I have started my classical guitar journey
great video!! also you are kieth from the try guys twin!! i love both of y’all’s videos
Say, Mr... What is the name of that song at the end?
✌
wonder if bad ears can hear the diff between nylon and gut and appreciate the latter
Standing on the shoulder of giants. I was wondering where Oasis stole that from..
took you only 23 years!
lol oasis were one of the worst bands ever imo . When they first started out I am very proud of the fact that I wouldn’t even cross the road to go see them at an early gig in Liverpool. Shockingly bad just happened to be promoted by the usual suspects.
are carbon strings any good id have to sell my blood for gut strings
It depends on your taste and what you are going for. I don't like them. They seem suited for high tension modern classical guitars and that is not my cup of tea. I'd go for nylgut by Aquila if you can't afford gut strings.
good to know thanks@@brandonacker
You might have to sell your blood for gut strings, but I feel selling my soul if I put carbon strings😂😂😂😜
Yeah, agree with Brandon (shocking :p). I ordered a bunch of different Aquila nylgut sets, after figuring out my reservations about low tension strings were kind of ridiculous and childish. And while the bass-strings in the Aquila sets are not superb(...still fine), the treble strings are pretty interesting.
I've only tried actual gut-string once, for about ten minutes while the owner of the instrument was trying to make me hurry up as much as possible XD. But if you're looking for a little bit more feel on either low or normal("normal") - or higher tension - strings, the nylgut sets offer a little bit for every setting. Like Xavier maybe suggests on how to generate a carrying sound on gut (without the hammer-like immediacy of extreme tension nylon), these afford you that snap with a different playing style, while still on normal tension. They also work with nails, no problem. So you can just play as before, and have this experimentation sphere. And then the lower tension strings let you create some dynamics, specially without nails, that you just can't have on a normally strung guitar.
So it's not gut, it's absolutely still plastic, and they're still sort of what I think of as concert-strings. But you can tune the guitar down a little bit, or go with the lower tension strings -- and get some depth to the playing that is just not there on normal nylon strings. On my.. pre-Ramirez style classical thing as well, with the narrow neck and things like that, it just makes a lot of sense to not slam and crackle the fingers and nails on the strings. Or to tap with "vigor!", as one of my teachers screamed at me once, on the left hand. If you do, though, something else probably makes more sense for you. But if filing down the saddle a bit, tuning the guitar down, and playing slightly differently seems appealing to you, then getting the nylgut strings is a good idea, for sure.
Or, nylgut is a really neat compromise between the concert-strings for a classical guitar (that wants the guitar to be a harpsicord) - and the unaffordable, brittle, difficult gut-strings, that probably never made sense on a Ramirez style guitar anyway. In a modern setting for someone who don't have a royal patron to pay for the instruments as well, it makes a lot of sense.
But that being said, the nylgut treble strings afford you a genuinely rewarding no-nail playing style without ending up in the "yeah, this was fun, but I need 100 euro per string strings to continue this experiment in any fashion whatsoever. **** and ****, I've wasted five years"- land that I'm sure a lot of people have before.
11/10, would go through that process again :p
I guess all guitar vampires must come from somwhere.
wth? tune down by a third? like 3 halfsteps? wow. i am puzzled and trapped at the same time. ok, i'm a metal guy and i like low tunings but i also need definition in the tone and also go for like 27" 30" scale to have enough tension to not floppy around. then what GM Xavier says is, play at low tension to articulate yourself better. bzzzzzzz. *mind offline*
Try it on a classical guitar or lute and you will learn a lot. Left hand slurs and ornaments are much better
@@brandonacker thanks for your feedback, which I will happily apply. There is a lot of dynamics for me to learn. Thank you again.
This works only if the giants are still standing.