Bream seems like a fantastic teacher. All of his criticisms were completely fair. Even if a teacher seems harsh you have to remember that a masterclass is not a normal lesson. These students are already competent guitarists. They are attending this class for the very purpose of having their playing critiqued and dissected down to the smallest details by a superior musician.
blablabla whatever... either Julian and the student play the piece too fast, and they can't realise it, so how shall they go further to the details? romantic music like this should be played slower in my opinion, and not so linear, i mean breaking the tempo sometimes in order to acentuate the romantic feeling... they destroyed the whole piece... :(
Nonsense. What he claims about making a feature out of the accompaniment of Prelude 1 is clearly wrong. Villa-Lobos originally used large and small note heads to represent a sense of depth, with the smaller written accompaniment intended to sound softer in the background. The criticism was NOT fair. It was merely one man's opinion imposed on others as if it were a fact. In "teaching" this prescriptive way, the damage that figures like Bream and Segovia did to guitarists' understanding of music is incalculable.
@@mikejohnson5211 If you don't agree then don't watch it, or just don't take his advice, and don't teach it the same way. It's literally that simple. The man in the lesson wanted to be there, he wanted that advice, and he wanted to heed hat said advice. If you don't agree with Bream then simply find another master class or another tutorial that you do agree with. Plus, music is so subjective, so what if Villa-Lobos wanted those accompanying notes to be super quiet. If every guitarist played the song the same as the composer did then there would be no individuality, no personal emotion. Not everybody connects to pieces the same way, take Moonlight Sonata for example. Some people play at 50bpm some play at 90bpm, guitarists have to play in Amin rather than C#min (which does actually change the emotional feel of the piece) but so what. Take a piece, learn it, make it your own.
Re Villa-Lobos' take, Bream apparently won him over. He had misgivings at first, but wound up buying stacks of Bream's record and giving them out as Christmas gifts. Amazing how Bream memorizes every detail of a performance and has something to say about each part.
Segovia will always be Segovia and his masterclasses are legendary. But for me, a Julian Bream masterclass is the ultimate! Forget about whether or not he is "harsh" on the students, he is giving you a rare chance to crack open his skull a peer into the inner workings of his brain. Letting you experience his thoughts when he performs pieces in his epic and inimitable style. Nuances that you feel but can't pinpoint in his playing, he is breaking down for you. Be as harsh as you like Mr Bream!
his student was brilliant but what bream emphasize is the way to create sound that has soul that makes the piece alive. Julian Bream is a true master of guitar and whewww he has a very classic typical royal English accent.
The whole point of the master class is to focus on the more "abstract" aspects of playing a piece, such as tone and attack. Students are expected already expected to be able to play the piece accurately.
no idea why people think the student is taking offence at criticism. He is trying to pay attention to the criticism but is no doubt aware that there is a TV camera in his face too! maybe we should all try it and see what we would look like.
I've played the Villa-Lobos first prelude for years. This video makes me want to pick up the guitar and play it again. Bream is a remarkable man; so sensitive to the music.
Bream can truly make his guitar 'sing'...he is the MASTER here and needs to be listened 2....i am fam with his playing and i can say that Bream is one of the top 3 greatest classical guitarists of the 20thC...you can 'here' what he is explaing to the student, that is why he can say it - his voicing on the instrument and interpretative skills are unsurpassed...enjoy it....i know i have...
For all Williams' technical ability and accuracy with this tune, Bream's performance, albeit exaggerated (purposes of teaching), is much more expressive. The piece has a range, like he says at the start, it sweeps, and he "gets it". He "feels" the music, how it ebbs and flows, how it sways. I hear many people play tunes faithfully and accurately without ever feeling the same feelings as the person who wrote it and felt those emotions in his head that he had to get out. His use of volume, fading in and out as he feels it, is exquisite. A melancholy beginning, the sad despondence, becoming frenzied and confused, finally becomes a question with the final chord of the first part: "What now?", almost anxious. What happens then? The singer resolves himself and galvanises. "To go on!" is the response. The student races onwards, but so fast that we cannot keep up, cannot feel it. The arpeggios in the second part gather pace and rush forwards, onwards, but towards what? A breath, relief at 6:52. Then the bittersweet, shown in the his face as he plays, he blinks in pain as he strums the question at 6:58. Wonderful. Shame about the combover, mate...
I have no idea what you guys are talking about. That is the face of a student learning, not getting offended. Bream's advice is, indeed, masterful, and the student does his best to apply it in the brief time offered; doubtless, he would have gone home and practiced exactly that for hours and days afterwards, until it came naturally. Honestly, I wish I were good enough to even warrant sitting in that student's seat.
Did anyone notice that the title says master class? Its not "sit on your bed and play for your dog class". The lesson that Julian gave this guy is the the same thing that professors teach at any music performance school. Anyone can play the notes but can you make the guitar sing and talk? That is what Julian is telling this guy.
I love how the melody of this piece is played on the bass notes while the higher register plays the chords in the beginning. it sets a really somber yet beautiful mood, if that makes any sense. Then, it goes from a minor tonality and opens up to an upbeat, beautiful major tonality. Villa Lobos really knew the intricacies of the guitar and how to make it sing with an almost angelic quality.
Very useful and appreciated instruction from an acknowledged and revered master of the guitar, Mr. Julian Bream. Thank you for sharing this! I'm actually studying this piece and learned quite a bit from Mr. Bream. Hungry for more.
Even though all that criticism is very constructive, I would have shit my pants if I were in his student's seat... so kudos to him for taking it all in stride.
You'd soon notice if people stopped doing that even if, like most of us, you couldn't say why. It's suprising at how much analysis goes into a good performance. It's what separates the boys from the men, the great from the mediocre.
I actually started learning this piece just so I could get closer to the mindset of Bream. His words have such resonance and provide so much to learn from. It is really fun to go over this piece and see what he means. Thank you.
What a genius and a guitar master... All seems so obvious when he shows how to do it.... After this how voul you perform this prelude in a different way.....
his student does admirably in the face of that genius... thank you for this incredible snapshot and look at one of the greatest musicians to walk the earth in the 20th century....
Bream was being particular, not picky. This is actually an easy piece to play technically (as are all 5 of Lobos’ preludes) which opens it up to so many interpretations and expressions. This is why it is a favorite and included in nearly every serious classical guitarist’s repertoire. Students in this class absolutely WANT the deeper insight a Master can impart on the piece. They can then incorporate the knowledge gained into their own interpretation.
Adorable 70s/80s high-class BBC-style programme, quite sad the way some of you are down on Bream, whatever else he was, he was ultra-talented. A nice piece of musical TV, thanks for posting it.
Hey great vid. Btw if anyone who applied to attend a masterclass with a world great would have been happy to receive whatever criticism to be able to play in the way the instructor plays it. The lucky student I guess was focusing hard to listen and keep up with instructions on the spot, because there were so many pointers given on the passages. Anyway if you spent time in a music school, you would be criticized or ridiculed by other instructors based on their opinion. Just get used to it becaus
Just love Julian Bream. I was priveledged to see him in concert in the 80's. A great pioneer for the guitar. He doesn't beat about the bush with shallow complements for the player (who played the piece very well actually). What remarkable knowledge and passion for his instrument. Come on Julian..lets have one last concert performance from you!!
Often a student in this type of situation is focusing to much on clean play which can affect the very things the teacher pointed out. Obviously clean play is crucial but feel can be lost when trying not to make a mistake. Great video.
This is pretty much how a master class works. JB is simply teaching how to refine the piece. Its a forgone conclusion that the student already knows how to play it to a good standard otherwise he wouldn't be there.
Hi i just found out that Julian Bream was my grandfathers favorite guitarist . So if you by chance have any more i could watch that would be great. Thanks,Josh
Thanks for the lesson...great tips from the "Experienced" Master teacher...the student did pretty good considering he did it in front of Julian Bream. 5* --Van
I found this interesting to watch, especially as I have a student working on this piece right now. His comments about the the 2nd section 'growing' from the first are valid, but I would also point out that we are in the tonic MAJOR, there has been a change of KEY, TIME SIGNATURE and TEMPO. It is a contrasting section to the first. Also, observing the accents and general performance directions are crucial to capturing the essence of the piece.
If someone went to his lessons we assume he trusts his judgement.Do you prefer the teacher to tell you how good you are instead of pointing out your mistakes?
the analysis is what seperates the masters from the rest of the players in the world. They notice the fine details and they perfect them while most people don't even care about them.
you made me tripel check i can't find a picture of Zappa looking like this. are you sure he played with Bream ? i really can''t seem to find any archive linking them to each other.
I think what he's said is fair, its not harsh at all lol. Maybe my guitar teacher is harsh... honestly totally agree with what he's saying. Also is this not the point of master classes? You're gonna get your face ripped off a bit because everyone's standards are so high. Anyone who thinks this is harsh needs thicker skin. This guy is well nice about it. He's constructive, he's right, he clearly knows his stuff. Lol well obv he does, its Julian Bream!!
Wow, you could hear the levels between JB and his student. But by now, if that student kept it up, he's probably at a high level of execution in classical guitar music. This video looks late 70s by the look of the student's moustache and collar, so he's probably in his 70s now if he's still around.
I don't feel Bream is harsh at all and I very much doubt the student would be offended because by the end of the session he had demonstrably improved and Bream was clearly passionate about getting his point across. I'd rather be told where I'm going wrong than have someone soft-soap me with the current trend of 'deferred success' and all that nonsense.
I can't remember who, but I think it was Bream himself that said that each note in a piece must be played with care and consideration. No matter how brief. It's one thing to be able to play something through. It's another thing entirely to know every note intimately. Indeed, this is the difference between a recital and a performance. If you don't know what is inside the music, how can you bring it out to display to those listening?
I assume that when one goes to a master class one wants to receive constructive criticism. That is exactly what the student received from the great Maestro Bream. It must have been a big reality shock for the student, but Bream did him a greater service by pointing out where he needs to improve than by simply telling him that he played the piece well.
How lucky we are today to be able to watch and hear probably the greatest guitarist that ever lived, any time we want to, and for free !! This is the better part of the internet's otherwise manipulative and vulgar trappings...
I really like this song, And i love the way Bream's so passionate about this piece of music, But i can't help wondering what Villa-Lobos Would have made of Bream's performance.
Villa Lobos initially criticised some aspects of Bream's interpretations but owned a copy of Bream's early recordings of Villa Lobos's works and reportedly admired them enough to recommend them to his friends.
I have some questions for people who play this piece or have the sheet-music: I see everybody (Williams, Breams, Santos, this guy) plays a C-sharp as the first note of the 18th bar (18th bar without counting the first B-note), and in my sheet-music there's a C written down; so a C with the denial sign. And some play the low E-string for the second time in the 4th bar with de D and in mine it's written down in the 6thbar with the B. Thanks.
Anybody who is down on Julian Bream CLEARLY doesn't know their ass from a hole in the ground. He's one of the finest guitarists of his generation. He was obviously good enough to John Williams to do 2 duet albums with, which I might add, are fabulous!
It looks like the guy playing No 1 is playing a flamenco guitar (thinner body than a traditional classical). I find that cool cause I've been playing classical on a flamenco guitar a lot lately.
I haven't read all the mean comments, but considering I know this piece pretty well, I can see what Julian is saying in all his comments (blunt as some of them are) I also got the strong impression that the "student" really wanted to hit him throughout most of it, and didn't appreciate being corrected. :(
Yes he highlighted some important stuff there... but spending too much time on that piece. I would want to learn about how to color/phrase/put momentum in great pieces like chaconne, Tarregas works, Albeniz and so on
If you follow what a master say or do, you will always be the pupil or copycat forever. Ignore what he says and do your own thing and be your own master.
Hello. I'm interested in learning more pieces like this one which brings the melody in the the bass voices. I need suggestions. What could you recommend?? Thanks a lot.
Bream seems like a fantastic teacher. All of his criticisms were completely fair. Even if a teacher seems harsh you have to remember that a masterclass is not a normal lesson. These students are already competent guitarists. They are attending this class for the very purpose of having their playing critiqued and dissected down to the smallest details by a superior musician.
blablabla whatever... either Julian and the student play the piece too fast, and they can't realise it, so how shall they go further to the details? romantic music like this should be played slower in my opinion, and not so linear, i mean breaking the tempo sometimes in order to acentuate the romantic feeling... they destroyed the whole piece... :(
no he is nit picking
but i suppose the student wanted to be there
there is an infinitive way to interpret ate a piece of music .
Nonsense. What he claims about making a feature out of the accompaniment of Prelude 1 is clearly wrong. Villa-Lobos originally used large and small note heads to represent a sense of depth, with the smaller written accompaniment intended to sound softer in the background.
The criticism was NOT fair. It was merely one man's opinion imposed on others as if it were a fact. In "teaching" this prescriptive way, the damage that figures like Bream and Segovia did to guitarists' understanding of music is incalculable.
@@mikejohnson5211 If you don't agree then don't watch it, or just don't take his advice, and don't teach it the same way. It's literally that simple. The man in the lesson wanted to be there, he wanted that advice, and he wanted to heed hat said advice. If you don't agree with Bream then simply find another master class or another tutorial that you do agree with.
Plus, music is so subjective, so what if Villa-Lobos wanted those accompanying notes to be super quiet. If every guitarist played the song the same as the composer did then there would be no individuality, no personal emotion. Not everybody connects to pieces the same way, take Moonlight Sonata for example. Some people play at 50bpm some play at 90bpm, guitarists have to play in Amin rather than C#min (which does actually change the emotional feel of the piece) but so what. Take a piece, learn it, make it your own.
@@involuntarytwitch9771 Excellent advice
It's astonishing how much musicality was added to the piece through Breams instruction.
He was the best. The best of them all-Segovia, Williams, Parkening, Pepe….
@@BerndtNorten still is. Even with all the players coming out now.
Re Villa-Lobos' take, Bream apparently won him over. He had misgivings at first, but wound up buying stacks of Bream's record and giving them out as Christmas gifts.
Amazing how Bream memorizes every detail of a performance and has something to say about each part.
Julian's harmonics near the end are incredible
This video helps every serious guitar player a lot. Everything what Bream says makes sense!
Anystar Events
And yet he is wrong. So much for "sense," a word the English love to throw around to impose their beliefs and prejudices.
@@mikejohnson5211 Julian was never wrong....not about guitar playing
Segovia will always be Segovia and his masterclasses are legendary. But for me, a Julian Bream masterclass is the ultimate! Forget about whether or not he is "harsh" on the students, he is giving you a rare chance to crack open his skull a peer into the inner workings of his brain. Letting you experience his thoughts when he performs pieces in his epic and inimitable style. Nuances that you feel but can't pinpoint in his playing, he is breaking down for you. Be as harsh as you like Mr Bream!
my left ear enjoyed this :P
INDEED
@@100BIPBIPBIP MONO
his student was brilliant but what bream emphasize is the way to create sound that has soul that makes the piece alive. Julian Bream is a true master of guitar and whewww he has a very classic typical royal English accent.
Heddi Lee More like a cockney accent.
Thx too the internet.
Best class I ever had
The whole point of the master class is to focus on the more "abstract" aspects of playing a piece, such as tone and attack. Students are expected already expected to be able to play the piece accurately.
no idea why people think the student is taking offence at criticism. He is trying to pay attention to the criticism but is no doubt aware that there is a TV camera in his face too! maybe we should all try it and see what we would look like.
I've played the Villa-Lobos first prelude for years. This video makes me want to pick up the guitar and play it again. Bream is a remarkable man; so sensitive to the music.
What a delightful person Julian bream and what beutiful playing and of course Viva Vila lobus!
Rip what an fantastic talent..
Bream can truly make his guitar 'sing'...he is the MASTER here and needs to be listened 2....i am fam with his playing and i can say that Bream is one of the top 3 greatest classical guitarists of the 20thC...you can 'here' what he is explaing to the student, that is why he can say it - his voicing on the instrument and interpretative skills are unsurpassed...enjoy it....i know i have...
Villa Lobos is, in fact, an underrated compositor. But his works live!
For all Williams' technical ability and accuracy with this tune, Bream's performance, albeit exaggerated (purposes of teaching), is much more expressive. The piece has a range, like he says at the start, it sweeps, and he "gets it". He "feels" the music, how it ebbs and flows, how it sways. I hear many people play tunes faithfully and accurately without ever feeling the same feelings as the person who wrote it and felt those emotions in his head that he had to get out. His use of volume, fading in and out as he feels it, is exquisite. A melancholy beginning, the sad despondence, becoming frenzied and confused, finally becomes a question with the final chord of the first part: "What now?", almost anxious. What happens then? The singer resolves himself and galvanises. "To go on!" is the response. The student races onwards, but so fast that we cannot keep up, cannot feel it. The arpeggios in the second part gather pace and rush forwards, onwards, but towards what? A breath, relief at 6:52. Then the bittersweet, shown in the his face as he plays, he blinks in pain as he strums the question at 6:58. Wonderful. Shame about the combover, mate...
I have no idea what you guys are talking about. That is the face of a student learning, not getting offended. Bream's advice is, indeed, masterful, and the student does his best to apply it in the brief time offered; doubtless, he would have gone home and practiced exactly that for hours and days afterwards, until it came naturally.
Honestly, I wish I were good enough to even warrant sitting in that student's seat.
9:07 -- He just needed to add Julian's head bop. ;)
I thought the guy was an absolutely fantastic player!
Did anyone notice that the title says master class? Its not "sit on your bed and play for your dog class". The lesson that Julian gave this guy is the the same thing that professors teach at any music performance school. Anyone can play the notes but can you make the guitar sing and talk? That is what Julian is telling this guy.
i've been working on this piece & this video has helped me move from just reciting the correct notes to a half decent performance. Bream is the man!
I love how the melody of this piece is played on the bass notes while the higher register plays the chords in the beginning. it sets a really somber yet beautiful mood, if that makes any sense. Then, it goes from a minor tonality and opens up to an upbeat, beautiful major tonality. Villa Lobos really knew the intricacies of the guitar and how to make it sing with an almost angelic quality.
This student is very lucky. I envy you, my friend!
What a great teacher, he really cuts in to the problems and leaves egos at the door. Great stuff.
I love Bream!! He's the man. He's right into Villa lobos ... don't rush the music, enjoy it!
Very useful and appreciated instruction from an acknowledged and revered master of the guitar, Mr. Julian Bream. Thank you for sharing this! I'm actually studying this piece and learned quite a bit from Mr. Bream. Hungry for more.
Even though all that criticism is very constructive, I would have shit my pants if I were in his student's seat... so kudos to him for taking it all in stride.
You'd soon notice if people stopped doing that even if, like most of us, you couldn't say why. It's suprising at how much analysis goes into a good performance. It's what separates the boys from the men, the great from the mediocre.
I actually started learning this piece just so I could get closer to the mindset of Bream. His words have such resonance and provide so much to learn from.
It is really fun to go over this piece and see what he means.
Thank you.
This is wonderful, thank you for sharing !
Yes the student gave a great performance, then Julian demonstrates and hey presto...that is why he is 'one' of the best.
What a genius and a guitar master... All seems so obvious when he shows how to do it....
After this how voul you perform this prelude in a different way.....
his student does admirably in the face of that genius... thank you for this incredible snapshot and look at one of the greatest musicians to walk the earth in the 20th century....
So good!!!
meet this amazing gentle old guy,,and he took time to sign his name and best wishes..sweet man..god bless this is magic thakyou
It shows that a good teacher is a must.
Wish he was my teacher. Legend!
Bream was being particular, not picky. This is actually an easy piece to play technically (as are all 5 of Lobos’ preludes) which opens it up to so many interpretations and expressions. This is why it is a favorite and included in nearly every serious classical guitarist’s repertoire. Students in this class absolutely WANT the deeper insight a Master can impart on the piece. They can then incorporate the knowledge gained into their own interpretation.
Bream une référence dans la guitare classique un grand monsieur
It is a no win situation! Bre😊am gave very much good advice, but the student played it well also. All in all, I enjoy these master classes.
Villa Lobos foi um gênio. É triste não ele não ser muito conhecido no Brasil, seu país.
Adorable 70s/80s high-class BBC-style programme, quite sad the way some of you are down on Bream, whatever else he was, he was ultra-talented. A nice piece of musical TV, thanks for posting it.
Excellent!
Hey great vid. Btw if anyone who applied to attend a masterclass with a world great would have been happy to receive whatever criticism to be able to play in the way the instructor plays it. The lucky student I guess was focusing hard to listen and keep up with instructions on the spot, because there were so many pointers given on the passages. Anyway if you spent time in a music school, you would be criticized or ridiculed by other instructors based on their opinion. Just get used to it becaus
Just love Julian Bream. I was priveledged to see him in concert in the 80's. A great pioneer for the guitar. He doesn't beat about the bush with shallow complements for the player (who played the piece very well actually). What remarkable knowledge and passion for his instrument. Come on Julian..lets have one last concert performance from you!!
What about the rest of the masterclass, VL preludes 2 & 3?
Ty
Exelente
Lol you gotta love the Spartan approach. Nice clip.
Often a student in this type of situation is focusing to much on clean play which can affect the very things the teacher pointed out. Obviously clean play is crucial but feel can be lost when trying not to make a mistake. Great video.
This is pretty much how a master class works. JB is simply teaching how to refine the piece. Its a forgone conclusion that the student already knows how to play it to a good standard otherwise he wouldn't be there.
Hi i just found out that Julian Bream was my grandfathers favorite guitarist . So if you by chance have any more i could watch that would be great. Thanks,Josh
Thanks for the lesson...great tips from the "Experienced" Master teacher...the student did pretty good considering he did it in front of Julian Bream.
5*
--Van
I found this interesting to watch, especially as I have a student working on this piece right now. His comments about the the 2nd section 'growing' from the first are valid, but I would also point out that we are in the tonic MAJOR, there has been a change of KEY, TIME SIGNATURE and TEMPO. It is a contrasting section to the first. Also, observing the accents and general performance directions are crucial to capturing the essence of the piece.
Thank you so much for sharing this video. Godbless...
If someone went to his lessons we assume he trusts his judgement.Do you prefer the teacher to tell you how good you are instead of pointing out your mistakes?
I don't find Bream harsh at all. He is truly listening and gifting helpful feedback on dynamics and musicality.
the analysis is what seperates the masters from the rest of the players in the world. They notice the fine details and they perfect them while most people don't even care about them.
big performer in a real partition
nice
A great teacher as Julian Bream and...an astonished Frank Zappa, just the day before to start studying electric guitar!!:-))))))))
you made me tripel check i can't find a picture of Zappa looking like this. are you sure he played with Bream ? i really can''t seem to find any archive linking them to each other.
Good mustache!
I think what he's said is fair, its not harsh at all lol. Maybe my guitar teacher is harsh... honestly totally agree with what he's saying. Also is this not the point of master classes? You're gonna get your face ripped off a bit because everyone's standards are so high. Anyone who thinks this is harsh needs thicker skin. This guy is well nice about it. He's constructive, he's right, he clearly knows his stuff. Lol well obv he does, its Julian Bream!!
nice comb-over
For anyone listening to this, try Nicholas Petrou's version, he plays it so wonderfully well, best performance i've ever heard
@MinGophers I believe it's a B major
Wow, you could hear the levels between JB and his student. But by now, if that student kept it up, he's probably at a high level of execution in classical guitar music. This video looks late 70s by the look of the student's moustache and collar, so he's probably in his 70s now if he's still around.
I don't feel Bream is harsh at all and I very much doubt the student would be offended because by the end of the session he had demonstrably improved and Bream was clearly passionate about getting his point across.
I'd rather be told where I'm going wrong than have someone soft-soap me with the current trend of 'deferred success' and all that nonsense.
amen
I can't remember who, but I think it was Bream himself that said that each note in a piece must be played with care and consideration. No matter how brief.
It's one thing to be able to play something through. It's another thing entirely to know every note intimately. Indeed, this is the difference between a recital and a performance.
If you don't know what is inside the music, how can you bring it out to display to those listening?
lol bream makes a normally good sounding performance seem like pure shit...I love it
Dude fucking shreded and the other dude was like "it was mid"
I assume that when one goes to a master class one wants to receive constructive criticism. That is exactly what the student received from the great Maestro Bream. It must have been a big reality shock for the student, but Bream did him a greater service by pointing out where he needs to improve than by simply telling him that he played the piece well.
How lucky we are today to be able to watch and hear probably the greatest guitarist that ever lived, any time we want to, and for free !! This is the better part of the internet's otherwise manipulative and vulgar trappings...
I really like this song, And i love the way Bream's so passionate about this piece of music, But i can't help wondering what Villa-Lobos Would have made of Bream's performance.
Villa Lobos initially criticised some aspects of Bream's interpretations but owned a copy of Bream's early recordings of Villa Lobos's works and reportedly admired them enough to recommend them to his friends.
Jules has da tekkerz.
I have some questions for people who play this piece or have the sheet-music:
I see everybody (Williams, Breams, Santos, this guy) plays a C-sharp as the first note of the 18th bar (18th bar without counting the first B-note), and in my sheet-music there's a C written down; so a C with the denial sign.
And some play the low E-string for the second time in the 4th bar with de D and in mine it's written down in the 6thbar with the B.
Thanks.
Anybody who is down on Julian Bream CLEARLY doesn't know their ass from a hole in the ground. He's one of the finest guitarists of his generation. He was obviously good enough to John Williams to do 2 duet albums with, which I might add, are fabulous!
where accuracy is more than the music
I am running out of ways to say how much these UA-cam videos have 'invaded' my life.....I wish I had another life to live.....
thank God for youtube
It looks like the guy playing No 1 is playing a flamenco guitar (thinner body than a traditional classical). I find that cool cause I've been playing classical on a flamenco guitar a lot lately.
3:30 'u wot m8?'
Hahaha
Oh well and where I am .. can only dream.
truly like you, I'd rather hear sloppy guitarists, violinists and pianists too
What an amazing man! Julian Bream is God to me...
G-d is a MUCH better guitarist than Bream ,do not use his name in vain.
No....G-D plays a lot better than Bream.
did he say really rip it at 7.04 , sweet
There was so much vibrato around 1:30 that the subtitles picked up actual words
I haven't read all the mean comments, but considering I know this piece pretty well, I can see what Julian is saying in all his comments (blunt as some of them are) I also got the strong impression that the "student" really wanted to hit him throughout most of it, and didn't appreciate being corrected. :(
excellent comments! thank you ever so much. you think you know the piece, right? hahaha. I've got a lot to work on :D
@TheHandsomeCrab Easy to do well?
@TheHandsomeCrab So if it's easy for Bream, it's easy to do well? I don't really follow where you're going..
Yes he highlighted some important stuff there... but spending too much time on that piece. I would want to learn about how to color/phrase/put momentum in great pieces like chaconne, Tarregas works, Albeniz and so on
If you follow what a master say or do, you will always be the pupil or copycat forever. Ignore what he says and do your own thing and be your own master.
Hello. I'm interested in learning more pieces like this one which brings the melody in the the bass voices. I need suggestions. What could you recommend?? Thanks a lot.
Check Leo Brouwer’s etudes. #1 and #4 especially have the melody in the bass.
I thought he might have a 'Tube Of Joy' stuck to the headstock. :^)
nice moustache....
@TheHandsomeCrab But there must be a original version I think..
There’s this. And there is the ‘genius’ of Kanye
comb-over power harness
Well, that's a Techer --- his stress on quality of sound and execution is quite unexpected for someone who just plays the notes right -
Thank you