Gitara Sa Kanto

ANG PIPIT (Levi Celerio) by RAFFY LATA

2024-09-04T10:34:00.000-07:00

SA YO LAMANG (Manoling Francisco, SJ) by RAFFY LATA

2024-09-04T10:33:00.000-07:00

SA 'YO LAMANG Manoling Francisco, SJ performer: RAFFY LATA In this video, I'm playing my kids' small half-size Excel classical guitar (made in China) which I used to teach them with a long time ago. I found it laying around their old room with worn out strings, so I dusted it off and put on new strings. My fingers could barely fit in the small frets, but I managed to play this classic worship piece. This is just a DEMO performance and I just played the chords then inserted the melody with some accompanying arpeggio. It's not really an arrangement that can be written down and/or shared. Follow my page facebook.com/gitarasakanto and subscribe to my YT channel youtube.com/pasigenyo for more Philippine Guitar Music. Follow me also on popular music streaming services such as Spotify, iTunes, Apple Music, Amazon Music, Pandora and many more. Thanks for watching. #raffylata #classicalguitar #pasigenyo #harana #kundiman #filipino

DIYOS LAMANG ANG NAKAKAALAM (Leopoldo Silos) by RAFFY LATA

2023-10-23T00:16:00.001-07:00

MINSAN LANG KITANG IIBIGIN (Aaron Paul Del Rosario) by RAFFY LATA

2023-01-04T08:21:00.006-08:00

Please follow my Artist Profile (RAFFY LATA) on Spotify, iTunes, Apple Music, Amazon Music and YouTube Music. READ ON...

You've probably already seen the video preview I posted a couple of days ago, so this rendition should sound familiar already. I didn't plan to use my "Antonio Loriente Angela" guitar for this recording, but I just grabbed the guitar that was closest to me when I sat down to record this piece. I really like the sound of this spruce top guitar that has served me for the last 15 years, but I need to change the strings the next time I use it to record. This guitar arrangement is by Filipino virtuoso guitarist, Monching Carpio, and it was based on a 1993 song which was popularized by Filipino balladeer Ariel Rivera. Monching provides the tab for free here https://www.patreon.com/file?h=52204114&i=8375225. There was a movie of the same title that was made a year later. In 2011, a TV series (again with the same title) was created and ran for almost a year. The score itself is short, but one needs to prepare to execute a lot of arpeggios. I actually only have the guitar tab so I had to write down the note values and fingerings before I could play it.

I don't know much about the composer, Aaron Paul Del Rosario, but his discography is pretty broad and he composed or arranged songs for the big name Filipino singers which include Lea Salonga, Rico J. Puno, Dingdong Avanzado, Ogie Algasid and many more.

Follow my page Gitara Sa Kanto and subscribe to my channel youtube.com/pasigenyo for more Philippine Guitar Music.

Thanks for watching.

#classicalguitar #minsanlangkitangiibigin #ARIELRIVERA #OPMSongs #OPM #opmlovesong #OPMHits #raffylata #pasigenyo

Paano Unang Natutong Tumugtog ng Gitara si RAFFY LATA?

2022-12-25T15:39:00.003-08:00

I'm starting a series of Q&A videos wherein I will cover my guitar journey from the beginning. In short, it's my way of telling my personal guitar story so that if anyone asks, they can just watch this video series. Here's the first of many and I hope people appreciate it. It is done in Tagalog because I've been criticized for delivery my tutorials in English...trying hard daw. Please follow me on Spotify, Amazon Music, Apple Music, iTunes, Pandora and look for my Artist Profile: RAFFY LATA. Salamat po sa inyong suporta. RAFFY LATA

KAHIT IKAY PANAGINIP LANG (Ryan Cayabyab) by RAFFY LATA

2022-12-20T20:35:00.003-08:00

KAHIT IKAY PANAGINIP LANG

Ryan Cayabyab

performer: RAFFY LATA

SPOTIFY: https://open.spotify.com/album/0GWGNVziAK3C5p1zketeuo ITUNES: http://itunes.apple.com/album/id1657174659?ls=1&app=itunes APPLE MUSIC: http://itunes.apple.com/album/id/1657174659 If you've already guessed that this is another guitar arrangement by Monching Carpio, then you are absolutely correct. It's one of his simpler arrangements and yet it's full of harmony and life. It's a very short piece without any repeats, so I played the entire piece twice to align with the original song's sequence. The song from which this arrangement is based on was composed by Ryan Cayabyab. It was recorded and released by Basil Valdez in 1994 (I think). I've watched many singers cover this song, but the one that stands out is Regine Velasquez's version. There is not enough room in this video description to write Ryan Cayabyab's biography and list his achievements in music, so I’m not even going to try. Suffice it to say that he has been one of the most influential forces in Philippine music since the 1970s. Please follow my page facebook.com/gitarasakanto and subscribe to my channel youtube.com/pasigenyo to listen to more Philippine Guitar Music. Thanks for watching. #classicalguitar #OPM #OPMHits #OPMSongs #RyanCayabyab #kahitikaypanaginiplang #raffylata #pasigenyo

KANLUNGAN (Rom Dongeto) by RAFFY LATA

2022-12-20T20:33:00.002-08:00

KANLUNGAN

Rom Dongeto \

performer: RAFFY LATA

SPOTIFY: https://open.spotify.com/album/0GWGNVziAK3C5p1zketeuo

ITUNES: http://itunes.apple.com/album/id1657174659?ls=1&app=itunes

APPLE MUSIC: http://itunes.apple.com/album/id/1657174659

Another masterful arrangement by Filipino virtuoso classical guitarist Monching Carpio. He offers the tab for free in this link https://www.patreon.com/file?h=38406769&i=5826009 . I was looking for my next piece and chanced upon this one which I had wanted to play for so long. It took me about three days to learn this, with some breaks in between due to a busy work schedule. This guitar only version is played a bit slower than the original song because of the intricacies of some passages that only works when executed at a slower tempo. I also need to change the strings before I record my next piece because the intonation on the current strings have drifted a little. The song from which this guitar arrangement was based on was popularized by Noel Cabangon. The title means “Refuge” and the lyrics speak of childhood memories that can never be relived. I must admit I had not been an avid follower or fan of Cabangon because I often think of him as a budget James Taylor whenever I hear him sing. However, he is very talented in both playing the guitar and in singing. There is no question that his contribution to the OPM repertoire is highly regarded.

About the singer: Noel Gadiano Cabangon (born December 25, 1963) is a Filipino folk singer and composer, known for composing socially-relevant songs. In 1987, he formed the group Buklod together with Rene Boncocan and Rom Dongeto. Noel is best known for the timeless hit “Kanlungan,” a song that was released in 1992 by Buklod. The singer-songwriter has become synonymous with the song even if, surprisingly, he wasn’t the one who wrote it. Unknown to many, it was actually Noel’s bandmate in Buklod, Rom Dongeto, who composed “Kanlungan.” When Buklod disbanded and Noel pursued a solo career, the song remained in Noel’s repertoire of live performances and soon became a crowd favorite. As a solo artist, Noel went on to record six solo albums; perform at music bars and private events; compose songs for the movies and for other artists; and enter the local theater industry as a musical director, as a composer or sometimes as an actor. He wrote the book Ang Bayan Ko at Lupa: Awit ng Diwa in 2005, and co-authored Ako'y Isang Mabuting Pilipino (I Am A Good Filipino) in 2012. Cabangon played Jesus Christ in a local production of Jesus Christ Superstar in 2000. Please follow my page Gitara Sa Kanto and subscribe to my channel youtube.com/pasigenyo for more Philippine Guitar Music. Thanks for watching.

#classicalguitar #Kanlungan #NoelCabangon #Buklod #pasigenyo #raffylata #OPMHits #OPMSongs #OPM

No ID. No entry.

2018-07-25T08:41:00.001-07:00

During our student days in the 80s at Pasig Catholic College (PCC), the school had a strict policy of not letting anyone in without their student ID. A security guard was posted at the main gate's entrance and he made sure each student entering was wearing his ID before being allowed inside. If we did not have our ID with us, we were made to stay outside the gate until after the bell rang and everyone had gone up to their classrooms. Once classes started, all students outside the gate were herded into the principal's office to face the consequences. In addition to missing our first period, we would clean the office, wax the floor or run messaging errands for the principal. After completing our slave duties, we would be issued a Tardy and a Temporary ID slip then sent off to our next class. After a number of such type of violations, our parents would be notified and/or we could be suspended.

In the (g)olden days before printed PVC badges and smart card readers became commonplace, our school IDs were made of laminated white cardboard. When these got soaked in water (because it rains a lot in the Philippines), the two plastic halves started to separate with the front/back portions of the cardboard clinging to each half of the plastic. This design weakness created opportunities for us kids to circumvent the guard's watchful eyes. If a classmate/friend saw me waiting at the gate, he would split his ID into two, front and back. He used the front and I used the back - problem solved.

Some of our other successful endevours included the following:

1. After our friend entered the gate with his ID, he would toss or hand his ID to us while the guard was not looking and we could use it to get in.

2. If we had an expired Temporary ID slip, we would change or extend the expiry date. That would be forgery, but hey....

3. When the guard was busy acosting another student, we would just walk right past him.

4. We would enter the gate in groups of 4 or 5 hoping the guard would not notice those of us not wearing our IDs.

5. When a car entered, the guard had to open the larger gate. We would stay on the other side of the car and walk beside it as it drove into the campus.

It seemed like we expended a lot of energy trying to beat the system rather than to take care of our IDs and make sure we have them before we went to school. The reality was that we had to do what we needed to do to avoid penalties that we thought were unfair. There was really no lesson to be learned from punishing kids for forgetting to bring their IDs to school. Nowadays, if you forget your badge, the guard is able to verify your identity and let you in with a temporary badge. Only visitors are required to check in and show proof of their identity, understandably so.

No ID.

This story relates to my everyday struggles in studying the classical guitar and the challenges I face when corresponding with other classical musicians. I've always been considered a fringe and obscure musician, largely ignored for playing antiquated Filipino music and not having a music diploma or having ever won a contest (which I totally disdain). I believe there is a prevailing attitude among some people who invested in conservatory studies that they are the best judge in branding who is worthy to be called a classical musician, let alone a guitarist. Who can blame them when they spent all these years and money trying to become experts in their chosen field? However, some lose sight of the fact that many people who do not fit the mold that they designed in their heads are just as worthy, if not more so, to be considered accomplished musicians. Is it really the diplomas and trophies that matter, or is it the impact one makes on other people when they play music? A masterful technique and an encyclopedic knowledge of the repertoire are powerful tools, but what is really the badge one must have to be considered a musician?

No Entry.

How does one become part of this exclusive and elite club of classical guitarists that many people look up to? First of all, I do not believe such a club exists and anything resembling a club seems more like a cult to me. Just like any profession, one needs the right connections and the right opportunities to "make it" and be considered successful. While a conservatory education combined with an innate talent or musical progeny certainly helps, there is still nothing more important than determination, a good sense of self-discipline and a pinch of problem-solving skills. Institutionalized studies of the classical guitar defeats the purpose of enticing common folks to pick it up because many are intimidated by the rigid grading systems designed to put them in a box. Andres Segovia spent all his life wrestling the guitar from the hands of street musicians and he successfully brought it to the concert stage and universities. Today, interest in the classical guitar is not as widespread as it was in the 60s and 70s and I blame this on the silo that conservatories created over the decades. However, it is interesting to see that amateurs and enthusiasts have started to pursue classical music on their own thanks mainly to social media and the availability of educational materials, as well as musical scores. In short, the walls have come down and there really is no need to gain entry into anything.

No ID? No need for entry.

My thoughts on performing live

2018-04-17T09:07:00.000-07:00

Every morning during our student days at Pasig Catholic College (PCC), we would recite the Panatang Makabayan or "Patriotic Oath" after the flag ceremony. When we reached high school, each one of us was required to lead the oath for the entire school. I think the way they picked the student was by section/class and students' last names in alphabetical order, but you wouldn't really know or care, so your teacher will just tell you right at that minute that it's your turn. If you were tapped on the shoulder, you would be directed to go to the Principal's office because that's where the microphone was. The oath itself was typed on a piece of paper and taped on the wall so you literally just had to read it. The Vice Principal would even point to the line while you are reading it so you wouldn't get lost. However, just imagine a high school kid who had never led anything before and would then suddenly hear his loud voice over the PA system for the first time. The outcome wasn't always good. While some did well, the nerves almost always got to us and it resulted in a different type of comedy everyday. Some kids stopped in the middle of the oath and never continued, a few peppered their oath with "Po" in almost every line (we Filipinos add that word in our sentences to show respect to our elders), some kids flipped or skipped the lines of the oath (not sure how that could happen but it did), other's voices quivered violently, and with puberty setting in, other's voices cracked...and many more. We would often try to guess who was leading the oath and it wasn't hard to recognize the voice because we've been together since we were little munchkins in grade school and knew each other fairly well. I literally couldn't remember my own experience, but suffice it to say it didn't scar me for life.

Similarly, performing music in front of people, especially those you don't know, can be gratifying and horrifying at the same time. It always strikes me how even the most seasoned pros can mess up their performance. Performing live is an acquired taste and unless you were born into a family of circus performers, you will have to learn to cope with the stresses of performing on your own. It takes a while to get used to it and even after doing it so many times, each performance is always a unique experience.

Here are some things to keep in mind before, during and after performing:

Practice as if you're performing. Play your entire program while practicing so you can connect each piece and weave a story.
Never practice your mistakes. Make every effort to correct them because whatever you practice is what will show up on stage.
Record your practice. Performing in front of a camera is sometimes akin to playing in front of a group of people. Just the knowledge that your performance is being recorded invokes the same fear and nervousness as when you perform on stage.
Warm up before you get up on stage, but do not overdo it. A few exercises or a simple piece will do the trick.
Never perform on an empty stomach. Eat at least an hour before performing so you'll have the energy to finish the program.
Talk to people around you before getting up on stage. It helps to relax when you establish a connection with other performers and with the people who organized the show, as well as the stagehands who keep the lights and PA operating flawlessly.
Just before performing, clear your mind and stop thinking about "this and that section of the piece". It will all come together during performance if you practiced hard.
Keep your hands warm all the time. Cold hands never work.
Tune your guitar before going up on stage. Spending a lot of time tuning your instrument in front of an audience is unprofessional and annoying.
Talk to the audience before playing, don't just sit down and start playing. Establish a communication path between you and the audience so they can relate to your performance and you can in turn convey the emotions of your music to them. Rock stars do this, so why not classical musicians?
Never let your mind wander while performing. Focus is essential to getting through each piece.
Remember to breathe while playing. It's not that you are not breathing at all, but your performance will sound labored if you look tense and uncoordinated due to lack of oxygen.
Never scold yourself on stage when you make a mistake, it becomes obvious to the audience. In short, do not grunt, shake your head or make a face if you slip.
If you are not comfortable playing a piece in your program, skip it or play something else. If the audience complains afterwards, have them hail you to court.
Always thank the audience after playing. Don't just stand up, take a half-bow and leave - only 5 year olds do that. No matter how you fared in your performance, always be gracious and appreciative that people took the time and patience to sit through your program.
If people compliment you later, never resort to humble-bragging (look it up, there are tons of examples). Just say "Thanks. I'm glad you liked it".
After the adrenaline dissipates, your energy level will crash and you'll feel a little regretful that you ever performed. Instead of moping around, get out and do something unrelated to guitar or to music so you can recover your mojo.
Lather, rinse, repeat.

During my younger days, I played with a band for almost six years and we performed to an eclectic audience almost every night. Needless to say, playing in a group is easier than playing solo because in a group, you don't play all the time and you can mask your mistakes. On the other hand, just like the kid who led the oath for the day, playing solo means you will have no lifeline and no one to bail you out if you mess up. You can only rely on the huge amount of practice and preparation that you put in prior to getting up on stage. In the end, I'd like to leave you with a fair warning that performing live can become addictive. The feeling is similar to adrenaline junkies looking for a thrill every weekend like skydiving, mountain climbing and doing other ninja warrior activities. The only way to cure it is to perform even more. However, if you keep a level head and a laser-focus on your goals, performing becomes just another tool in your arsenal and another path to your growth as a musician.

Dislayk

2018-02-13T14:01:00.003-08:00

On days when I have time to think about it, I always ask the question, "Is it worth the hassle?".

To create a classical guitar music video:

1. Select a piece - 30 minutes
2. Study it - 8 hours
3. Practice it - 40 hours
4. Record it 25 times or until you are satisfied - 16 hours
5. Edit the audio/video to pretty it up - 2 hours
6. Upload and share in social media - 1 hour

Then wait for people's reactions.......one month later....

400 views
3 dislikes
10 likes
1 share
4 comments

Whereas if you post...

1. Stupid or brain-dead scenes of you making a fool of yourself - 99% effective
2. Other people's viral videos - stealing is easier and yet they call themselves content creators
3. Videos showing some flesh while dancing or playing a musical instrument - sex sells!!!
4. Pet videos - doesn't matter which animal
5. Reaction videos - why??? what for???
6. Gaming videos - really???
7. Travel blogs - by foreigners who know squat about the Philippines, but act like they do!!!
8. Top 10, Top 5, Top 40...recycled videos
9. Copyrighted commercial videos - no-brainer, but dangerous

A day later....

2 million views
5000 likes
50 dislikes
3000 shares
300 comments

Despite all of these, I disregard these thoughts and always think about how I love to play music.

So in the end, it is worth the hassle.

It's The Guitar, Stupid!

2018-01-03T07:06:00.001-08:00

Why does my playing stink? It's the guitar, right? Right? Wrong. Playing well (or bad) is the result of many factors, but the guitar almost always gets blamed if the performance doesn't go well. When the guitar is deemed "at-fault", it is used as an excuse to buy a new one to feed one's GAS (guitar acquisition syndrome).

That being said, someday I hope to be retired (or win the lottery, whichever comes first) and be able to afford the best guitar money can buy. I believe that a good guitar enables better technique and musicianship. However, if you are one of those people who are buying a guitar for the first time or haven't picked up a guitar in a very long time, do not buy a Ferrari if you'll only use it to commute to work. In short, the quality of guitar you choose to own should just be enough to serve your desired goals and skill level at every stage of your guitar journey. By doing so, as you practice and improve your guitar skills, you will recognize that you have outgrown your current guitar and will want a better one so you can continue your progress. Buying a high-end guitar while still a beginner will only frustrate you when you find out it will not help you to play like Julian Bream within 2 weeks of owning it.

When I started playing guitar at 8 years old, I only played locally-made guitars that my parents bought for me. I played them until they either broke or until I could afford to buy my own. I listed below some of the guitars I've played throughout the years and how they helped me build up my technique and broaden my repertoire. I've owned other guitars in-between, but I can't recall all of them, especially those during my early years. It's interesting to note that the guitars go from cheap to expensive, then head in a downward trajectory in terms of price. This is because of two things: 1) the quality of factory guitars got better over the years and their prices have gone down significantly; and 2) I did not feel that owning or playing expensive guitars served my musical goals. In the end, the music I produced from my guitars is the sum total of what I put in in terms of dedication and perseverance in learning and practicing new pieces.

1. Various local no-name guitars - made in PI

made of firewood-grade materials cobbled together with rugby and nails
bulletproof and waterproof since these are coated with a thick coat of varnish
very cheap and can buy another one if it breaks
learned the parts of the guitar
learned the basics of guitar playing - chords, strumming, some scales
built up the calluses on my fingers because of the sky-high action
frustrated me to no-end in trying to tune it because intonation was all over the place

2. Yamaha no-model guitar - made in the Philippines / 1000 pesos

plywood top, back and sides
toy-like quality, very light and soft wood
rosette is just a sticker
not too loud, a mosquito buzzing near your ear will negate its sound
learned basic classical guitar techniques - went through Fred Noad's Solo Guitar Playing

3. Yamaha C40 - made in Indonesia / 5,000 pesos

plywood top, back and sides
not too loud and produces a dry sound
intonation is a bit off, but manageable
decent enough to learn basic classical guitar techniques - arpeggios, scales
played simple guitar pieces including studies and lessons - e.g. Sor's complete method book, Carcassi Method

4. Yamaha CG-111S - made in China / $220

low-grade solid spruce top, laminated B/S
nice spruce sound, but not loud because of the heavy finish
came with high action, but was lowered
produces some overtones, adds sustain to the notes, nice vibrato
played beginner to intermediate guitar pieces

5. Cordoba 45R - made in Spain (I doubt)

All solid cedar top indian rosewood B/S
very light construction
thick neck, difficult to play
decent sound, but produces harsh overtones
played beginner to intermediate guitar pieces - broadened my repertoire

6. Antonio Loriente Angela - made in Spain / $1700

All-solid high-grade spruce top and flamed maple B/S
french polish finish
concert-quality sound, very sensitive
soft bass sound
action was perfect right out-of-the-box
played beginner to advanced guitar pieces - started playing kundiman/harana

7. Kremona Fiesta FC - made in Bulgaria / $900

All solid cedar top and indian rosewood B/S
balanced sound, but weak in the higher registers
action was perfect right out-of-the-box
played beginner to advanced guitar pieces - continued to broaden repertoire

8. Cordoba C10 - made in China / $850

All-solid spruce top and indian rosewood B/S
booming bass, sound is ok but not concert quality
comfortable to play
action was high, but lowered
played beginner to advanced guitar pieces - continued to broaden repertoire

Magbasa muna tayo

2017-08-04T14:02:00.001-07:00

Nung Grade 5 kami sa Pasig Catholic College, ang music teacher namin, si Tito Morales ang nagturo sa aming bumasa ng nota. Lagi niyang bitbit ang kanyang melodion at yun ang ginagamit niya para iparinig sa amin ang tono ng bawat nota. Hinihipan niya ang melodion habang tinutugtog ito kaya medyo laging kapos ang hininga niya pag nagsasalita. Isa sa mga exams namin ay kantahin ang mga nota na nakasulat sa manila paper at dinikit sa blackboard. Excited ako kasi parang natural lang sa ken ang magbasa at kumanta. Nung araw ng exam ay dala-dalawa kaming pinatayo at pinakanta sa harapan. Sa tingin ko ay ayos naman ang pagkakakanta ko ng piyesa. Kaso nung makaupo na kami, sinabi sa ken ni Mr. Morales na hindi raw ako kumanta at yung kasama ko lang daw ang narinig niya. Halos binagsak niya ako sa exam. Laking gulat ko kasi iba and inaasahan kong marinig sa kanya. Sa totoo lang, yung kasabay ko ang hindi nagbubuka masyado ng bibig o wala sa tono kung kumanta. Naisahan ako! Sa sobrang inis ko e napaiyak ako sa inuupuan ko kasi ayokong tanggapin yung sinabi niya sa akin. Pero imbes na mainis ako ng tuluyan, lalo akong na-enganyo sa pag-aaral ng music. Kahit hindi pa ko nagbabasa ng piyesa ng gitara o piano ay pakiramdam ko na maganda na ang naging foundation ko. Nung nakatira kami sa mga pinsan ko sa Quezon City eh madalas pinapanood ko ang pinsan ko habang nagpi-piano lesson siya. Pagkatapos niya sa lesson ay inuupuan ko yung piano tapos binabasa at tinutugtog ko yung mga piyesa niya. Ang sarap pala ng pakiramdam kapag nakaka-produce ng music mula sa piano. Wala mang nagturo sa ken eh ang bilis kong naiintindihan ang mga piyesa. Kaya naman nung mag-aral ako ng classical guitar ay hindi ako nahirapan sa pagbabasa ng nota. Nag-focus ako sa pag-develop ng guitar technique habang nagbabasa ako ng mga lessons at complete pieces. Pero mas maganda pa rin sana kung may gumabay sa ken para lalo akong naging magaling sa gitara.

Bakit ko naikuwento ito? Wala lang.

Marami kasi ang nagsasabing hindi sila marunong magbasa ng nota o tabs ng gitara. Pero para sa ken, ang pagbabasa ng nota ay hindi dapat laging naka-associate sa pagtugtog ng isang instrumento. Gaya ng nabanggit ko, kahit boses lang ang gamitin mo matututo kang magbasa ng nota kung aaralin mo ito tulad ng pag-aaral ng isang wika o language. Ang standard notation ay tinawag na "standard" kasi kahit ano pang instrumento ang gamitin mo ay iisa lang ang sinusunod na rules para isulat at basahin ito.

Paano nga ba makakapagsimulang magbasa ng nota kung ikaw ay matanda na?

Hindi naman edad ang kalaban sa pag-aaral ng mga bagong bagay kundi ang kawalan ng oras at concentration. Mabilis makasagap ng bagong information ang bata kasi wala siyang inaalalang trabaho o problema sa pamilya. Kung ikaw ay medyo may edad na, puwede pa ring matutong magbasa ng nota kung ito ay pag-uukulan mo ng oras. Kung yung ilang taon mong sinayang sa pag-angal na hindi ka makabasa eh ginamit mo sa pag-aaral, dapat sana marunong ka na ngayon. Masakit pero yan ang totoo.

Baka lalong bumagal ang pag-aaral kung aasa lang sa pagbabasa ng piyesa?

Maraming mga piyesa ang natutulog lang kasi walang nagbabasa at tumutugtog nito. Maraming tao ang mahilig mag-collect ng mga libro at sheet music pero ginagamit lang pang-display sa Facebook o kaya pinapakain sa anay. Ang bilis o bagal ng pag-aaral ay depende sa tao at sa pagpursigi niyang mag-aral. Ang pagbabasa ng nota ay isa lang sa mga tools sa pag-aaral. Ito ay susi sa pagtuklas ng mga gawa ng mga maestro ng nakalipas at ng kasalukuyan. Kung gusto mong tumugtog ng totoong musika, mag-aral kang magbasa dahil ito ang magmumulat sa yo sa mga kayamanan at kaalaman ng mga magagaling sa larangan ng musika. Kung gusto mo lang magpasikat at magpa-impress sa social media, tugtugin mo yung pinakasikat na kanta habang naka-headstand ka.

Matuto man akong magbasa, wala namang available na sheet music.

Maraming available na sheet music kung magtitiyaga kang maghanap o kaya mag-invest ng konting pera. Maraming mga music na nasa "public domain" ang available at may mga libreng scores. Marami ring mga sheet music or books na for sale mula sa mga kilalang musikero o arrangers. Minsan umuubra yung "pahingi ng tabs" pero dapat mong intindihin na hindi lahat ng scores ay libre at hindi lahat ng libreng scores ay naka-scan sa pdf or jpeg na puwede lang basta ipamigay.

Ang hirap naman, huwag na lang kaya?

Dapat mo munang ayusin ang attitude mo at pag-aralan ang sarili kung ano talaga ang gusto mong ma-achieve sa larangan ng musika. Kung kuntento ka na sa pagtugtog ng chords o kaya sa pag-pluck gamit ang konting bass at melody, then huwag na nga lang.

Kung mahilig kang mag-aral at magbasa ng mga libro, hindi ka mahihirapang mag-aral ng pagbabasa ng nota kasi halos pareho lang ito. Kung ikaw ay talagang desididong palawakin ang iyong kaalaman sa musika, hindi ito magiging balakid bagkus magiging kasangkapan ito para lalo kang gumaling.

How to train your brain

2017-07-06T08:48:00.001-07:00

Back when we were in 6th Grade at Pasig Catholic College (PCC), our Science teacher Ms. Lara used to lug around these loose blackboards from one classroom to another. Listed in them are the topics or pointers for our Science class that she had filtered from the reference books. We would spend most of the 45-minute period copying them in our notebooks and we were also expected to memorize them. Afterwards, she would conduct an oral exam where she would randomly call each one of us to answer her questions. If we could not provide the right answer, we were to remain standing. We were young kids and our inherent fear of not being able to answer the questions became self-fulfilling. By the end of the period, everyone was standing.

What I just described is the typical method of instruction that Filipinos undergo while in school. It is widely assumed that this impedes creativity and prevents kids from learning because they cannot question the data and/or challenge the status quo. Whatever the arguments are, I believe that we unknowingly benefited from rote learning. I may not have learned much about Science, but I gained the necessary discipline and technique for memorization that I apply to music to this day.

When I study guitar pieces, there are times when I have to memorize all or part of the score due to two main reasons:

The piece is very long and it will be difficult to turn the pages of the score while playing. In this case, I may memorize the entire score or just the first and last pages.
Regardless of the length of the piece, I want to be able to play it at the drop of a hat and not have to rely on a written score.

Much has been written about memorization techniques, some of which include:

Memorize starting from the end of the score.
Look for patterns and memorize them then just apply the variations.
Burn an image of the score in your brain and visualize it as you play the piece.
Memorize the piece in isolated sections such as the intro, verse, chorus, coda, etc. then assemble them later.
Play the piece about 50 times...although I'm not sure about this one.

No one technique is better than the other. In fact, they tend to complement each other and they can collectively help you achieve your goal of memorizing a piece. This is one of those activities were you actually get better the more you do it. It also has the added benefit of keeping your brain sharp as you grow older.

Another related topic is what many term as "muscle memory". While repeatedly playing a piece, the muscles of the fingers are trained to move reflexively according to the playing sequence. When you achieve this, it's often easier to emote or express feelings while playing the music. Muscle memory typically sets in even before you start memorizing a piece. It actually helps speed up memorization, which is a mental exercise, because the physical aspect is already taken care of.

The combination of memorization techniques and muscle memory is a strong foundation for musicianship. It enables a musician to focus more on the dynamics and phrasings which is what the audience connects with. From mere notes written on a piece of paper, one is able to create music.

Level Up

2017-06-30T08:03:00.000-07:00

A seasoned classical guitarist once told me that at a certain point in my guitar self-studies, I should stop referring to myself as a "classical guitar player" and start letting people know that I'm a "classical guitarist". It took me a while to comprehend it because the play on wordings are subtle and yet the implications are potentially huge. It's the difference between a DIY dad who can (read: barely knows how to) use power tools to fix a fence and a licensed contractor who can construct a house with the same power tools because he knows how it's done.

In very simple terms, a classical guitar player is someone who plays music on a classical guitar. That music can be a mix of classical music or other types of genre (jazz, alternative, rock,etc.). On the other hand, a classical guitarist specializes in the classics and uses the classical guitar as a medium for expressing the music. Still don't get it or don't agree? You're not alone.

While I don't fully subscribe to this idea, I believe that as a musician we should always strive to take our skills and music to the next level. Getting stuck playing Lagrima and Romance d'Amour for 10 years is certainly not a good sign of growth. Likewise, focusing too much on technique at the expense of exploring the vast guitar music repertoire limits ones' ability to grow as a musician.

I do not have the facility to execute complex guitar techniques and fast scales as many thousands of guitarists can (just watch those 8 year olds on YouTube), but I can focus my energies on what I believe can satisfy my passion for music. There's so much music out there to study and perform, well within the limits of my playing abilities. If I can't dig deep, I might as well dig wide. It will hold the same amount of water anyway. I may sometimes play pop music on the classical guitar, but I still call classical music my home.

What am I? A classical guitarist.

Stages of learning and playing music

2017-06-09T11:04:00.002-07:00

Like anything that we care for in life, music that we study should be nurtured and given the time and effort necessary to bring out its message and beauty for people to appreciate. When I choose a piece, I often try to learn as much about it and its composer as I possibly can. Any background information helps me understand the context of the music and how I should play it. This process can be quick (mostly for lack of info) or occur all throughout the time I'm studying the piece. At the same time, I go through what I call "stages" of playing which is pretty much a measure of how well I know the piece and how good I can play it. There is not a cut-and-dried criteria for judging where one stage ends and the other begins, but I tried to define what generally happens in each one. This is all from my personal experience and not based on any intense scientific study.

1. Analytical - I slowly read the score while having a cup of coffee; no guitar in hand. At this stage, I try to understand the key signature, tempo, timing, notes and their time values. I start to figure out the fingerings and positions much like solving puzzles. I annotate the score to keep track of personal choices in fingerings and positions. In short, I work out all the technical requirements for the piece. It also helps to listen to someone else's recording, whether performed using the same score and instrument or using a totally different medium/instrument.

2. Deliberate - I apply the results of my analysis and begin programming muscle memory by playing in a very deliberate fashion, similar to doing military drills in a bootcamp. There is no emphasis on dynamics or phrasings and tempo is often disregarded at this point. If any technical challenges arise such as complicated scales or finger stretches, I create quick and dirty lessons to overcome these challenges.

3. Mechanical - Once muscle memory starts to set in, I attempt to play the entire piece and I start understanding the music as a whole. I then figure out and apply the phrasings, voices and dynamics as indicated by the composer. When these are not present, I decide where to apply my own dynamics and phrasings. Lastly, I begin to play at the indicated tempo.

4. Memorized - I start to program the piece in my head and visualize the score (rather than read it) as I play. Having the score in my head frees me up to observe my hands and try out varying flavors of phrasings and dynamics. At this point, I revisit the decisions I made earlier on fingerings and technique and adjust as necessary.

5. Reflexive - I usually know I'm at this stage if I can play with emotions and my fingers will just follow. At the end of the day, music is about expressing a message or an emotion. These emotions should drive the performance and the technique supports the desired expression.

I have to say that in my haste to "conquer" a piece, I rarely get to the highest level of playing. The reason for this is by the time I'm able to play the piece end-to-end, albeit mechanically, I already feel either exhausted or bored and want to move on to the next piece. However, I often revisit a piece long after I've moved on and I find myself playing it much better the next time around. It takes a great amount of discipline to transcend mechanical/technical playing and elevate things to a purely musical level. On the flipside, I've seen musicians who skip all these details and, in their mind, play purely by emotions but fail to get any message across because of their incoherent and oftentimes rushed style of playing.

In conclusion, we always say we should just enjoy playing music and forget about the technicalities, which is true, but as a mere mortal, I have to climb some hills to appreciate the view.

Salamat Po!

Nota o Tenga?

2014-09-30T10:51:00.000-07:00

"No tabs were used in this video" ang madalas kong mabasa sa mga ibang nagpo-post ng guitar videos nila. Naalala ko tuloy yung disclaimer na "No animals were injured during the filming of this movie". Para bang gusto nilang ipangalandakan na super galing nila at hindi nila kinailangan ng tabs para tumugtog. At para bang ang tabs o sheet music ay para lang dun sa mga hindi marunong gumawa ng sarili nilang arrangements.

"This piece was played by ear" ang isa pang disclaimer na nakikita ko sa mga guitar videos. Nagtataka lang ako kasi akala ko kamay at daliri ang ginagamit sa pagtugtog ng gitara at hindi tenga :-)

Ano nga ba ang tamang paraan sa pag-aaral ng isang kanta o piyesa?
Nota o tenga?
Para sa akin ay pareho itong kailangan.
Samahan mo na rin ng utak, puso, atay at balunbalunan!

Ang pagbabasa ng nota (o tabs kung hindi ka marunong magbasa ng standard notation) ay parang pagbabasa ng libro. Ang pagsusulat ng isang arrangement ay isang paraan para makipag-communicate ang composer/arranger sa ibang musikero. Hindi ito kahinaan o kasalatan sa kaalaman kung ang isang tao ay umaasa sa pagbabasa ng nakasulat na piyesa. Kung hindi sinulat nila Bach, Weiss, Sanz, Sor, Handel, Tarrega, atbp. yung mga compositions nila, wala sana tayong tutugtuging musika mula sa Baroque, Classical at Romantic periods at lalong walang puwedeng tengahin kasi wala namang mga audio recorders noon.

Nung hindi pa ko marunong magbasa ng nota, inaabot ako ng ilang linggo para matutunan ang isang rock o pop music. Kahit na mabuo ko ito ay marami pa rin akong mali at namimintisang mga nota. Wala akong cassette player at tapes nung 1980s kaya nakikinig lang ako sa mga pinapatugtog sa jeep at tricycle habang nakasakay ako. Pag-uwi ko sa bahay ay doon ko nire-recall yung mga maliliit na details na narinig ko. Magandang training yun pero masyadong inefficient kung gusto mong umunlad ng mas mabilis. Wala rin akong mapagtanungan noon kasi kahit yung mga matatandang musikero, hindi naman nila alam kung paano ipaliwanag yung mga techniques at theory na ginamit nila. Kung meron mang mga babasahin noon, yung mga punit-punit na Jingle ang ginagamit ko pero maraming mali sa mga chords doon.

Ngayon, sangkaterba na ang naglipanang mga guitar forums, tutorial videos, pirated mp3s, tabs at iba pa. Lima singko na rin ang mga guitar instructors na may masters o doctorate degrees pa. Maraming mga bata ang mabilis na gumagaling dahil sa dami ng available resources sa pag-aaral. Hindi na nila kailangang maghintay na patugtugin sa radyo yung gusto nilang pag-aralan. Ilang downloads lang at nandun na yung video o music at kung sinusuwerte, merong isang mabait na kaluluwa na gumawa ng tabs nito.

Unless na masochist ka at gusto mo talagang pahirapan ang sarili mo, bakit ka magtitiyagang kapain ang isang tugtog kung meron nang mga nag-post ng resources para mas mabilis mo itong matutunan? Isang urban myth na kinakalat ng iba ay nakakasagabal daw sa creativity kung umaasa lang sa pagbabasa ng nota. Sa totoo lang, sa sobrang creative nung mga nanghuhula sa arrangements nila e parang labu-labong mga manok na nagsabong yung tunog nila. Ang creativity ay matatagpuan din sa structured music at puwede mo namang baguhin yung arrangement kung gusto mo pero at least may foundation ka na sa pag-aaral ng kanta.

Iba-iba ang tawag sa pagtugtog ng hindi gumagamit ng nota - Kapa, sipra, tinenga, oido, plakado, platito, plato, baso....ewan. Sa kalaunan, ang pinaka-importante ay kung paano ine-express ang music. Kung maganda pakinggan ang isang tugtog, hindi na importante kung ito ay binasa o tinenga.

PHILIPPINE MEDLEY - an experience in guitar ensemble music

2013-12-16T19:00:00.004-08:00

Lately, I took the time to record Maestro Jose Valdez' composition, Philippine Medley. The back story here is that we were preparing for my daughter's 18th birthday party (also known as a debut) which is a big deal for Filipinos. I was so stressed out from all the daily preparation so to relieve my stress, I fell back on playing the guitar every night to study a bit of this 20-page piece until I was able to record all parts within almost a month. In the end, I was able to put it all together in one video and even created this blog to recount my journey.

This work is a string of various Philippine traditional music arranged for four guitars. I considered it a pipe dream to play it the minute I saw the arrangement because not only was it long (about 20 pages), it also required advanced guitar skills. Of course there's that minor detail wherein I needed three other guitar players to play it :-) With no luck in finding others who can help, I decided to designate myself the task of playing all guitar parts. It was a herculean endeavor and I didn't know at the time if I could finish it if I started it. When I finally recorded the first medley piece, it lit up a spark in me that I could not extinguish until I've completed the entire arrangement.

The first and foremost challenge for me is that ensemble music is meant to be played WITH other people. It's a social experience that reinforces not just our ability to play, but our skills in taking cues from other players and feeling the music as the other players do. As it was, I played with imaginary guitarists and was primarily a slave to the mechanical beat of a metronome. Technically, I played ensemble music but I didn't play in an ensemble.

The second challenge was the fact that I had to learn all four parts and play them consistently and in-time. The only way I could manage this was to learn one medley piece at a time, while learning all four guitar parts. As I indicated earlier, I played using a metronome in order to achieve a consistent and common tempo. This made it very easy to assemble the guitar parts later on. However, if I needed to slow down or speed up certain parts, forget it. I could slow down or retard the last few bars of a particular piece but the metronome's set tempo was still ticking in my ears. Imagine trying to slow down a car while the engine is stuck revving at a high rate - it's possible, but very distracting.

Thirdly, there are guitar techniques in this arrangement that I seldom or have never tried before. I therefore had to learn them and execute them well enough for this piece. These techniques include not-so-often-used techniques such as tambor, snare, trombone, trumpet and pizzicato. These and the dynamics (which are absent from the written piece) are very difficult to play owing to the fact that playing a single guitar part by itself sounds somewhat random and unintelligible...until of course I put all parts together.

Lastly, I thought about the potential differences in recording quality and ambiance that would result from varied recording locations, mic placement and audio processing effects whenever I recorded each medley piece. Depending on whichever part of the house was quiet at the time, I would record either in the kitchen or upstairs in the bedroom. To make matters worse, my audio recorder, a Tascam DR-07, suddenly quit on me in the midst of completing the last two medley pieces. I ended up using another audio recorder, a DR-40 which has very different recording qualities, to finish the job. These variances would have disastrous effects to a professional recording session, but in my case, the end product was all within my personal tolerance for recording quality (i.e. my bar is set quite low).

It really helped that there were already several recorded renditions of this piece. I would watch these renditions as a whole or in parts in order for me to grasp the music and how it should be played. In certain instances, in spite of the tempo being indicated in the piece, I ended up playing at a slightly faster tempo to liven up the piece and to approximate the spirit of the live version.

It took me 25 days of learning the guitar parts, recording with as much as 20 takes per guitar part and editing both audio and video in order to come up with this final version. I don't know how much time guitarists normally put into mastering each guitar part in an ensemble and how much practice time they invest in putting the parts together, but my respect goes out to those who do this. Solo guitar playing is a real challenge, but you are mostly working with or against yourself. In an ensemble, the quality of the music depends on the group playing together as one cohesive unit. The two cannot really be compared, but it is very much advisable to try both if one wants to grow musically.

Without further ado, here's my rendition of Philippine Medley:

ISANG BUONG MANOK

2013-08-03T11:23:00.001-07:00

Nung mga binata pa kami, mahilig kaming magkita-kita pagkatapos sa trabaho at mag-inuman sa mga nakapaligid na karinderya sa Makati. Isang gabi lumabas kami nila Dyords at Ariel at
tulad ng nakagawian, nag-inuman kami. Nung paubos na yung pinupulutan naming mani (mga kuripot kasi kami), biglang um-order si Ariel ng "isang buong manok". Nagulat ako kasi mahal yun at baka hindi namin mabayaran. Sabi ni Ariel wag kaming mag-alala at sabay tinanong ako kung "saan ba galing ang manok?" Sabi ko "...sa itlog." Saka niya nilinaw na itlog ang ino-order niya kasi isang buong manok ang laman nun...kung napisa. Yun pala ang code word ng itlog doon sa loob ng karinderya :-)
Ang pag-aaral ng isang piyesa ay parang itlog ng manok na nililim-liman at inaasahang mapisa matapos ng 21 days (alam ko ito kasi nag-alaga kami ng mga manok noon sa gilid ng bahay namin). Depende siyempre sa ating kanya-kanyang talento, puwedeng mabilis o matagal (o habambuhay) nating inaaral ang isang piyesa kahit simple o kumplikado man ito. Mahirap man sa umpisa, dumadali ang pagtugtog ng isang piyesa kung panay nating pa-praktisin at susuriin kung paano ito matutugtog ng maayos.

Paano nga ba nagiging manok ang itlog?

1. Habang nangingitlog ang isang inahen at bago niya upuan mga ito, kain ito ng kain at nagpapataba. Kumbaga sa pag-gigitara, bago tayo sumabak sa isang piyesa, busugin muna natin ang ating kaalaman tungkol dito. Gawi ko nang i-research ang background ng composer at ng mismong composition nito. Binabasa ko muna ang piyesa bago ko ito tugtugin at inaalam ko ang mga importante at mahihirap na passages.

2. Tulad ng pagpipisa ng itlog, kapag in-abandon ng inahen ang kanyang mga itlog, nabubugok ang mga ito at hindi na nagiging sisiw. Sa pag-aaral ng gitara, huwag dali-daliang bibitawan ang piyesa kung hindi pa ito natutugtog ng maayos. Madalas kahit tapos na nating basahin at tugtugin, marami pa tayong matutunan tungkol dito, tulad ng phrasing at dynamics. Kailangang dalhin lagi sa next level ang pagtugtog, mula sa pagiging mekanikal papunta sa pagiging communicative. Tandaan na ang musika ay isang uri ng language at kailangang maintindihan ng nakikinig ang mensahe nito.

3. Kapag nagsimula nang upuan ng inahen ang kanyang mga itlog, halos hindi na ito kumakain.
Paminsan-minsan, mabilis itong nanginginain tapos babalik na kaagad para upuan ang mga itlog niya. Dito makikita na ang sakripisyo ay isa sa mga sangkap sa pag-develop ng isang bagay. Kailangan din ng dedikasyon at konting sakripisyo kung nais mong gumaling sa pagtugtog ng gitara.

4. Kung sa wakas ay napisa na ang itlog, hindi pa rin ito ang katapusan ng istorya kung hindi ito pa lamang ang simula. Mula dito sa punto na ito ay ang panay na pag-aaruga at pag-protekta hanggang ang sisiw ay maging isang manok. Ang pag-aaral ng isang piyesa ay hindi nagtatapos sa pagkabisa nito. Sa paulit-ulit kong pagtugtog ng mga kabisado kong piyesa, nakakadiskubre pa rin ako ng ibang paraang ng pag-express nito.

5. Sa katapus-tapusan at nakakalungkot mang banggitin, hindi lahat ng itlog ay nagiging sisiw.
Sa aking karanasan, isang beses ko lang nakitang napisa ang lahat ng itlog na nilimliman ng inahen namin. Sa dinami-dami ng mga inaaral natin, mangilan-ngilan lang din ang tumatanim sa isip at puso natin. Marami ang nakakalimutan pero meron ding binabalik-balikan para aralin ulit. Ang mahalaga sa pag-aaral ng gitara ay meron kang mga ilang piyesa na kaya mong tugtugin sa mga biglaang sitwasyon.

Sa bandang huli, nasa sa iyo kung ang ano ang iyong turing sa piyesang inaaral mo.

Itlog ba o isa nang buong manok?

WALANG SAKIT

2013-07-27T22:49:00.000-07:00

"Magaling ka bro!"

"O talaga? Salamat."

"Oo, magaling ka kasi wala kang sakit (sabay ilag)."

Karaniwang nakaka-insulto ang ganitong biro pero may katotohanan ito kung pag-iisipang mabuti. Bakit ko nasabi ito? Para sa akin, ang pag-aaral ng gitara ay parang pag-gamot sa sari-saring sakit. Kung magagamot natin ang mga sakit na humahadlang sa paglago ng ating kakayahan, gagaling tayo at masasabing "Magaling ka!" Mahalaga din sa akin na alamin ko kung tinatamaan ako ng sakit habang nagpa-praktis ako para magamot ko ito kaagad.

Ano naman ang ilan sa mga sakit na ito? Isa-isahin natin.

1. Unang sakit na dapat gamutin ay kawalan ng oras sa pag-ensayo. Dahil sa dami ng iniisip o inaasikaso sa buhay, hindi mabigyan ng panahon ang pag-praktis o pag-aaral ng gitara. Dapat nating isaayos ang priorities at schedule natin para makapaglaan ng kahit 30 to 45 minutes sa isang araw sa pag-aaral ng gitara. Ginagawa ko itong pampagising sa umaga o kaya ay stress relieving activity pagkagaling sa trabaho sa hapon.

2. Isa pang malalang sakit ay ang pagkumpara ng sarili sa ibang gitarista. Kanya-kanya tayo ng kakayahan at kailangan lang na pagkumparahan ay ang iyong sarili. Magandang gawing inspirasyon ang mga magagaling na gitarista. Pero ang tunay na sukatan ay kung mas magaling kang mag-gitara ngayong araw na ito kesa kahapon. Ito ay senyales na umuunlad ka nga. Sapat na yon.

3. Paminsan-minsan meron ding mga tinatamaan ng sobrang pagka-bilib sa sarili. Lalo kang hindi gagaling kung sarado ang utak mo at akala mo wala ka nang dapat matutunan. Lahat tayo ay puwedeng matuto sa isa't isa. Kahit mas magaling ka pa sa kausap mo, meron pa rin siyang alam na hindi mo alam.

4. Sa kabilang dako naman, mahirap din yung insecure o walang tiwala sa sarili. Ang confidence sa sarili ay kailangang tama lang para makatugtog ng maayos at maging open-minded sa pag-aaral ng bagong technique at piyesa. Huwag matakot na sumubok paminsan-minsan ng piyesa na medyo mahirap para masukat mo kung handa ka nang itaas ang level ng pagtugtog mo.

5. Ang madalas ko ring mapansin na sakit ay ang hindi makali at paiba-iba ang sinusubukang tugtugin. Kailangan mag-concentrate at pumirmi sa isang pinag-aaralan para makabuo ng isang tugtog na masasabing pinaghirapan mo.

6. Meron ding mga makakalimutin. Kapag natapos nang pag-aralan ang piyesa, kinakalimutan na lahat ng natutunan. Hindi ko sinasabing kabisaduhin ang lahat ng piyesang natugtog sa halip ay tandaan ang mga lessons at experiences na nasagap habang pinag-aaralan ang piyesa.

7. Isa pang sakit na dapat gamutin ay ang ugaling "puwede na yan" o "bahala na". Mapapansin mo ito sa pagtugtog ng ibang gitarista na parang kinaladkad lang sa kalye ang pagtugtog ng piyesa. Ang pagtugtog ng musika, lalo na't classical guitar, ay napaka-precise at may mga disiplinang sinusunod para makatugtog ng maayos. Kahit gaano ka-simple lang ang piyesang pinag-aaralan, dapat pag-ukulan ng sapat na atensyon at gawing opportunity para mag-advance ang skills.

8. May napapansin din akong sakit sa ibang gitarista na masyadong obsessed sa technique at nakakalimutang ang technique ay tool lamang para gumawa ng musika. Kahit ikaw pa ang pinakamabilis na mag-scales at mag-arpeggio, o kaya ikaw ang pinakamatinding mag-rest stroke o mag-tremolo, kung ginagamit mo lang ito para magpasikat imbes na magpahayag ng emotions, wala kang mararating sa larangan ng musika.

Mahirap mang tanggapin ang mga sinabi ko, kahit ako ay tinatamaan din ng mga ito.
Sana ay may magic pill na maiinom para magamot ang mga sakit na nabanggit ko.
Sana ay may malalapitan tayong albularyo na makakagamot sa pamamagitan ng mga dahon, kandila, langis at dasal.
Pero ang pinaka-mabisang gamot pa rin ay ang self-awareness at perseverance na ma-overcome ang mga balakid sa pag-unlad.

Kaya sa susunod na may bumati sa yo ng,

"Ang galing mo bro!"

Unahan mo na at sabihing,

"Kasi wala akong sakit."

Guitar lason...lesson

2013-07-19T18:12:00.000-07:00

Sa kasalukuyan meron akong 15 video tutorials ng complete pieces at isang tutorial sa pagbabasa ng tabs. Bilang katunayan ay eto ang link sa playlist na ginawa ko ==> Pasigenyo's Guitar Video Tutorials

Bakit ko nga ba ginagawa ito? Sa totoo lang, hindi ko alam.

Kung tutuusin, mas maraming dahilan para huwag ko itong gawin.

Una sa lahat, napakahirap at napakatagal gawin.
Pangalawa, wala naman yatang nagtitiyagang panoorin ito. Oo nga may nagpapasalamat, pero hindi ibig sabihin na pinanood nila ito.
Pangatlo, kung meron mang manood, kailangan itong panoorin sa hi-def mode para makita ang lahat ng detalye. Pero karamihan sa mga nanonood ay walang sapat na bandwidth ang internet connection nila.
At pang-apat, wala naman akong kinikita dito. Baka ako pa ang magbayad at magmakaawa para lang panoorin ang mga ito.

Ang pag-gawa ng video tutorials ay hindi biro. Mabuti na lang at marami ang nag-a-appreciate ng pinaghirapan ko. Pero siyempre hindi pa rin mawawala ang mga pala-angal....na akala mo e nag-donate ng bayong-bayong na pera.

Mga halimbawa ng nakakagulat at nakaka-aliw na komentaryo (take note na pinapanood nila diumano ang video tutorial habang nagco-comment sila).

"gusto ko yung tutorial, hindi isang show. please naman oh," - Ano yun Eat Bulaga? Ni hindi man lang pinanood yung video bago magsalita.
"san po mkuha ang tabs nian kuya ?" - isa pa ito, humihingi ng tabs e nandun na nga sa video yung tabs
"pahinge po tabs ksi msyado pong malabo eh.. " - naka-set siguro sa 240 ang resolution ng YT player niya o kaya magsalamin siya.
"Master ano po tuning n2? " - Ngeeek! Nandun sa video ang tuning information kung pinanood lang niya sana!
"...gus2 ku sana pag aralan di ko maidownload 2ng vid mo. pede enge ibang link?. thnx :))" - ah ewan.

Minsan tuloy may isang commenter na hindi nakapag-pigil at pinagtanggol na ako - "kayo na ngalang binibigyan ng tabs kayo pa nag rereklamo ..". Biruin niyo nga naman isinusubo ko na nga ang pagkain, gusto pa yata e ako pa ang humawak ng bibig nila para ngumuya at lumunok!

Mula ng simulan ko ang pag-gawa ng tutorials, bawat post ko ng bagong video ay nire-request-an kaagad ako ng tutorial. Dahil siguro sa libre, akala ng iba eh parang kasing-dali lang ng pagpi-prito ng itlog and pag-gawa ng video tutorial. May ilan na mga nangungulit sa ken na gumawa ng tutorials...urgent at important daw. Halos hindi ako tigilan at galit pa. Pero nung ginawa ko na yung tutorial eh naglahong parang bula. Hindi pala kayang tugtugin. Parang ipis na kumaripas ng takbo at nagtago nang binuksan ang ilaw!

Alam niyo ba?

Hindi ko hilig magbasa ng tabs, sa halip ay standard notation ang binabasa ko. Very limited ang ability ng tabs na mag-convey ng lahat ng musical information kaya ko sinasabayan ng video demonstration. Favor lang itong ginagawa ko para sa mga baguhan at gustong matuto.
Pinag-iisipan ko muna kung paano hahatiin ang isang piyesa into logical parts para effective ang pagtuturo
Ine-edit ko ang tabs at kino-correct ko kung may mali. Ina-adjust ko ang fingerings kung binago ko ito. Mano-mano lahat ito at inaabot ako ng ilang araw.
Nire-record ko muna ang buong piyesa para may basehan ang tutorial. Mga 10 to 15 takes lang naman.
Iniisa-isa kong i-record ang bawat section ng tutorial at inaabot ako ng mga 3 takes bawat isa.
Mahirap magsalita at magpaliwanag ng fingerings habang ine-execute ko ito...subukan niyo minsan.
Mahirap magsalita ng walang kausap. Para akong nasisiraan ng bait kasi nakikipag-usap ako sa dingding.
Inaabot ako ng 4 hours sa pag-edit at pagbuo ng video.
Since 15 to 20 minutes ang running time ng isang tutorial, halos magdamag inaabot para i-render ito sa MP4...madalas natutulog ako sa harap ng computer
Inaabot ng isang oras para i-upload sa YT dahil sa laki ng video file.
Hindi ako makapag-praktis o makapag-aral ng bagong piyesa kung gumagawa ako ng tutorial video.

So sana bago mag-request ng tutorial, isipin muna na isang balde ng pawis at dugo ang kinakailangan para makabuo ng isa.

Pero despite lahat ng binanggit ko sa itaas, malaking consuelo sa akin na malamang may nakikinabang at natututo sa mga itinuturo ko dahil napapalawig natin ang interes sa sariling musika natin :-)

Peace, out.

Pengeng Tabs

2013-07-19T07:17:00.001-07:00

Iba-iba ang nasasagap kong reaksyon sa mga guitar videos ko sa YT. Karamihan ay magaganda at nagpapahayag ng suporta, at merong mangilan-ngilan na binabato ako. Pero ang pinaka-paborito kong mga comments ay yung mga nanghihingi ng tabs.

Hindi ko naman minamasama ang mga ito at sa halip ay nakakatuwa at madalas na nakakatawa kung paano manghingi ng tabs ang mga nakakapanood ng videos ko. Iba-iba ang style at iba-iba rin ang mga binibigay na dahilan. Merong gagamitin daw sa libing, sa pagharana ng babae, wedding anniversary, school project, nawala daw yung kopya nila o kaya para sa nanay o parents daw nila. Hindi maubos ang palusot, este pagiging creative nila :-). Merong iba kina-career ang paghingi ng tabs kasi nakikita ko na nanghihingi sila ng tabs sa iba't-ibang gitarista sa YT. Yung iba naman kung manghingi sa ken e para bang may utang ako sa kanila at nagde-demand na padala ko kaagad :-) Merong nambobola muna na magaling daw ako (kuno), tapos sabay hirit ng "pengeng tabs". Marami din naman ang magalang at nagtatanong lang kung saan sila makakakuha ng kopya ng sheet music ko.

Karaniwan ay hindi ko sinasagot ang mga ito para maiwasan ang mahabang discussion tungkol sa subject ng copyright. Ayoko rin namang mapagbintangan na pinagkakakitaan ko sila dahil hindi naman ako ang nagbebenta ng mga sheet music na ginagamit ko sa pagtugtog. Pero kung talagang makulit sila e binibigay ko ang email ng publisher at bahala na silang makipag-usap sa kanya.

Ilan lang ito sa mga nakolekta kong mga comments.

"Sir ang galing niyo idol! Pengeng tabs"
"GALINGG IDOL . sir pede makahingi tabs"
"Tabs please...."

"naalala ko tuloy ung dating girfrien ko....hehehe...penge naman po ng tab nito...."
"master! galing, pwede maka enge ng tabs... please I want to play it to my crush kung okay lang hehehe"

"sana na malaman ang tabs ng song para ma harana ko ang nanay ko.."

"pde pong phingi ng chords ska ng plucking pattern? tnx :))"
"kuya...penge po ako ng tabs nyan.... :) para madali na lang po sakin.... tnx po"

"can i hav a copy of d tab?"

"kuya hingi po tab nito please..gusto ko matutunan to...inspire lang..please please please po"

"pa send po ng tabs bruto.bernardo@yahoo.com tnx po"
"pa enge po tabs kuya"
"kua baka pdeng mahingi yung tabs mo pls :))"
"sir bka naman p0h pde mhingi tab nyan, gz2 q p0h tlga m22nan yan. tnx p0h, gling nyo tlga"
"wow! nice :) i wish may tabs ako nito"
"pa enge po ng komplete tabs.. hehe"
"Sir favorite ng tatay at nanay ko 'to sana po may tabs para mapag-aralan ko at matugtog ko sa parents ko"
"Sir, padala niyo ako ng tabs sa email@email.com"
"tabs pls i really need it pls ^^"
"SIR TABS PO GUSTO KO PO MA22NAN YAN"
"chords/tabs sir"
"may tabs?"
"Sir Raffy ok lang po ba na pa send ng tabs ng version nyo po? paulo_laudato@yahoo.com "
"pahinge po tabs ksi ko msyado pong malabo eh.. pasend po dto audry.sumera@yahoo.com thanks"
"Would it be possible to send me tabs of some pieces you have."
"great arrangement.. can i have some tabs?"
"chords please.."
"nice playing, i like to learn this song... tablature from your version would be nice :)"
"hey do u have guitar tabs for the maglalatik song? i need it as soon as possible if u have any thanks"

"bro. good day! I need the piece Aking Bituin (o ilaw), i lost it kasi. "

"can someone send me the tab of this song? please"

"tabs plss"

"Sir ask ko lang po sainyo kung pwede humingi ng tabs. Medyo kinahiligan ko narin kasing tumugtog ng gitara. "

"Do you have tabs for this song? I would love to learn it...even though it would take me at least a year to learn = ). "

"pde mo po bang ilgay ang link kung san mkakkita ng tabs nito ??? reply sana po kgad tnx!"

"Kuya Raffy May i request for music sheet? "
"Sir lupet nyo po talaga. Gusto ko po ito. Baka po pwedeng makahingi ng tab nito. Sige na po sir. I just want to surprise my wife. Gusto ko pong matutunan to sa lalong madaling panahon malapit na po kasi anniversary namin."

Philippine Guitar Music CD

2013-04-04T16:04:00.000-07:00

Raffy's classical guitar renditions are now available on CD. These are my homemade CDs that various followers/listeners have requested me to put together so they can listen to my music without having to log into YouTube. Please consider your purchase, if you decide to do so, a donation to furthering the work I have started. God bless!

PayPal payments are accepted. Personal checks will work as well and I will send my contact info.I can only ship within the US. If you are living outside the US and are interested to purchase, please contact me via email @ RAFFYLATA101@GMAIL.COM and we'll see if we can arrange something.

Popular Standards

1. Evergreen
2. It Might Be You
3. Sometimes When We Touch
4. Somewhere Over The Rainbow
5. What Matters Most
6. Somewhere In Time
7. Smoke Gets In Your Eyes
8. On My Own
9. Girl From Ipanema
10. Misty
11. Morning Has Broken
12. You'll Never Walk Alone
13. The Prayer

Popular Standards CD - $8.00 with free shipping

Original Pilipino Music Vol. 4

1. Sana Maulit Mulit
2. Naalala Ka
3. Doon Lang
4. Kapantay Ay Langit
5. Show Me A Smile
6. Mahiwaga
7. Lift Up Your Hands
8. Yakapin Mo Ako

Original Pilipino Music Vol. 4 CD - $8.00 with free shipping

Christmas Carols

1. Philippine Christmas Medley (Pasko Na Naman, Himig Ng Pasko, Namamasko, Kampana ng Simbahan, Ang Pasko Ay Sumapit)
2. Pasko Na Sinta Ko Your browser does not support this audio format.
3. Miss Kita Kung Christmas
4. A Perfect Christmas
5. Christmas In Our Hearts
6. Canon In D
7. Sleigh Ride Your browser does not support this audio format.
8. Have Yourself A Merry Little Christmas
9. Silent Night
10. O Little Town of Bethlehem
11. Give Love On Christmas Day
12. A Christmas Song (Chestnuts Roasting)
13. O Come All Ye Faithful
14. When A Child Is Born

Christmas Carols CD - $8.00 with free shipping

Philippine Guitar Music Vol. 1

1. Maalaala Mo Kaya Your browser does not support this audio format.
2. Saan Ka Man Naroroon
3. Sa Ugoy Ng Duyan
4. Gaano Kita Kamahal
5. Dahil Sa Isang Bulaklak
6. Minamahal Kita
7. Matud Nila
8. Diyos Lamang Ang Nakakaalam

Philippine Guitar Music Vol. 1 CD - $8.00 with free shipping

Philippine Guitar Music Vol. 2

1. Rosas Pandan
2. Sa Libis Ng Nayon
3. Ang Dalagang Pilipina
4. Sa Kabukiran
5. Kuratsa Boholana
6. Pobreng Alindahaw
7. Lawiswis Kawayan
8. Bulung-Bulungan

Philippine Guitar Music Vol. 2 CD - $8.00 with free shipping

Philippine Guitar Music Vol. 3

1. Ikaw
2. Cadena De Amor
3. Balud
4. Bakit Kita Inibig
5. Alang-alang Sa Yo
6. Dinggin
7. Himutok
8. Hirap Ng Umibig

Philippine Guitar Music Vol. 3 CD - $8.00 with free shipping

Philippine Guitar Music Vol. 4

1. Usahay
2. Pakiusap
3. Buhat
4. Dahil Sa Yo
5. Nasaan Ka Irog
6. Ang Pag-ibig Ko'y Ingatan Mo
7. Hatinggabi
8. Sapagkat Kami Ay Tao Lamang

Philippine Guitar Music Vol. 4 CD - $8.00 with free shipping

Philippine Guitar Music Vol. 5

1. Lumang Simboryo
2. Magandang Diwata
3. Maharlika
4. Maria Clara
5. Recuerdos De Manila
6. Patnubay
7. Ako'y Ibong Sawi
8. Binibiro Lamang Kita

Philippine Guitar Music Vol. 5 CD - $8.00 with free shipping

Philippine Guitar Music Vol. 6

1. Doon Po Sa Amin
2. Tunay Na Tunay
3. Sa Lumang Simbahan
4. Aawitan Kita
5. Kundiman 1800
6. Ikaw Lamang
7. Luha Sa Kalipay
8. Ikaw

Philippine Guitar Music Vol. 6 CD - $8.00 with free shipping

Original Pilipino Music
(Jose Mari Chan collection)

1. Please Be Careful With My Heart
2. Beautiful Girl
3. AfterGlow
4. Deep In My Heart
5. Can We Just Stop And Talk A While
6. A Love To Last A Lifetime
7. Refrain
8. Christmas In Our Hearts
9. A Perfect Christmas

Original Pilipino Music - Jose Mari Chan Collection CD - $8.00 with free shipping

Original Pilipino Music Vol. 1

1. Anak
2. Panunumpa
3. Bituing Walang Ningning
4. Be My Lady
5. Bukas Na Lang Kita Mamahalin
6. Ikaw Lang Ang Mamahalin
7. Ikaw
8. Kastilyong Buhangin

Original Pilipino Music Vol. 1 CD - $8.00 with free shipping

Original Pilipino Music Vol. 2

1. Never Say Goodbye
2. Sorry Na Puwede Ba
3. Hindi Kita Malilimutan
4. Kaibigan
5. Ikaw Ang Lahat Sa Akin
6. Anima Christi
7. Lift Up Your Hands
8. Sana'y Wala Nang Wakas

Original Pilipino Music Vol. 2 CD - $8.00 with free shipping

Original Pilipino Music Vol. 3

1. Forevermore
2. Bato Sa Buhangin
3. Kahit Isang Saglit
4. Kahit Maputi Na Ang Buhok Ko
5. Ngayon At Kailanman
6. Miss Kita Kung Christmas
7. One More Gift
8. Tanging Yaman

Original Pilipino Music Vol. 3 CD - $8.00 with free shipping

Original Pilipino Music (OPM) Vol. 1 - complete videos

2013-03-07T11:45:00.002-08:00

In early 2009, I was looking to play OPM pieces arranged for the classical guitar when a youtube viewer offered to send me the sheet music for Forevermore which happens to be the first piece in the OPM Vol.1 book. After having gone through the piece and being impressed with the quality of the arrangement, I decided to purchase the book along with other MJV publications available at that time. All in all, it took me four years to study and record all the pieces. Even though the renditions are not perfect, I’m quite satisfied with this milestone for two reasons: First is that it has never been done before and second, my skills as a guitarist vastly improved as I hurdled the challenges in each arrangement.

Many people who have seen my videos often made the mistake of underestimating the difficulty of playing the arrangements. My calm and pokerfaced demeanor belied the fact that I was struggling to play the entire piece with minimal to no mistakes. “Smiling while playing” was not an option. Over the years, I’ve encountered folks whose long dormant desire to play the classical guitar was rekindled only to be quickly extinguished after attempting to play the pieces. I, too, almost succumbed to the temptation of “giving up” many times and if not for the people who cheered me on, I would definitely have quit. Perseverance is definitely a rare trait and can only be accomplished by constant self-evaluation and self-motivation.

Personally, my failings (if I were to list one of them) would include not spending enough time with a piece to develop the fingerings, dynamics and emotions. My routine was to study the piece for a week, record it and then forget it. This usually resulted in my renditions sounding flat, mechanical and amateurish (the third one being true because I am an amateur by definition). As such, I expect my renditions to be treated more as a reference or an idea for how the piece sounds and not as a definitive performance.

Original Pilipino Music (OPM) Vol. 2 - complete videos

2013-02-16T17:37:00.001-08:00

http://www.youtube.com/playlist?list=PL8895FAE0147DE036

About three years ago, Albert Sison sent me a copy of Maestro Jose Valdez's new book titled OPM Vol. 2. While this is not the first publication of MJV that I own, it contains very interesting and familiar pieces/songs that my generation grew up with. However, in my opinion, this is the most challenging set of arrangements to play among my collection. Today I am proud to "close the book" (pun intended) on this publication and share the fruits of my labor with other guitar enthusiasts who may want to achieve the same goal. My caveat to those who intend to watch these renditions is that they are not perfect and are certainly not the definitive performances that guitarists should emulate. If anything, these will provide students with an idea on how the arrangements sound when played. They can then form their own interpretations which hopefully exceed my own. Perhaps one day, I will re-render some of the pieces that I felt were either rushed or fraught with errors. For now, it's a relief to finally conquer this particular challenge and move on to the next ones.

Praktis Lang

2012-05-01T11:57:00.000-07:00

“Kung ano ang tinanim siya rin ang aanihin.” Isang kasabihan na walang kasing-totoo. Kumbaga sa pagtugtog ng gitara, kung hindi ka nagpa-praktis, wala kang matutugtog.

Lahat tayo ay busy sa kanya-kanyang buhay at kakaunti lang ang oras para sa extra-curricular activities or personal hobbies natin. Kung isang oras lang sa isang araw ang mailalaan mo sa hobby mo, paano mo malulubos ang oras na yon para umusad ang iyong kaalaman?

Sa pag-aaral ng gitara, uubusin mo ba ang konti mong oras sa pagtugtog ng mga piyesa o gagamitin mo ba ito sa pag-praktis ng mga scales, arpeggios at iba pang techniques or methods? Bago mo pa man sagutin ang mga tanong na yan, ang una mo dapat na alamin ay ano ba ang mga goals mo? Kung gusto mong makarami ng piyesa ay sige at tumugtog ka ng iba-ibang areglo o piyesa. Kung gusto mong i-reinforce ang mga foundational skills mo, mas magandang i-focus ang oras sa pag-aaral ng techniques and methods. Dapat alam mo ang gusto mong maabot para mai-layout mo ang landas na makaka-achieve sa iyong goals. Hindi kailangang napaka-taas ng iyong goals dahil ito naman ang magiging source ng frustration.

Anu-ano ang mga pangkaraniwang napapag-usapan tungkol sa topic ng praktis? Isa-isahin natin.

“Wala akong oras mag-praktis”.

Actually meron. Kung titingnan mong maigi ang iyong daily routines, madidiskubre mong meron kang oras na mailalaan sa pag-praktis. Hindi ibig sabihin na hindi ka na kakain, matutulog or makikisalamuha sa pamilya mo. Kung titingnan mo ang oras na ginugugol mo sa internet, cellphone , TV at iba pang leisure activities, makikita mong meron ka palang puwedeng i-give up na hindi magsa-suffer ang mahahalagang activities sa buhay mo. Ang totoong kalaban natin sa pag-praktis ay ang katamaran o kawalan ng gana, hindi ang kawalan ng oras.

“Praktis ako ng praktis, hindi naman ako gumagaling!!!”.

Diyan ka nagkakamali. Ang una kong reaction diyan ay kung hindi ka nagpa-praktis, yung kakaunti mong alam e mawawala pa. Hindi mo napapansin siguro pero habang regular ang praktis mo, umuusad ang kaalaman at galing mo. Dapat mong alamin kung ano sa praktis regimen mo ang dapat mong baguhin para umusad ka ng mas mabilis. Unless na may teacher ka, ikaw mismo ang dapat umalam kung bakit hindi mo makuha ang isang scale or position change. Sipag at tiyaga ang kailangan.

“Mali kasi ang pina-praktis ko kaya hindi ako gumagaling“

Sa unang tingin ay parang totoo nga, pero hindi. Kung pumapasok sa isip mo ito, ibig sabihin ay nagiging aware ka na may dapat kang ayusin o baguhin. Mas masama kung hindi mo ito naiisip kasi nawawalan ka na ng direksiyon pero sige ka pa rin ng sige. Hindi ka man gumagaling sa technique, gumagaling naman ang analytic ability mo.

“Walang magturo sa ken”

Totoo pero hindi lagi. Sa dami ng resources na available ngayon – sa internet at sa library – mahirap isipin na walang makakapagturo sa iyo. Maghanap ka lang at makakakita ka rin ng makakatulong sa yo.

Ang pag-praktis ay isa lang sa mga kagamitan sa pag-aaral ng gitara. Alam mo bang puwede mong iukol ang praktis time sa hindi paghawak ng gitara? Ilaan mo ang oras sa pagbabasa ng mga iba-ibang guitar literature, biographies ng mga composers, backgrounds ng mga piyesa at mga nakaka-inspire na kasulatan, panonood ng videos ng ibang gitarista at higit sa lahat, mag-aral kang magbasa ng nota. Makinig ka rin ng mga iba-ibang instrumento at music genre. Dapat gamitin mo lahat ng senses mo para maging well-rounded musician ka. Saka mo lang masasabing ikaw ay isang ganap na musikero.