Video Link: http://youtu.be/R5rCpccN0rE

Four of the seven songs from Dominic Argento’s “Letters from Composers” sung by tenor, Robert Swensen and guitarist, Nicholas Goluses at the Eastman School of Music September 14th, 2010. Letters from Composers (1968), which uses as its text letters written by Chopin, Puccini, and others. You’ll notice the musical quotes all over such as the popular Schubert lieder in the first song…

Goluses is a professor at Eastman and recorded with Naxos, Albany etc. Another good find via SoundBoard. Photo via esm.rochester.edu

Video Link: http://youtu.be/J6xq1Eedsu4

Classical guitar virtuoso Tariq Harb had a surprising major in college: finance. The Jordanian-born musician moved to Canada in 1999 to study at Concordia University. But after a few years in the financial sector, he found himself deeply unfulfilled. He decided to go back to the thing he loved when he was younger — music. Only he didn’t pick up the violin, the instrument he knew well. He picked up the classical guitar.

READ THE FULL ARTICLE via Tariq Harb plays guitar at TEDGlobal 2013 | TED Blog.

Video Link:http://youtu.be/0qnfVM91PCU

Video Link: http://youtu.be/ywrod_VB1co

Guitarists are notorious for not playing basic triads well, but with good reason! They are difficult on guitar. However, piano students practice these shapes from the first lesson and we should too. Take it nice and slow and make sure to feel and visualize each group of three notes as one triad (three note chord). This etude bares little resemblance to Giuliani’s original except for the concept of arpeggios and the basic harmonies. I wanted a more straight-forward arpeggio workout rather than fussing with Giuliani’s musical, but difficult, composition. You may wish to come up with your own right-hand fingerings in a few spots or you can follow mine. However, I think it’s best that you use the left-hand fingerings provided as I wrote the etude for specific reasons related to position shifts and chord forms. You must practice slowly. Just because it is difficult and has many shifts does not mean you get to slack off. Play with a solid rhythm, tempo, and tone and also add some nice shaping to ascending lines.

Video Link: http://youtu.be/39ke6UIfyPU

Adaptation of Giuliani’s Exercise Op. 48, No. 4: This exercise was originally written with legato slur markings. Below it has been rewritten without the slurs to function as a scale etude with alternating i, m fingering. Check the original or online facsimile for the slurs if you prefer extra study.Play with alternating i, m the entire time. Don’t use other fingerings even if they appear easier. Remember, you’re using this as an exercise rather than a concert piece. Therefore, overcome the struggle of the awkward string-crossings and never-ever repeat a finger. Do not add slurs. Aim for a very legato sound with only i, m. Don’t make excuses or let yourself get away with anything non-legato. If a spot is giving you trouble in your legato you need to fix it and connect the notes. When I say legato I mean LEGATO! Think of the human voice or a flute as a model.

Video Link: http://youtu.be/zzuL4m-9DyE

Practicing scales in chromatic octaves train your fingers for textures such as Bach’s lute suites and more. Octaves are also very useful in jazz or ensemble playing when you need a melodic line to sound strong and full. Do your best to not read this exercise but instead just think of the note names and the interval shapes. As with the previous exercise, play on your fingertips with curved fingers that clear the string below. Play as legato as possible.These have a potential to stretch the muscles so be careful and take breaks to let them recover. Other logical left-hand fingerings are acceptable, these ones are just a suggestion. You’ll get a workout regardless.

Video Link: http://youtu.be/xHKzXGBIhSQ

These scales in 3rds, 6ths, and octaves are very good for you, both technically and musically. They are so good that the great Mauro Giuliani composed etudes based on each interval in a number of different keys. The etudes are part of his Op. 1. To save time just start by practicing the scale versions shown below. Make sure to be on your fingertips with curved fingers that clear the string below. These have the potential to stretch the muscles so be careful and take breaks to let them recover. Play as legato as possible.

Video Link: http://youtu.be/URK78WgztqU

Video Link: http://youtu.be/3da3qDnb0ls

Thomas Viloteau plays one of the most iconic pieces in the Guitar repertoire, the Usher Waltz by Nikita Koshkin, composed after the short story “The fall of the house of Usher” by Edgar Allan Poe.

http://www.thomasviloteau.com