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Classical Guitar Lessons: Accompanying Other Musicians

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I thought we'd do a, a lesson and on
chamber music,
on playing with other musicians.
And I have Patricia here on flute.
And we're gonna play the Gym Beau Petit,
Number one by Erik Satie.
And just to give you an idea of,
if you haven't done this kind of thing
before, if you're,
I mean a lot of classical guitarists are
normally used to playing just solo music.
And if you haven't tried it already
I mean some of you are in a, might be in a
conservatory program or a guitar program.
Where you're required to do chamber music
as part of your degree and so
you have a, a certain amount of experience
in this.
But, just for some of the rest of you out
here that,
that maybe haven't done this kind of thing
or, or don't do it often it's a really
it's a wonderful actually not just a for
something for a recital you, I mean.
You can get together and play chamber
music just as a social kind of thing and
it's a, it's just a really great way you
to get together with other friends that
play music.
And also, it really sharpens your ear as a
Especially if you're primarily comfortable
with playing solo music.
Playing chamber music really helps you to
develop these kinda antennae
music an musical antennae for kind of
helping get outside of yourself.
And kinda outside of your own sound and
having to match your sound and match your,
your accompaniment to another solo
instrument in particular, in this case,
the flute.
So, here we go, we're just gonna, we've
never played before,
this is our first time actually reading
through this piece, so here we go.
This is Gym Beau Petit by Erik Satie.
Sorry about that.
That's my fault.
So on and so forth.
So yet get the idea we can go through
another repeat.
And so what we're doing actually in front
you is just having a read through.
Because we've never played for, for you so
those, those of you that are in a program,
a college program if you, if this is kind
of a new thing for you,
what'll happen is your soloist will arrive
in your practice room or studio.
And, you know, you're really just using
the read through,
you've prepared your part, it's very
important to remember that you have
prepared your part on your own time before
the first rehearsal.
This is often the, this can be a mistake
that a lot of students make for
those of you that are in, in the program.
That you should really try to prepare your
parts and
have them really solid before that, that
first rehearsal.
For those of you just hobbyist or just,
just reading and that kinda thing it'd
be fun just to pick up some music not,
without having looked at it and, and read.
And so for all of you doing this as a
guitarist I find it's,
it's really helpful to actually tune to
the soloists.
Whether it be a string player cello,
violin or
a wind player in this case the flute.
Particularly with the flute there's a
pushing in and out of the head joint.
And where the flute really responds the
best, and, and for, for the individual
player kinda covers all the, most of the,
the bases in terms of intonation for them.
And so you wanna tune to that A.
Because the guitar is really not gonna
move around that much.
It's, it's really, you basically tune to
their A.
So Patricia, if you give me the, that sort
of standard flute A.
All right.
Now sometimes you'll want to you'll wanna
an octave
lower to kind of match the guitar pitch.
I like it an octave lower.
Not bad.
I'm pretty close.
So that's kind of the idea you wanna tune
that and maybe this harmonic,
the seventh fret of your fourth string to
that, that,
probably, probably that octave on the
flute A.
And so after the initial read through it's
just a matter of then just playing through
and then maybe working on sections here
and there.
And as a guitar player you wanna be aware
if there are breath marks in
the flute part.
For example, in the, in the Gym Beau Petit
here this particular one has,
has a breath mark during the phrase on
measure 24.
So even as I'm preparing my part in
advance I'm noticing that the,
the flutist might take a breath there.
So I don't wanna just keep barreling
like that on measure 24,
I wanna be ready for the fact that there
may be a, maybe a breath there.
So maybe I'll roll the chord slower in
preparation for that.
And then the rest of it is just kinda
feeling out how your soloist plays.
Your job as a guitarist in a chamber
music, in this, especially in this
instance, where you're just providing the
harmony is to support the soloist player.
And to sort of be sensitive.
That's, that antenna that I'm talking
So, I think we're, I think that's good,
We'll so we'll, we'll have another video
where we play another piece for you.
And then who knows maybe this will start a
Chamber Music Series.
Feel free, by the way to send in any
videos of you playing with fluke,
violin string quartet, string orchestra,
what, whatever the case might be.
And I, I can help you with that.
Every week I'm coaching chamber music at
at my brick and
mortar schools at Curtisin's and Cleveland
Institute of Music.
So I can help you with some of these
Thank you.
All right.
So, that's the Siciliano by Bach, in an
arrangement, of course.
It's originally for flute and harpsichord.
But this is a, a very well known melody
so there's lots of arrangements like this
that you can find for
flute or violin or, and, and there's even
voice and guitar stuff.
So it's really fun to actually just read
through things.
This is our first read through.
Of this piece here.
I'm here with Patricia.
And she's you know, she's a flutist
that doesn't play professionally, but
enjoys practicing and playing the flute.
And so she and the flute is a lot like a
lot of the students out there.
My students out there playing guitar.
There are some of you that may be in a
guitar program in which you are studying
guitar, and then for your requirement for
your diploma you have to do chamber music.
So this video's for you guys too.
But for some of you hobbyists out there
be afraid to just to find somebody if you
know somebody that plays the flute or
violin or cello or something, just grab
some music.
It's a great way to to socialize.
It's a lot of fun.
And and just here's some, some pointers
In our initial read through you know,
it's, it's kind of like you know, if
you're hearing.
I think Patricia, maybe at this, at this
point what we would do in the second time
is maybe to go over to the couple spots.
>> Yeah.
>> Where either you or
I maybe heard that something didn't line
up exactly right.
So that would be the same way that you
would go to your solo piece and go oh,
I think I need to go back to that section
and work this out a little bit.
It's the same kind of thing here.
When chamber musicians rehearse they don't
merely read through the piece,
they target specific areas in order to
make them better.
So in this case I think there was maybe a
spot, maybe 25, 26, 27.
>> Mm-hm.
>> I think where we, we in our initial
read through, pretty,
pretty darn good I would have to say for
our first read through.
But maybe we'll go back to that and so
we'll start at 25.
One other thing I wanted you to notice is
that I was following my soloists cue.
At this point in the, in something like
this you're,
you as the guitarist are an accompanist,
you are no longer the soloist.
And so I always recommend that in this
situation, in a piece like
where both the players start together, I
think it's always good to, you know,
take your cue for when you start from from
your flutist.
So if you look at the performance video
again for this you'll see that there.
Okay good.
So let's go from, could we go from 24?
>> Sure.
>> Okay, let's go from 24 and
we're gonna go over that again.
>> On the D.
>> Yes, on that D.
Much better, right?
See, that second time through, you've had
that experience of playing it through all,
already so you get a little bit of the lay
of the land.
And, and then you go back through and then
your ears are that much sharper for it.
And, and that's that antenna that I, I'm
talking about.
The just sort of that, that listening
outside of your own playing.
Of course you have to keep sort of one
part of your ear on your playing, but
it's very important to really have the
other part of your ears.
Attached to the attack of the note, the
decay of the note,
when the, when the flutist is gonna take a
little bit of time.
And, of course,
being aware of any breath marks that the
flutist may have in their score.
That means they're gonna have a little bit
of a stretching of time,
in order to get the breath in, and then
you'll continue.
So, you'll wanna be ready for that sort of
thing, too.
And that's it.
That's another example of some chamber
music, some duo guitar flute, with the.
So again, as I said in the other example
of this that we recorded,
the feel free to send in any videos
any of you guys in a guitar program and
you have a duo or an ensemble.
Feel free if you're in a guitar quartet
feel free to send in
any of those examples as well.
I do a lot of coachings of ensembles.
Not just that my, at at my schools in
Cleveland and, and
the Kurtis Institute in Philadelphia but
around the country when I'm touring so.
I can help you with any of these ensemble
That you might have.
So, send in those videos, thanks.