From Brazil to Barcelona with a Classical Guitar

Since my last post a lot has been happening.
The life of this musician is certainly varied and thankfully very busy.
In the last month alone Robin has performed 5 concerts and shared his music with in excess of 2500 people. Not to mention travelling to Brazil, Spain and Portugal.
This is an incredible achievement.
The time away spent away from home can be difficult, but this is eased by the reaction to all the concerts performed.
Both audience and organisers have been equally positive and enthusiastic.

Returning to Brazil was a real treat for Robin. Although the journey there is long and exhausting, the rewards on arrival are incredible.
Lovely people and amazing scenery.
To wake up to this sort of view is really something special:



There's one village in particular that Robin always loves visiting, and in fact this was the second time he'd been there in just a few months.
The village is, 'Boca de Valeria', and the local people are keen to talk to any visitors and show them around their homes.
The children all get very excited and Robin has decided that on his next visit he will offer to play for them in their small church:



You can read more about Robin's previous trips to Brazil and see some lovely pictures, here, 'Arrival in The Amazon, Caruso and Fitzcarraldo' and here, 'Back to The Amazon'.

Robin managed to get home before the disruption of the volcano in Iceland and spent a whole 10 days with the family!

It wasn't without its difficulties though.
A lunchtime concert in Doncaster Museum had to be cancelled as Robin broke down on the way there.
He was devastated by this.
In the whole of his career he has never had to cancel a concert. (Even when extremely ill on a two week tour in Ireland some years ago he managed to complete every single performance. Although on the last concert he was unable to go on stage for an encore as he physically couldn't face the bright lights. The next morning we found out he had measles.....medical advice was to stay in a darkened room....)
However, a new date has been found for the concert in Doncaster so put it in your diaries now: 9th March 2011.

After another week away, travelling to Spain and Portugal, and 3 further concerts Robin returned home for a quick visit.
In just two days he managed to catch up with all the family news and start memorising some new pieces.
This is an essential process when performing so frequently.
New pieces have to be learnt and rehearsed until ready for public performance.

Now Robin is off again.
He is back in Spain and preparing for his concert in 2 days time.
There are so many exciting things being planned at the moment that I sometimes wonder when I will find the dates to fit them in.
However I usually manage it. Somehow.
So keep checking in to find out what happens next...

Music Practice Tips - Classical Guitar

Today is a very special post by the man himself - Robin Hill!

It was originally written as a guest blog for the Australian violinist Ben Clapton, back in 2007.

Enjoy!



Music Practice Tips – Classical Guitar

By Robin Hill

When approached by Ben, to write a guest blog spot on ‘practice tips’ for the classical guitar, I wondered where to start.
Having written an entire book, ‘The Guitar Gymnasium, A Mental and Physical Workout, Designed to Develop Flawless Technique,’ published by Mel Bay, it seemed a difficult task to summarise into an article.
Most of my thinking on these matters has been precipitated by the ‘front line’ experiences of concertising, recording, broadcasting and teaching, and a life long passion for the classical guitar, and music in general.

Outstanding performance on any musical instrument can only be achieved through hard and painstaking work. The musician who excels above his colleagues is, generally, the one who has taken more pains.
Regular practice is essential, with technical work of high priority, and whilst students may not want to hear this, there is no escape from scales and arpeggios!

One of the most basic and important principles in guitar technique is economy of movement, not only of both hands, but, of any part of the body involved in the production of the note.
It’s worth investing in a full length, movable, mirror, as I watch myself playing frequently, not out of vanity, but to constantly check positioning and posture.
For practice, I’ll break it down into sections, and start with the arpeggio.

The Arpeggio.

The right hand should remain completely stable with the knuckles immobile and parallel to the strings. The fingers themselves move in a minimal way, pressing, rather than hitting the string.
Initially you can practice this silently by touching the string but without producing any sound.
This helps to establish playing ‘from the string’ and using the minimum amount of movement.
Silent practice should be accompanied by ‘hearing’ the notes mentally, and thus, reinforcing the inner ear.
In fact it is always good practice to ‘hear’ notes in one’s mind a split second before playing them.

Initially the arpeggio should be practiced slowly, gradually increasing the tempo, and the use of a metronome is recommended, but not all the time.
Fluency, technical command and accuracy are paramount.
Variety in practice is important, try to surprise your fingers with new challenges and studies, but always practice attentively. Be aware of the deadly routine of wading, without concentration, through studies and exercises.



The Scale.

There are many different methods of playing scales on the guitar. As a general rule, if alternating between i and m, it is undesirable to cross strings using mi when ascending and im when descending. Whilst not always possible to avoid, it should be seriously considered. So, the guitarist must learn a flexible approach to scale playing, using inventive fingering to avoid undesirable crossings.
It should be remembered, that printed fingering is never sacred, there are usually viable alternatives.
During scale playing the same principles of economy of movement and right and left hand stability apply.
I have also found that practice with the backs of the nails i.e. movement in the opposite direction to the normal stroke, is extremely beneficial. It’s a similar effect to practising rasgueados and leads to improving the right hand’s ‘feel good’ factor.
When practising major and minor scales try playing along with the metronome (on the offbeat) and also using various rhythms.

So regular technical exercises are essential. But one doesn’t need to have an instrument in one’s hands to practise, particularly in the field of memorization.
I personally derive a great deal of benefit from not only ‘playing’ a piece mentally, and hearing the sound and timbre of the notes, but also in imagining a successful concert scenario.
Even when practising with the instrument I feel it is an intellectual rather than a physical exercise.

The temptation to play a piece up to tempo should be resisted, as unless the technical and musical foundations have been laid we will not gain mastery over the music.
The repetition of, ‘hit and miss’ renditions, only serves to ingrain bad habits further.
Difficult passages must be played slowly, with phrasing and musical expression, to prevent the bad habits developing.

One never arrives at the point when one can say, ‘I can now play,’ it’s a lifetimes work for anyone, whoever they are, and one’s ideals are often subtly changing.
I am frequently asked how much practice should be done each day, but it is, of course, quality and not quantity that is paramount.
Generally I practice no more than one hour at a time, but it is a pointless exercise, unless concentration and attention are maintained.
Over an average day I would practise at least five hours, about half the time on technical work, and the other half on musical aspects (learning new repertoire, maintaining established repertoire etc.)

I strongly recommend reading and re-reading every possible tutor and manual on playing and technique. Not just for the guitar, but different instruments, particularly the violin and piano, as there are very often common principles to playing any instrument.
It is impossible to overestimate the importance of going to hear and see as many first class players as possible, of any instrument, as this is one of the most exciting and inspirational ways to learn.
But it is also important not to forget one’s original inspirations and to refer back to them often. They are, after all, the reason you play, and generally, you will still find them inspiring.
Listen and luxuriate in your favourite recordings and let them fuel your enthusiasm. Although there are now many fine players of the guitar worldwide, it is still, unfortunately, rare to get the chance to see and hear them. If you do get the chance, make sure you take it and hear them live, it’s worth a million CDs.

Also play with other musicians. The guitar combines particularly well with the violin, the voice, the flute, the mandolin, the recorder, the oboe and with all manner of small chamber ensembles. This will open you up to the full musical picture and not just ‘your’ part, increasing your appreciation and pleasure on the way.

Much of the information I have discussed today, has come from my book, which also has all the technical exercises, I work through each day.
I will also be going into more detail about practice and performance over on my blog in the next few weeks and months.
But for now, many thanks to Ben for the invitation, and, happy practising!

Cartagena - Colombia

Robin spent yesterday at sea, and used the time to practise and memorise, 'Cancion y Danza', by Ruiz Pipo.
He won't be playing it in concert on this trip, it needs to be firmly cemented in mind and fingers before a public performance, but he will quite likely introduce the piece into his repertoire very soon.

Today, Crystal Symphony has arrived in Cartagena, Colombia, and Robin is looking forward to going ashore.
From a distance it appears to be an interesting mix of old and new buildings and the area is famed for its emeralds.
The port itself is on the Northern coast of Colombia, with two old fortresses either side of the entrance to the harbour.

It's has been said that in years gone by, a huge chain was attached to each of the fortresses, remaining out of view under the water.
When a pirate ship was spotted, the chain was pulled up, ripping the bottom of the incoming ship, to protect the land from the pirates.

Luckily, no such problems today for Crystal.
I'm hoping for some nice pictures at some point and will pass them on when I can.

Recording: Listen and Learn

Recording of Robin's latest classical guitar CD is getting under way here and he disappears for hours at a time.
When he does venture out of the studio he is usually armed with his latest 'take'.
We then settle down and listen through a number of times.
There are so many aspects to recording, not just the technical side of things, but one of the areas that I'm most involved in is the listening.

I don't mean just listening but really scrutinising every last note.
When we listen to playbacks we are not only checking that the notes are all fine, but the sound quality, tone, flow of the piece and generally that the interpretation is the one that Robin is trying to achieve.
Fortunately, we both have very clear ideas as to the way most pieces should be performed, and luckily they are the same.
This makes the whole process of listening back a much easier one.

Robin learns so much more about a piece as he records it.

As Glenn Gould once said:

"The tape recorder is the finest teacher."

He should know, he abandoned his concert career in his early thirties to concentrate exclusively on recording until his death aged 51.

I can understand that.
A completely different frame of mind is required for recording than is needed for live performance.

Good preparation is essential.
The music has to be learnt and memorised but the learning process doesn't end there.
The more a piece is recorded, the more it is understood, and, hopefully, a close approximation of an ideal is achieved.

I was also very pleased to have positive feedback.
After listening for some time to a Barrios piece Robin commented that my input was invaluable as I could bring extra objectivity to the whole process.
One of the problems with recording is that it is very easy to become so engrossed in the minutiae that the overall picture is lost.
As I generally am out of the way for the recording part I'm able to keep that distance.

I did manage to get insulted at one point though.
Robin announced that he had emailed me an mp3 of the latest movement so that he could hear what it sounded like on my 'tinny' computer!
Well, we can't all have the latest technology can we...?

Recording will be interrupted as of tomorrow, but, only for a few days, as Robin has to prepare for a concert.
Next week, on Wednesday 14th November, Robin is performing at Dewsbury Town Hall as part of the 'Lunchtime Chamber Concerts' series.
This is a rare chance to see Robin play in the UK, so anyone interested and able to get there, doors open at 11.30, the concert starts at 12.30, and will finish at 1,30.
Contact the box office on 01484 22 32 00 for more details.

Soprano, Socialising and Nova Scotia

The last concert on board the QE2, for this trip, went very well.
Robin was pleased, and relieved, as it was the first time he had performed this particular programme.
It is always a little more nerve wracking, when performing a new programme, as there is always the fear that a memory lapse will occur at some point.
However, that wasn't the case, and both Robin and the audience enjoyed the concert.
He did have a minor nail problem, when one became 'unglued', but this was quickly rectified, and the audience quite amused by proceedings.

He allowed himself 15 minutes on a sun lounger to relax, before setting off for the gym, to add his pedal power to the ships engines.
Last night he went to see the soprano, 'Annette Wardell', and thoroughly enjoyed the performance.
They spent some time chatting and Robin is now working on a string quartet arrangement of 'Cavatina' for her. So that could be interesting.

Robin was obviously in socialising mood, as he got talking to a chap that remembered meeting him 25 years ago, at a concert in Luton.
It started when he was telling Robin how impressed he had been to see his book, 'The Guitar Gymnasium', in New York. They went on to discover that they had some mutual acquaintances, so were able to fill each other in on the last 25 years!

I had an email from a gentleman who was very complimentary about the blog and has been following the QE2 on its journey as he has a friend on board.
I've told Robin to look out for her, and was delighted to get some feedback from a reader!

The QE2 has now docked in Halifax, Nova Scotia, so I'm sure Robin will be going to have a look around. As his work is now complete on the QE2 he will be able to relax and enjoy it.
Mind you, even though the concerts have been performed,there's always preparation for the next one, which is shortly after he has returned home....

Preparing For A Concert - 'The Guitar Gymnasium' Way

Guitar students, and also members of audiences, often ask Robin how he prepares specifically for a concert.
So I have taken a small extract from his book, 'The Guitar Gymnasium', to offer you a little insight.

"For the week preceding the concert, I play through the programme in it's entirety at least once, and often twice, a day. I isolate particularly difficult sections and practise them slowly, sometimes changing the fingering if I find a better one, and, as usual, I practice an array of technical exercises.
It is very important, during practice, to be aware of any bodily tensions, however slight, which will, under the strain of live performance, be magnified at least tenfold. If one identifies and addresses them in the practice room, they are less likely to surface in the concert hall."

There's a whole chapter on 'Performance and Practice' so this is just a little taster.
It is however particularly relevant this week.
Robin is preparing for another trip away and is currently rehearsing three different 45 minute programmes.
As you can imagine, this requires an awful lot of time and patience, if you are going to play through all the programmes at least once, if not twice, a day.
Consequently our days are pretty long at the moment and his fingers are working very hard indeed.
Not to mention his brain, as, Robin performs entirely from memory.

For anyone interested in reading more of 'The Guitar Gymnasium', then check out the LINKS section where you can order it from the UK, USA, or direct from the publishers, Mel Bay.

Variations on a Theme?

Can you identify this piece of music?

It's fortunate Robin plays from memory as this is what he discovered when looking through the final page of some music...



It appears that we have a budding composer in the family who felt that the original required a little something extra.
I suspect son number two is involved and I'm quite impressed that, at the age of 4, he appears to have grasped the concept of triplets!

A Mental And Physical Workout With J.S.Bach

Robin has become obsessed by J.S.Bach.
If he isn't listening to recordings then he is playing it.
As I've said before, Robin doesn't feel he really knows a piece, and certainly wouldn't perform it in public, until he has completed the process of memorisation.

When it comes to Bach this is quite an undertaking.
The pieces are always complex with little repetition to allow the musician any respite.
I measure the amount of neural activity going on in Robin's head by how quickly he completes the daily crossword in our newspaper.
The more he memorises the quicker he gets which just shows how important it is to give your brain plenty of exercise.

Physically it is also a workout.
All Bach pieces are hugely demanding of both the left and right hands.
Fortunately right and left hand exercises form part of Robin's daily workout on the guitar anyway.
In fact the pianist Andras Schiff has said that any time spent in the company of J.S.Bach is never wasted and will always be worthwhile. He also prefers to play Bach than complete technical exercises yet still achieves the same results.
I can understand what he means.

I'm just hoping that all this background Bach that I am hearing will somehow filter through to my brain via some sort of osmosis.
If I could just get to the crossword before him....

Dogged Devotion to J.S.Bach

Sunday morning and Robin is hard at work.
He is in the process of memorising J.S.Bach's Double in B minor from the violin Partita No.1.
Our canine friends', Milly and Coco, (also known as Miss. Bimps) favourite composer is, of course, Bach, but that isn't why they are there.
Whilst Milly is rapt by the music she is also willing Robin to put his guitar away and take her for a walk.
You can see in the mirror that Miss. Bimps is trying to execute the classic pincer movement by attacking simultaneously from both sides.
Ohh, and in a Hitchcockian moment, yes, they are my legs...




You'll be pleased to hear that very shortly after this photo was taken Robin caved into the pressure and took them out.
They are now sleeping it off in the kitchen...

Southampton and the QE2

Robin and his luggage have arrived safely in Southampton and joined the QE2. At least there wasn't a long haul flight to endure, but, merely a short hop down the length of the country.
Mind you, there are plenty of long flights coming up, as he will be visiting some exotic, far flung places, and I'm hoping for some nice photographs. You'll have to keep checking in to find out exactly where he's going.
But for now, he is settling into his room, with a sea view, and I've no doubt, started his guitar practice.
Usually on these trips he performs two 45 minute concerts. But I have had a message to say he'll be doing three this time and the first is tomorrow.
Good job he does have all that music memorised after all...

Robin Hill and Memorisation

Today we have entered the 'twilight zone' where the number of hours in the day seem to be halved and the amount to fit in doubled.
Yes, it's that time again, Robin is setting off on his travels tomorrow.
I did take time out to read an article in The Guardian, 'All in the Mind', by pianist Susan Tomes.
Tomes discusses the art of memorising music and the strains that this puts on musicians. It's worth a read, there are lots of good points.
She states that, 'many musicians find it so stressful that they play less naturally than they would with the score.'
Also, that, 'memorising music is more complex than memorising words and the challenge is multidimensional for those who also have to play instruments.'

I wouldn't dispute that, but it isn't the case for all musicians. However, I can only talk about Robin's view on memorising music.
For him, it is a part of the process of learning and understanding the piece, and he would never perform any music until he felt that process was complete.
Robin likens it to actors on the stage. You wouldn't expect them to walk around still holding onto their script. They only get up on stage to perform once they have immersed themselves in the part.
The same applies to music.
However, at the beginning of his career, he did have music on stage with him, but rarely looked at it, mainly because he usually plays with his eyes shut. In fact, quite often the music on the stand wasn't even the piece he was currently performing. He would literally forget to turn the pages.
The issue was that it was there. A crutch to lean on.

Over time he realised that not only was it redundant, but was also obscuring the view for most of the audience. Even if the music stand is put slightly to the side, someone won't be able to see very well.
So, many years ago, he took the brave decision to perform without music, and he still maintains it is a liberating experience. All his attention goes on interpretation, the notes are already there.
Frequently members of an audience will comment that they have just observed him perform for an hour and a half, without the aid of music, and are amazed that so much information can be stored in the mind. It seems to make the concert experience special for all concerned.

Robin does actually have many hours of music memorised to call upon when required, a combination of physical, audio and sensory memory.

However, he does still take music with him when he travels. Not just new pieces he is working on, but, also ones that will be performed in that concert. He hasn't quite shaken off the crutch altogether, even if it doesn't actually make it out of the suitcase.
Speaking of which, there's a pile of music to make space for in the case I'm just packing....