Earlier in the week Robin performed at our youngest son's school.
This was all part of an excellent scheme, 'Parents at work week', when parents of the school are asked to talk to either a class, year group or the whole school, about their work.
As you can imagine this proves a popular and interesting diversion for the children.
The letter mentioning the project arrived whilst Robin was away on a lengthy trip, so I took the executive decision to put his name forward, to perform for the whole school.
After all, Robin is always keen to talk to children about music and to demonstrate the guitar. Here are three previous posts related to promoting classical music to children: 'The Halle Orchestra, Sarah Connolly and a Meeting with Mark Elder', 'Return to Islay and the need to Promote Classical Music', and 'Arrival in Peru and the Liverpool Philharmonic'.
He is also very aware that sometimes this may be their first experience of classical music, so it's a role he takes seriously.
Plus, he did the same for the eldest son a few years ago...
The fact that the audiences ages ranged for 4-7 years didn't stop Robin treating it like any other concert, albeit a short one.
He prepared in the same way he would for for any concert.
He also gave a great deal of thought to the programme.
He wanted to demonstrate to the children the versatility of the guitar and allow a little time to talk to them about each piece.
All 200 children were seated in the hall when Robin appeared from the music room where he had been warming his fingers up with some scales and arpeggios.
He started by asking them what the instrument was he was holding.
Thankfully they all knew it was a guitar, except for one child who thought it might be a large violin...
However they didn't know the term classical or Spanish guitar. This gave Robin the opportunity to briefly talk about the origins of the guitar in Spain and led nicely into the introduction for the lively flamenco dance, Malaguena.
They loved it and I think many were surprised by the sheer power of Robin's guitar in the large hall.
After some enthusiastic cheering Robin decided to play them a piece in a very different style, and explained that this was an Italian Renaissance Lute piece, over 500 years old.
This beautiful 'Preludio' was also very well received and paved the way for the next item which was the prelude from the first Cello Suite by Johann Sebastian Bach. Robin explained that Bach was born in 1685, which was a very good year for composers, as small children, and in fact adults, like this sort of detail.
One thing Robin has realised over the years, is that when performing to children, one shouldn't underestimate them. Maybe consider the length of pieces played, but not the content.
Children are ripe for inspiring, and introducing them to what could potentially be a lifetimes enjoyment of music, is a heavy responsibility.
All children need to be given the chance to at least try.
After the Bach it was time to demonstrate the guitar's versatility even further.
A bit of rock and roll.
A basic rock shuffle and then, naturally, a little Deep Purple, with 'Smoke on the Water'.
Initially Robin showed them how an electric guitarist would play it, as if he was using a plectrum, then as a classical guitarist, plucking strings individually and introducing a bass line.
Cheers and shouts followed.
As time was rapidly passing there was a quick demonstration of some film music, with the Pink Panther...which they all recognised.
Then a little discussion on the great art of the tremelo.
An ideal way to show this difficult technique is through the piece, 'Recuerdos de la Alhambra'.
Many people often think that it is two guitars playing, but in fact it is one, with the bass line accompanying the melody on top.
Robin started by showing the children, firstly very slowly and then faster and faster until he reached the desired tempo.
Finally it was time to call upon the duties of son number two.
He had been waiting patiently amongst the audience for his stage debut as engineer.
Robin asked if the children knew that a guitar could play with an orchestra.
They either didn't know or weren't prepared to say...
So Robin was able to tell them that he had an entire orchestra here in his computer, which doesn't replace a real orchestra but that would give them an idea of just how fantastic guitar and orchestra can be.
The 'Adagio' for Rodrigo's 'Concierto de Aranjuez' followed, beautifully executed by both musician and engineer. Given that only one rehearsal had taken place this had been rather a worry.
Obviously we were forgetting that the poor child has heard this piece, pretty much constantly, since before he was born.
Even though the school bell rang in the middle, a hazard of performing in schools, the whole event was much appreciated.
The children love the whole thing and have continued to tell youngest just how fantastic his Dad is, ever since. Gaining extra kudos in the playground has been a nice little extra.
The teachers also enjoyed it and the head mistress said she wished they could end every school day listening to such beautiful music.
It's so important to allow our children to hear music of all styles, and to give these children the opportunity to see a musician live is a chance that schools should take when offered.
There isn't a better way to stimulate interest and inspire these young minds.
Since then, many parents have approached me to say how much their child had enjoyed the music and a few have said their child now wants to learn the guitar.
One poor parent however was dismayed.
His children had gone home and told him just how much they had enjoyed hearing Robin play and how this was going to be a hard act to follow.
Given that they are the children of the senior school headmaster, and he was scheduled to speak later in the week, it did make me smile.
Showing posts with label tremelo. Show all posts
Showing posts with label tremelo. Show all posts
Saturday, February 27, 2010
Wednesday, February 06, 2008
'The Incredible Lightness of Being' - Robin Hill
'The Incredible Lightness of Being', which is track 8 on, 'Robin Hill's Eklectica', was composed by Robin, specifically for the quartet.
The piece begins with a solo guitar introduction and a fine example of the tremelo technique, which is fluent and rhythmic, setting the tone for the whole piece.
After the introduction there is a change of tempo, commencing with the guitar, which plays a demanding and energetic semiquaver sequence, 'moto perpetuo', which continues throughout the rest of the piece.
Gradually the other instruments are introduced, starting with the piano.
As the marimba joins in I'm afraid the extract then stops, but the piece goes on to culminate with all four musicians playing together.
I have always found this piece very intriguing.
It draws the listener in and mesmerises with it's constantly evolving repetition in a very satisfying way.
An ideal piece of music to sit back, close your eyes, and let the music take you wherever you want to go.
It often reminds me of timelapse photography of city life, where the sound of traffic and people going about their busy lives is removed, and replaced with this much calmer and hypnotic soundtrack.
Listen for yourself and come up with your own conclusions.
Meanwhile here at Hillhouse, Robin is enjoying his time at home, whilst preparing for his next trip.
Today his mission was connected with school.
Son number two has been enjoying animal/wildlife week.
Whilst Robin was away a letter was sent home asking if any parent would like to take a pet in to show to the children.
I volunteered Robin, and then let hom know, by email.
Today was the day.
He got up early to take Miss.Bimps (our chocolate labrador) out for a run in the hopes that it would take the edge off her enthusiasm.
Son number two was very excited.
Off they went.
It was a huge success. The class of 4 and 5 year olds loved her, and, she was very well behaved.
The most amusing part in these situations are always the questions session.
There were the usual, "How many walks does she have?", "Why Miss.Bimps?" (see other entries on Mozart's dog...), but most amusing, "How many dogs are there in the universe?"
To which Robin replied he didn't know, and one small boy added, "I think there's about 100."
Robin was so pleased he was here to carry out this parental responsibility. One of those occasions that would have been very sad for all concerned if he had missed it.
The piece begins with a solo guitar introduction and a fine example of the tremelo technique, which is fluent and rhythmic, setting the tone for the whole piece.
After the introduction there is a change of tempo, commencing with the guitar, which plays a demanding and energetic semiquaver sequence, 'moto perpetuo', which continues throughout the rest of the piece.
Gradually the other instruments are introduced, starting with the piano.
As the marimba joins in I'm afraid the extract then stops, but the piece goes on to culminate with all four musicians playing together.
I have always found this piece very intriguing.
It draws the listener in and mesmerises with it's constantly evolving repetition in a very satisfying way.
An ideal piece of music to sit back, close your eyes, and let the music take you wherever you want to go.
It often reminds me of timelapse photography of city life, where the sound of traffic and people going about their busy lives is removed, and replaced with this much calmer and hypnotic soundtrack.
Listen for yourself and come up with your own conclusions.
Meanwhile here at Hillhouse, Robin is enjoying his time at home, whilst preparing for his next trip.
Today his mission was connected with school.
Son number two has been enjoying animal/wildlife week.
Whilst Robin was away a letter was sent home asking if any parent would like to take a pet in to show to the children.
I volunteered Robin, and then let hom know, by email.
Today was the day.
He got up early to take Miss.Bimps (our chocolate labrador) out for a run in the hopes that it would take the edge off her enthusiasm.
Son number two was very excited.
Off they went.
It was a huge success. The class of 4 and 5 year olds loved her, and, she was very well behaved.
The most amusing part in these situations are always the questions session.
There were the usual, "How many walks does she have?", "Why Miss.Bimps?" (see other entries on Mozart's dog...), but most amusing, "How many dogs are there in the universe?"
To which Robin replied he didn't know, and one small boy added, "I think there's about 100."
Robin was so pleased he was here to carry out this parental responsibility. One of those occasions that would have been very sad for all concerned if he had missed it.
Monday, December 03, 2007
Robin Hill and 'Recuerdos de la Alhambra'
'Recuerdos de la Alhambra' is the 18th track on 'Virtuoso' and was composed by Francisco Tarrega (1852-1909).
Tarrega was born in Villarreal, Spain, but as a child had an accident, fell into an irrigation channel and permanently damaged his eyes.
His parents were concerned that he may loose his sight completely, so, they moved to Castellon, so that Francisco could take music lessons and would therefore be able to work as a musician if he did go blind.
Thankfully he didn't lose his sight but he did become a highly influential musician.
When Tarrega began his studies on the guitar, the instrument was at a low ebb throughout Europe, overshadowed by the louder and more resonant piano.
So Tarrega's father insisted he learn both instruments, in which he quickly became accomplished, in order to keep his options open.
It was in 1869 when Tarrega acquired an unusually loud and resonant guitar, made by Antonio Torres, the famous luthier, that Tarrega was able to prepare the way for the rebirth of the guitar in the 20th Century.
Tarrega transcribed many works for guitar by Spanish composers Albeniz and Granados, along with adapting movements from Beethoven's piano sonatas and many preludes of Chopin.
In all, Tarrega composed approximately 78 original works and 120 transcriptions for solo guitar, along with 21 transcriptions for two guitars. He also composed many varied and extremely taxing exercises which have tormented generations of guitarists ever since but which are extremely effective in the development of technique.
Recuerdos de la Alhambra was composed around the turn of the century. The theme was conceived on a visit to Grenada and the music is evocative of the famous Moorish palace there.
The piece is a tremelo study which requires great technical ability. To maintain a fluent and smooth tremelo, whilst executing clear accompanying notes, and also conveying the emotion of the piece, is not an easy task.
Robin is often asked if his hands ache after playing a piece like this. But years of right and left hand exercises have ensured he is quite able to maintain the tremelo for the required 3 minutes and 16 seconds on this recording. In fact, just like any athlete, the training is all important, so when it comes to the event itself, you really don't consider finger fatigue!
Tarrega was born in Villarreal, Spain, but as a child had an accident, fell into an irrigation channel and permanently damaged his eyes.
His parents were concerned that he may loose his sight completely, so, they moved to Castellon, so that Francisco could take music lessons and would therefore be able to work as a musician if he did go blind.
Thankfully he didn't lose his sight but he did become a highly influential musician.
When Tarrega began his studies on the guitar, the instrument was at a low ebb throughout Europe, overshadowed by the louder and more resonant piano.
So Tarrega's father insisted he learn both instruments, in which he quickly became accomplished, in order to keep his options open.
It was in 1869 when Tarrega acquired an unusually loud and resonant guitar, made by Antonio Torres, the famous luthier, that Tarrega was able to prepare the way for the rebirth of the guitar in the 20th Century.
Tarrega transcribed many works for guitar by Spanish composers Albeniz and Granados, along with adapting movements from Beethoven's piano sonatas and many preludes of Chopin.
In all, Tarrega composed approximately 78 original works and 120 transcriptions for solo guitar, along with 21 transcriptions for two guitars. He also composed many varied and extremely taxing exercises which have tormented generations of guitarists ever since but which are extremely effective in the development of technique.
Recuerdos de la Alhambra was composed around the turn of the century. The theme was conceived on a visit to Grenada and the music is evocative of the famous Moorish palace there.
The piece is a tremelo study which requires great technical ability. To maintain a fluent and smooth tremelo, whilst executing clear accompanying notes, and also conveying the emotion of the piece, is not an easy task.
Robin is often asked if his hands ache after playing a piece like this. But years of right and left hand exercises have ensured he is quite able to maintain the tremelo for the required 3 minutes and 16 seconds on this recording. In fact, just like any athlete, the training is all important, so when it comes to the event itself, you really don't consider finger fatigue!
Thursday, November 15, 2007
Track 1: Malaguena and 'Classical Star'
So, here we have the first in the series of liner notes for 'Virtuoso'.
The track is 'Malaguena'.
The word Malaguena can mean many things, literally it's meaning is 'A woman living in the Spanish port city of Malaga'.
However, it is also commonly used in the music world as being 'a traditional flamenco song of Malaga'.
In this case, Malaguena is a traditional, fast and exuberant flamenco style piece, which has evolved from the sevillana and the fandango.
Originally Malaguenas were sung and played at high speed, with rhythmic patterns in 6/8 time, to accompany dance.
However, towards the end of the 19th Century the Malaguena developed further incorporating more from 'real' flamenco.
The music was slowed down, and the melody enriched with flourishes and ornaments, as the number of performers was reduced to a single guitar.
Virtuoso techniques were gradually incorporated, such as the rapid arpeggio, scales and the tremolo, which then created a much more varied palette.
Whilst the Malaguena had always derived from local fandangos, with regional variations, it was the guitar that allowed for the independence of the malaguena from the fandango, due to the changes in character of the playing with solo guitar and an ability to produce a sharper and richer sound.
For this recording, Robin decided to start the CD with Malaguena as the idea was to market to a wide range of audience, and this particular piece is always popular in concert. Most people instantly recognise the main theme, and it's always good to start with something very exciting and , at the same time, familiar!
The main theme is stated in the bass which is then followed by a rapid variation section and the theme is then repeated with an accompanying tremelo in the treble. The piece then modulates from E major to C major maintaining the tremelo. A slow expressive section in C major ensues..this section being reminiscent of the canto libre style....a rapid scale flourish re-introduces the main theme and the first section is then repeated.
So I hope that you enjoy it!
On another subject, yes, we did watch 'Classical Star' last night, and I did make it through the whole day without finding out who had won!
It was exciting to watch and nerve wracking waiting to hear the final results.
At the risk of sounding too politically correct, I do think they all did very well.
The stress of performing a concerto is something most people will never experience. There's a huge pressure to get it right and the thrill of an orchestra playing behind you is incredible.
Sophie did very well with an incredibly difficult piece, and it will be interesting to see how her career develops now that she has won the competition.
Karen took the bassoon onto another level. Whatever the outcome of the competition, she has done herself and her chosen instrument an huge favour. I'm sure we will be hearing more of her in the future.
Ian, well, I'm not surprised that he didn't win, but he was up against some very strong competition.
He also has youth on his side and I feel that he can, and will, improve his interpretive skills as he matures. As I have already said, technically he is very good, but he needs to learn to add more soul and emotion. Even in the brief clips we saw and heard on the programme his improvement was evident.
'Concierto de Aranjuez' is a formidable piece for any guitarist to undertake. It is deceptively difficult throughout all three movements.
I always remember watching a video of Julian Bream performing the piece and he can clearly be seen to mouth the words, "It's a bugger", to the conductor!
From personal experience, Robin first performed the concerto with the Liverpool Philharmonic Orchestra, with the conductor, Carl Davis. He had a couple of months to prepare the piece and practised it so much that our young son used to sing the main theme in his cot as he went to sleep!
No guitarist takes this piece for granted and we discussed it with Paco Pena, who was on the same programme.
Robin asked him if he would contemplate recording it, as Paco de Lucia had just recorded and performed it, and Paco's reply was that he may do one day but would need at least a year to prepare.
So, it was a very brave move to play this piece, however an understandable one. It is by far, and quite desevedly, the most well known classical guitar concerto.
'Star' quality also incorporates an artists ability to communicate with the audience, and Ian certainly seemed able to do that. His comments about tuning the guitar could have come from an 'old' pro!
So to sum up, Ian did very well given his age and I'm sure we will hear more of him as he develops as a person and as a player.
As for the programme itself, well, the classical music world is full of competitions, and all the stresses, strains and tears that go along with them.
At least on this occasion the criticisms were always constructive and delivered in a positive way, and I'm sure that all the participants have therefore benefited from the experience.
Also, the exposure of classical music on mainstream T.V. can only be a good thing. If there's another series, it would be nice to hear longer extracts, or even whole performances, so that those of us at home can evaluate each student, rather than basing our decisions on edited highlights.
The track is 'Malaguena'.
The word Malaguena can mean many things, literally it's meaning is 'A woman living in the Spanish port city of Malaga'.
However, it is also commonly used in the music world as being 'a traditional flamenco song of Malaga'.
In this case, Malaguena is a traditional, fast and exuberant flamenco style piece, which has evolved from the sevillana and the fandango.
Originally Malaguenas were sung and played at high speed, with rhythmic patterns in 6/8 time, to accompany dance.
However, towards the end of the 19th Century the Malaguena developed further incorporating more from 'real' flamenco.
The music was slowed down, and the melody enriched with flourishes and ornaments, as the number of performers was reduced to a single guitar.
Virtuoso techniques were gradually incorporated, such as the rapid arpeggio, scales and the tremolo, which then created a much more varied palette.
Whilst the Malaguena had always derived from local fandangos, with regional variations, it was the guitar that allowed for the independence of the malaguena from the fandango, due to the changes in character of the playing with solo guitar and an ability to produce a sharper and richer sound.
For this recording, Robin decided to start the CD with Malaguena as the idea was to market to a wide range of audience, and this particular piece is always popular in concert. Most people instantly recognise the main theme, and it's always good to start with something very exciting and , at the same time, familiar!
The main theme is stated in the bass which is then followed by a rapid variation section and the theme is then repeated with an accompanying tremelo in the treble. The piece then modulates from E major to C major maintaining the tremelo. A slow expressive section in C major ensues..this section being reminiscent of the canto libre style....a rapid scale flourish re-introduces the main theme and the first section is then repeated.
So I hope that you enjoy it!
On another subject, yes, we did watch 'Classical Star' last night, and I did make it through the whole day without finding out who had won!
It was exciting to watch and nerve wracking waiting to hear the final results.
At the risk of sounding too politically correct, I do think they all did very well.
The stress of performing a concerto is something most people will never experience. There's a huge pressure to get it right and the thrill of an orchestra playing behind you is incredible.
Sophie did very well with an incredibly difficult piece, and it will be interesting to see how her career develops now that she has won the competition.
Karen took the bassoon onto another level. Whatever the outcome of the competition, she has done herself and her chosen instrument an huge favour. I'm sure we will be hearing more of her in the future.
Ian, well, I'm not surprised that he didn't win, but he was up against some very strong competition.
He also has youth on his side and I feel that he can, and will, improve his interpretive skills as he matures. As I have already said, technically he is very good, but he needs to learn to add more soul and emotion. Even in the brief clips we saw and heard on the programme his improvement was evident.
'Concierto de Aranjuez' is a formidable piece for any guitarist to undertake. It is deceptively difficult throughout all three movements.
I always remember watching a video of Julian Bream performing the piece and he can clearly be seen to mouth the words, "It's a bugger", to the conductor!
From personal experience, Robin first performed the concerto with the Liverpool Philharmonic Orchestra, with the conductor, Carl Davis. He had a couple of months to prepare the piece and practised it so much that our young son used to sing the main theme in his cot as he went to sleep!
No guitarist takes this piece for granted and we discussed it with Paco Pena, who was on the same programme.
Robin asked him if he would contemplate recording it, as Paco de Lucia had just recorded and performed it, and Paco's reply was that he may do one day but would need at least a year to prepare.
So, it was a very brave move to play this piece, however an understandable one. It is by far, and quite desevedly, the most well known classical guitar concerto.
'Star' quality also incorporates an artists ability to communicate with the audience, and Ian certainly seemed able to do that. His comments about tuning the guitar could have come from an 'old' pro!
So to sum up, Ian did very well given his age and I'm sure we will hear more of him as he develops as a person and as a player.
As for the programme itself, well, the classical music world is full of competitions, and all the stresses, strains and tears that go along with them.
At least on this occasion the criticisms were always constructive and delivered in a positive way, and I'm sure that all the participants have therefore benefited from the experience.
Also, the exposure of classical music on mainstream T.V. can only be a good thing. If there's another series, it would be nice to hear longer extracts, or even whole performances, so that those of us at home can evaluate each student, rather than basing our decisions on edited highlights.
Wednesday, June 20, 2007
The Many and Varied Uses of Savarez Guitar Strings...
After the technical blog yesterday, about the tremelo technique, I thought we would have a light hearted approach today. Don't worry though, there a plenty of exciting things coming up, including some video footage.
As you can imagine, we get through a large amount of guitar strings, in this house.
Robin uses Savarez, Corum, strings, and as I've said before, regularly changes them.
The bass strings will certainly be changed before every concert, and in between as well. The treble strings, less frequently, but they never stay on longer than a couple of weeks or so.
But what happens to them......
Where do they all go.....
Well, on the whole, you can open any drawer in our house, and a curling mass of strings spill out, and try to escape.
They are unceremoniously returned, and the drawer shut quickly, to prevent any further spillage.
They are also frequently found wound around my vacuum cleaner, with me beside it, patiently 'unwinding'...
But there is an upside.
Robin is not known for his DIY skills, (not a good hobby for someone who relies on his hands to make a living), but he does have to occasionally 'fix' items around the house.
This ALWAYS involves an old guitar string.
The most useful attempt was on our toilet.
For more than 10 years a 'G' string allowed the smooth flushing system to work by holding the ballcock to the lever. It only had to be changed once in that time, and we were quite sad when we had a new bathroom fitted, and returned to a more conventional method of plumbing.
Other uses have been, threading through the locks of a suitcase broken in transit, holding down the bonnet of a car, tying on the bumper of a car, (different cars and only temporary repairs...), attaching bird feeders around the garden and very handy for travellers, to attach to plugs in hotels when the chain has broken.
One of the most ingenious uses was to retrieve some car keys, from the ignition of our locked vechicle, with the aid of coat hangers and a sort of 'noose system'.
But one of the most satisfying, was the repair of these glasses.
Son number two likes to transmogrify into a character, he refers to as 'Mr.Snug', whilst wearing these glasses.
He was therefore devastated to find the 'nose' had fallen off. Not to worry, 'Savarez' saved the day.
Ohh, they are also excellent play things for cats. Our cat Ramsbottom spends many hours chasing them around the house before they get relocated to a drawer, toilet, car, glasses etc.
But don't forget, this is only once they have played many thousands of notes....
As you can imagine, we get through a large amount of guitar strings, in this house.
Robin uses Savarez, Corum, strings, and as I've said before, regularly changes them.
The bass strings will certainly be changed before every concert, and in between as well. The treble strings, less frequently, but they never stay on longer than a couple of weeks or so.
But what happens to them......
Where do they all go.....
Well, on the whole, you can open any drawer in our house, and a curling mass of strings spill out, and try to escape.
They are unceremoniously returned, and the drawer shut quickly, to prevent any further spillage.
They are also frequently found wound around my vacuum cleaner, with me beside it, patiently 'unwinding'...
But there is an upside.
Robin is not known for his DIY skills, (not a good hobby for someone who relies on his hands to make a living), but he does have to occasionally 'fix' items around the house.
This ALWAYS involves an old guitar string.
The most useful attempt was on our toilet.
For more than 10 years a 'G' string allowed the smooth flushing system to work by holding the ballcock to the lever. It only had to be changed once in that time, and we were quite sad when we had a new bathroom fitted, and returned to a more conventional method of plumbing.
Other uses have been, threading through the locks of a suitcase broken in transit, holding down the bonnet of a car, tying on the bumper of a car, (different cars and only temporary repairs...), attaching bird feeders around the garden and very handy for travellers, to attach to plugs in hotels when the chain has broken.
One of the most ingenious uses was to retrieve some car keys, from the ignition of our locked vechicle, with the aid of coat hangers and a sort of 'noose system'.
But one of the most satisfying, was the repair of these glasses.
Son number two likes to transmogrify into a character, he refers to as 'Mr.Snug', whilst wearing these glasses.
He was therefore devastated to find the 'nose' had fallen off. Not to worry, 'Savarez' saved the day.
Ohh, they are also excellent play things for cats. Our cat Ramsbottom spends many hours chasing them around the house before they get relocated to a drawer, toilet, car, glasses etc.
But don't forget, this is only once they have played many thousands of notes....
Tuesday, June 19, 2007
Neumann microphones and the Art of the Tremelo
All is going well in the recording department.
The microphone we finally settled on is a Neumann.
The reason for this, is that it is the only microphone we have tried, which is able to capture the full natural sound of the guitar without losing any quality.
A problem we had with all the other microphones we tried, was that, although the bass strings recorded well, the treble strings had a 'metallic' sound, which wasn't doing Robin's fabulous Miguel Rodriguez guitar justice.
Not so with the Neumann.
Having reported on the testing process the other day, and all 109 takes, the final test was to shut Robin in his music room, with guitar and also freshly recorded piece, then the rest of the family stood outside, listened, and tried to identify whether it was live or recorded.
The Neumann passed the test, and the children think we've gone mad....
Robin isn't one to make life easy for himself.
His first chosen piece is, 'Una Limosna por el Amor de Dios' by Agustin Barrios, which translated means, 'An Alm for the Love of God'.
This, and 'Recuerdos de la Alhambra' by Francisco Tarrega, are probably the two most famous 'tremelo' pieces which, as well as making huge demands on the right hand, are also very tricky in the left hand.
The tremelo is one of the most difficult effects and techniques to master on the guitar, as it relies on the rapidity of execution between the thumb, anular, middle and index fingers, p,a,m,i, of the right hand, for the 'classical tremelo', and for the 'flamenco tremelo', which has five notes, the fingering is, p,i,a,m,i.
It's made all the more difficult in the aforementioned examples as they constantly change from top string to inner strings for the tremelo notes while the right hand thumb provides the arpeggiated accompaniment.
The left hand , particularly in the Barrios, has many awkward stretches and hardly ever repeats itself. The tremelo is such an impressive technique that, when Robin introduces a piece in concert, involving the tremelo, he now gives a demonstration of how it works, very slowly initially, and then, at full speed.
Audiences love it.
Fortunately Robin is well prepared.
When he wrote 'The Guitar Gymnasium', (or see my links section for Amazon UK and USA), the right hand exercises were written with the intention of developing and strengthening the independence of the right hand fingers, for just this reason, alongside the Tarrega exercises, which are also in the book.
So Robin is now able to record, listen, learn, then re-record until he is satisfied.
As Glenn Gould said, "The tape recorder is the finest teacher."
The microphone we finally settled on is a Neumann.
The reason for this, is that it is the only microphone we have tried, which is able to capture the full natural sound of the guitar without losing any quality.
A problem we had with all the other microphones we tried, was that, although the bass strings recorded well, the treble strings had a 'metallic' sound, which wasn't doing Robin's fabulous Miguel Rodriguez guitar justice.
Not so with the Neumann.
Having reported on the testing process the other day, and all 109 takes, the final test was to shut Robin in his music room, with guitar and also freshly recorded piece, then the rest of the family stood outside, listened, and tried to identify whether it was live or recorded.
The Neumann passed the test, and the children think we've gone mad....
Robin isn't one to make life easy for himself.
His first chosen piece is, 'Una Limosna por el Amor de Dios' by Agustin Barrios, which translated means, 'An Alm for the Love of God'.
This, and 'Recuerdos de la Alhambra' by Francisco Tarrega, are probably the two most famous 'tremelo' pieces which, as well as making huge demands on the right hand, are also very tricky in the left hand.
The tremelo is one of the most difficult effects and techniques to master on the guitar, as it relies on the rapidity of execution between the thumb, anular, middle and index fingers, p,a,m,i, of the right hand, for the 'classical tremelo', and for the 'flamenco tremelo', which has five notes, the fingering is, p,i,a,m,i.
It's made all the more difficult in the aforementioned examples as they constantly change from top string to inner strings for the tremelo notes while the right hand thumb provides the arpeggiated accompaniment.
The left hand , particularly in the Barrios, has many awkward stretches and hardly ever repeats itself. The tremelo is such an impressive technique that, when Robin introduces a piece in concert, involving the tremelo, he now gives a demonstration of how it works, very slowly initially, and then, at full speed.
Audiences love it.
Fortunately Robin is well prepared.
When he wrote 'The Guitar Gymnasium', (or see my links section for Amazon UK and USA), the right hand exercises were written with the intention of developing and strengthening the independence of the right hand fingers, for just this reason, alongside the Tarrega exercises, which are also in the book.
So Robin is now able to record, listen, learn, then re-record until he is satisfied.
As Glenn Gould said, "The tape recorder is the finest teacher."
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