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!

Pugwash Puganini Hill

We have had a very exciting weekend.
Many months ago son number two was promised a puppy.
He's too young to remember the whole 'puppy' experience and was desperate for his own small furry friend.
Having established that this wasn't just a passing phase we finally relented.
So, here she is, introducing:

Pugwash Puganini Hill




She is a delightful little girl, a cross between a Pug and a West Highland White, therefore known as a Pugland.
Having taken delivery of her on Saturday she has managed to make herself very much at home, and win over all the Hillhouse members, human and furry.

In fact as I type, at a rather unusual angle, she has fallen asleep on my knee.
Fortunately she has a big, confident personality, despite her size, as she has a lot of different noises to get used to.

So far, luckily for us, she is very happy with the sound of the guitar.
There was a momentary hesitation with the violin, but she has now got over that.
And she appears perfectly at ease with the harmonica and the tambourine, (yes, all played regularly here at Hillhouse.)
We haven't subjected her to the drums yet, much too loud for those little ears.

So watch this space.
Traditionally every pet we have ever introduced into our home has had a piece of music composed for them.
Pugwash Puganini will be no exception.
Expect something big.
Although small she is full of character, and her Dad's smitten...

'The Ageless Audience' and Classical Music

Robin is now in Istanbul and settling into the Queen Victoria, which will be home for the next week, and I'm waiting to hear which day will be concert day.

When he does perform his concert, the age of the audience is likely to be, but not exclusively, 40 +.
There are many reasons for this, and it is often an area debated in a very negative way.
So I was very pleased to read a recent report by Diane Haithman in the Los Angeles Times, 'The ageless audience.'

The report challenges the view that the audience for live performing arts is aging, and suggests that this is in fact nothing new.

It's so refreshing to read a more optimistic take on the whole area.
Rather than the doom and gloom of the decline in interest in classical music by the younger generation, it focuses on the more logical issues that prevent younger people attending concerts.
Finance plays a part along with having young children.
When in your 20's you may well choose to spend any available money in a different way, and by your 30's, are often caught up in life with small children.
By your 40's onwards, the situation starts to change, and coincidentally, that is when people tend to start attending classical concerts...

There's also the argument that listening to classical music requires a higher level of concentration, something that is achieved over time, and with more life experience.
It's all there in the report, and is well worth a read.

But we shouldn't sit back and assume that people will naturally move towards classical music as they get older.
They do need to have some early exposure to encourage the transition.
This is one of the reasons why I blog, Twitter and run a MySpace page.
MySpace in particular highlights the need to interact with the younger generation in a way that is familiar to them.
Many of our 'friends' on MySpace are young, electric guitar players, who can see and appreciate the skill required to be a classical player, even though they don't do it themselves.
I have even had messages from some saying they would go and see Robin perform live, as they hadn't before realised how exciting it can be.
All that achieved from just 5 tracks on a MySpace page.

It is also why I have often mentioned the need for more access to classical music on mainstream television.
Then there will be more opportunities for the younger generation to hear and see performances, even if by chance.
A good example of this was the recent 'Maestro' series on BBC 2, which I wrote about here.

A worrying development I recently heard about in the UK, although I've not confirmed this information, is that for GCSE Music you no longer need to be able to read music.
If this is the case then it is absurd, and maybe they should re title it GCSE Music appreciation.
How on earth can you be given a qualification suggesting a certain level of ability has been obtained, if you can't actually read a note of music?

As I mentioned the other day on Twitter, our youngest son, age 6, took his violin into school and played a few pieces.
One of his peers went home and told his mum that our son could read that funny language!
Even at the age of 5/6 children appreciate that 'notes' are indeed another form of communication.

Would you give someone GCSE French if they couldn't speak a word of it?
I hope not.
This is not completely off topic.
The point being that 'early exposure' is vital.
We need to reinforce the importance, and influence, that music can have on our lives at an early age, to give children the chance to discover it in more detail later on.

In the words of G.K.Chesterton:

"Education is simply the soul of society as it passes from one generation to another."

Off Again...

I know that I have neglected the blog in the last few days, but hopefully you have been keeping up to date with Hillhouse proceedings through Twitter.
It has been busy here as Robin arrived home after a month away, but only for three days.
After such a lengthy separation (apart from my 2 hours in Alicante airport...) it is important to spend time together as a family, and simply enjoy a few precious days together.

Robin was amazed at how much son number two had grown in the four weeks since he'd seen him, and even more amazed at the progress he had made on the violin.
Do we have another budding musician in the family?
Only time will tell.
I'm just pleased that his enthusiasm for the instrument continues.

However, all too soon the alarm clock was ringing, and before we knew it we were on the road once again to the airport.

But it wasn't easy.
We had to leave the house by 6.30, as any later and the traffic would have been at a standstill.
We were lucky today.
We got there without any problems, said a quick goodbye, which caused much amusement to some passing air hostesses, and even made it back in time to sit down for half an hour before I had to take the children to school.

Although slightly delayed, Robin arrived at Heathrow along with his luggage, (which is always a relief), was met by a driver, and taken to Southampton.
He has now boarded Cunard's Queen Mary 2 which will be his home for the next 12 days.
Robin now has to prepare for a T.V. interview later today which will be broadcast tomorrow, plus his first concert, which is also tomorrow, the second one being next week.

One things for sure, the life of a musician is never dull!

Hill at Home and the Nigel Kennedy Effect

Robin is home, albeit for only three days.
As he is playing twice in this short time, we are in for a busy weekend.
However, there has been time for him to catch up with all that has been occurring at home in his absence.
One thing in particular caught his attention.
The violin.

Twitter friends will know that son number two has started to learn the violin.
We are in the very early stages, (thank goodness for mutes), but, he is coming on in leaps and bounds.

One thing Robin has always encouraged in his students, and in fact mentions in, 'The Guitar Gymnasium', is to watch and learn from other musicians. Whatever the instrument.
To see a virtuoso performance is a great inspiration and worth a million CDs.

So, Robin was keen to see how our 5 year old had progressed after watching the recording of Nigel Kennedy at The Proms the other day. This is the post I ran about it at the time, 'Nigel Kennedy Proms 2008 - Monocle Poppin' Innit?'

I must say Robin was impressed.
Sound quality and bow control and were all greatly improved.
Enthusiasm and imagination were enhanced with new compositions called, 'Always Love Your Monkey', and 'Land of the Winds', rather atonal and a bit 'far out' for me, but none the less, a musical experience.
This progress was backed up by his teachers words at the end of his last lesson, "More Nigel Kennedy please!"

So yes, at any age, it is so important to go and see musicians play, if possible live, but as we found, just as important to watch on the television if you get the chance.

Amsterdam - Athens and the Dawn Chorus

The end of a busy week is now here.
This culminated in a 3.30am alarm call.
Like any dutiful wife, I got up, made coffee for Robin to ease him into the day, went back to our room to remind him that he was actually the one that needed to get up, then kept out of the way whilst he frantically ran around the house picking up all the things he'd forgotten.

By 4.30 he was on his way to the airport and I was on my way back to bed. (Having very briefly admired the dawn chorus.)

By the time I was awake for the second time, and dealing with a tearful 5 year old, ("I don't want Daddy to go away," were the first cause of tears, closely followed by frustration, as I wouldn't let him play his violin as it was only 7am...) Robin had arrived in Amsterdam, made a quick call to say he was on his connecting flight, and is now on his way to Athens.

Before he left he had a lot to do.
Yesterday was the only day that he and Izzy Cooper could speak about the programme for the concert in August.
Contact was made, musical decisions made, and there is a slight chance that they may 'bump' into each other somewhere in the Mediterranean over the next few weeks, which could prove helpful.
They will however be able to meet up in July to go through the repertoire.
Whilst this may sound very close to the actual concert dates, it's actually quite normal for musicians of this level to carry out most of their practice separately.

Now that Robin has gone off, I can focus on the return of son number one later today.
I'm bracing myself for one exhausted child, most likely filthy and bruised if last year is anything to go by, (gorge jumping being one of the activities...) and a rucksack full of smelly wet clothes.
I think I should go and lie down for a while...

And Now the Violin...

It has been a particularly busy time here.
With Robin only home for a week, and the number of remaining days disappearing rather too quickly, we have a lot to organise.
Alongside his usual preparations for travelling, and normal pre-concert level of practice, Robin is working on the new pieces he will need for the concert with Izzy Cooper in August.
It's very exciting to hear so many samples of incredible music coming from the music room, as Robin works on arrangements.

Alongside this, son number one has gone off for three days at an outdoor pursuit centre, which is always good for increasing parental anxiety...
Meanwhile, son number two has been putting on the pressure for a while now, to learn the violin.
(Incidentally, Robin started his musical career on the violin aged 7, but after a couple of years insisting on playing it like a guitar, it was decided that he should make the change, and the rest, as they say, is show biz history...)

We decided son number two must be serious about this, as he spent the best part of 1/2 term pouring over manuscript paper, and 'composing' his own pieces.
Consequently we have made the ear splitting decision to purchase a violin and see what happens.
So far, he has carried it everywhere with him, performed his 'music' to anyone that sits down for longer than 30 seconds, and taken a bow at the end.
Robin has of course timed this perfectly.
Buy violin for a five year old.
Listen carefully and enthusiastically for a few days.
Then disappear for the best part of the next month and leave me to continue with the encouragement...

Now I'm off to find a teacher.

Hill is Home and Playing Paganini.

It doesn't take long for things to return to normal and the house to be filled with the sound of music.
Robin has been working on, 'Caprice No.24 in A Minor' by Niccolo Paganini.

Paganini was born in Genoa in 1782, and died in Nice, in 1840. At his home in Nice there is a plaque on the wall with the inscription:

'Niccolo Paganini died here, his magic notes still vibrate in the air.'

Very fitting for a musician who contributed so much to music.
Whilst he is best known for his work on violin, it isn't as well known that he was also an accomplished guitarist. In fact he abandoned the violin for a few years to study the guitar, as he, "Loved it for its harmony."

He actually wrote many pieces for guitar, the most substantial being, 'Grand Sonata in A Major', which has an incredibly difficult guitar part and relatively easy violin part. Today, this piece is generally performed on solo guitar.

Paganini often performed with his friend and accompanist, Luigi Legnani, who was a guitar virtuoso and composer.
You can here Robin play Legnani's 'Caprice No.7', here, and it's easy to hear the similarities in Paganini and Legnani's style of composition.

But for now, I'm just enjoying having live music back in the house.
Even if it is accompanied by the question, "Do you prefer this fingering , or this...?"