2/28/2023 0 Comments Classical guitar shed review![]() Supporting this, a small study by Langer had novices playing a C major scale. Since he advocates breaking the song into very small parts, establishing the overall intent first works to prevent learning a series of perfect parts that never cohere into a whole. This will add tons of time to your overall process (or you will just never get it quite right).’ An important element of Mathews here, paralleled by Viloteau, is that he recommends exploring your interpretation of the song as a whole before you even touch the instrument. ‘If you skip this step, chances are that most of the practicing you do will be full of mistakes and have to be re-learned. Mathews presents it as a self-test as well: if you can’t do this, you don’t know the rhythm yet. I wonder if part of the value of this step is motivational while getting the time right is critical, doing it this way also allows an early victory. The physical engagement feeds back into phrasing and dynamics, a way to test different interpretations purely on a rhythmic basis, without the ‘distraction’ of melodic/harmonic movement. In both instances, full physical engagement is called for. In To hear ourselves as others hear us the recommendation is to dance to the song. Mathews adds a 3b: decide the dynamics and phrasing here. ‘… before we even start to play the notes, we want to make sure that we know exactly what we are doing rhythmically.’ The echoes Kappel, above, that rhythm is the most fundamental element of music. (I was not taught it.) Mathews insists it’s essential. No other author mentions this as a technique. The essence of this step is to understand what the song (as represented in the score), and you as the player, intend. For example, if you recognize a chord progression, then you already know the harmonic structure and direction and there’s much less that needs to be learned for the specific song. In other places Mathews writes about understanding underlying melodic and harmonic structures, so I interpret this as going as far as currently possible in one’s understanding. However, Viloteau echoes it in more depth, e.g., music theory, concepts like opposing motion, &c. The way Mathews writes this section seems oriented toward less-experienced musicians.
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