Guitar News

Question: How proficient should I be at a piece before I continue to the next one? For a bit more context on this question, the actual question asked was: When using your method books without an instructor, how proficient should I try to be with the pieces in a lesson before I continue on to the next lesson?

The answer to this question has a number of variables based on the level of the student and the repertoire. Let me explore the variables and give some practical tips to help you. Here’s the YouTube link if you want to watch it there.

Accepting Mistakes Based on the Level of the Student

With beginner students in my Volume 1 and 2 method books, I don’t worry too much about mistakes as long as their sitting and hand positions are healthy and on the right track and they are playing musically. The more advanced the student is, the more I will start to require less mistakes in their playing. 

There are exceptions. If a student, regardless of level, makes a mistake in the same spot in the music every time they play it, I fully examine the cause. If you are self-learning, I highly recommend you do the same. For example, if you make a mistake every time the 4th finger is used, that is a mistake that must be corrected and examined to discover the root cause. In contrast, if a beginner student is making a few random mistakes due to the multitasking nature of music, that is more acceptable. 

The Number of Mistakes

Making one or two mistakes in a piece is fine but make constant mistakes indicates that the skill level of the music is overpowering the skills of the student.  Adjustments to both the level of the repertoire and the skills of the student must be made.

Tempo Considerations

As with mistakes, I don’t worry too much about a student’s tempo at the beginner level. At whatever tempo they can play the music well is perfectly fine. As the student becomes more advanced, I consider tempo more and more. Especially at the grade 4-6 range where I really want to start refining skills and examining any issues getting in the way of reaching desired tempos.

So, when to move from one piece to the next?  

When a piece can be played with a reasonable amount of confidence, at a comfortable tempo, with not too many random mistakes, it is likely time to move on to the next. Again, if the mistakes are occurring in the same spot each time, more examination into the cause is needed before moving forward. That said, pieces within each of my books are usually around the same level but have different textures and compositional styles so it’s not exactly true that each one is more difficult. They are just different and require new skills.  

Also, I rarely have the student stop playing the piece altogether after moving on. They will likely continue to play the previous piece as they start learning the next. In fact, I usually review all the pieces in a book with my student as they progress onward. On rare occasions I might have students leave a piece outright if I think too many bad habits have formed and the psychological outlook is negative. Then a fresh start with a similar piece might be needed but this is rare in my studio where I’m keeping a close watch on the student.

Do you have a teacher? 

Students studying with a teacher have it a bit easier. The teacher can decide if the student has reached their maximum potential with a work, or if an educational objective has been met. That said, most self-study students will know if they are comfortable and proficient with a work. They can sometimes be too easy or too hard on themselves but the above indications can still be observed. 

Performance Considerations

If a student is planning to perform the piece a much longer process of development is often needed and requires many trial and error mini-performances to work out what will be best for the piece in performance. 

Advanced Students

If a student is more advanced, let’s say grade 6 and above, the issue of refinement and technique proficiency is much more important. Ideally, students would be perfectly balanced in their skills up to this point but I have rarely if ever seen this to be the case. It’s kind of just a part of being human. Therefore, specific refinement in certain areas need to be concentrated on and practiced either with the piece or through technique and “cross-contamination” pieces. As in, there will be much practice and work to be done outside of the piece at hand. An array of technique exercises might be needed to improve a skill, more pieces with a similar texture at lower levels might be needed to raise musical skills.

Don’t Worry

You should regularly review pieces and not just move from one to the next. Therefore, you don’t have to completely done with one piece in order to start the next. You just want the overwhelming number of tasks to be reduced so you can practice proficiently without dedicating all your time to one piece. 

Questions & Support

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The post When Should I Move on to the Next Piece of Music? first appeared on This is Classical Guitar.

Hao Yang performs Music of Memory by Nicholas Maw (1935-2009). This comes via Guitars International via their YouTube channel with video and recording by Drew Henderson. Absolutely amazing performance by Hao Yang who continues to impress with a shocking combination of technique virtuosity and beautiful musical phrasing. This level of technique mastery along with expressive musicality feels like something very new in the guitar world. You can check out the other videos of Yang on the site where she is equally at home with contrasting repertoire.

You can get the score via Faber where they give this description of the work:

The work’s title, ‘Music of Memory’, refers to the long-term memory of a golden age (and the corresponding hope that it can continue to nourish our own art) represented by the Mendelssohn; the short-term ‘memory’ of an original that lies behind the variation form; and the use of the different kinds of memory-related techniques and materials during the work – ‘guitar sounds’ typical of the instrument and its repertoire, and the ‘memory recalls’ of the coda.

The post Hao Yang Plays Music of Memory by Nicholas Maw first appeared on This is Classical Guitar.

Classical guitarist Sam Desmet performs Concerto pour guitare et petit orchestre, Op. 155 by Jean Absil (1893–1974) with the Casco Phil Orchestra, conducted by Benjamin Haemhouts, in Waregem, Belgium. This is a world-premiere performance bringing Jean Absil’s guitar concerto to the stage for the first time. Recorded live in concert. Video via Desmet’s YouTube (go subscribe).

It’s so great to hear this concerto which coincidentally got released while I record Absil’s little works Pièces caractéristiques, Op.123. Absil’s guitar works are very underplayed considering the excellent quality of the works. I’ve been looking at all the available solo and duo works and was delighted to now hear the concerto. As Desmet mentions, “Composed in 1971, yet never performed during Absil’s lifetime or beyond, the concerto—expressive, modernist, and vividly orchestrated—now appears for the first time in its complete form, accompanied by a full-length video release.” Read more info about the concerto here.

Movements:

• 00:00 Allegro energico
• 04:10 Andante cantabile
• 10:58 Allegro moderato

The post Sam Desmet Plays Concerto pour guitare et petit orchestre, Op. 155 by Absil first appeared on This is Classical Guitar.