Featured

Active Practice Techniques to Improve Tremolo, Part 2

Reduction

Playing through the “skeleton” of a tremolo piece helps reduce it in your mind’s ear to the essentials of what is happening on the musical front. Because we spend so much time developing the fluidity, clarity, speed, and all that goes into a beautiful tremolo technique, often our attention is so myopically focused on the minutiae of technique that we ignore the larger question of what a tremolo piece is trying to achieve musically.

There are various ways to mentally condense the way you perceive your pieces to make them seem less daunting. The most tried and true method is to play through them well hundreds of times. But because it takes time to develop the endurance and speed to perform a tremolo piece at tempo comfortably, play through them instead in an abbreviated way, as illustrated below, at faster tempos:

Limosna reduction 1.jpg

Another method, which I have grown to like despite the substandard sonic quality, was recommended by guitarist Philip Hii in his insightful book, Art of Virtuosity. In this method, shown below, ami act as one and pluck at the same time. Think of plucking a chord, but on one string. It won’t sound pretty, but in addition to focusing your attention on the bigger picture, by putting all of your fingers down at once you discover what position will give you access to all the strings in the most efficient way.

Limosna reduction 2.jpg

For more active practice techniques, check out: Mastering Tremolo 

 

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Featured

From the Archives: Miracle Right Hand Warm Up Sequence

Here is a warm up sequence that I used to do every morning. It is useful for building right hand endurance, finger alternation, speed, pulse, rhythm, and legato. The idea behind it is simple. Set the metronome to a very slow beat, somewhere (50-70). Throughout the whole sequence, the beat remains constant but with very slight and precise increments we increase the number of notes between the beats.

I would go through all 13 steps (using free stroke) and then go through the whole thing two more times using different right hand fingerings am and ai. So, that’s 39 steps. I actually would go all the way up to fret 12 (3 cycles) and often would use a diminished 7th chord or some left hand variation to keep it interesting. Vary what you need. As you will notice, I’ve been more detailed in the first 3 steps and little by little have resorted to short hand as the basic sequence becomes evident.

Give it a whirl and let me know what you think.

Step 1

Right Hand Warm Up Sequence 1.jpg

Step 2

Right Hand Warm Up Sequence 2.jpg

Step 3

Right Hand Warm Up Sequence 3.jpg

Step 4

Right Hand Warm Up Sequence 4.jpg

Step 5

Right Hand Warm Up Sequence 5.jpg

Step 6

Right Hand Warm Up Sequence 6.jpg

Step 7

Right Hand Warm Up Sequence 7.jpg

Step 8

Right Hand Warm Up Sequence 8.jpg

Step 9

Right Hand Warm Up Sequence 9.jpg

Step 10

Right Hand Warm Up Sequence 10.jpg

Step 11

Right Hand Warm Up Sequence 11.jpg

Step 12

Right Hand Warm Up Sequence 12.jpg

Step 13

Right Hand Warm Up Sequence 13.jpg

Phew! Go back for more. You know it’s good for you.

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Featured

How to Improve Coordination – Chromatic Octaves

If Mauro Giuliani’s works are in your repertoire, or those of 340px-Mauro_Giulianiany classical period composer, you will know that interval runs of octaves, sixths, and thirds are used to great effect. Think the fourth variation of Giuliani’s Folias Variations (Op. 45) or the grand finale to his 1st Rossiniana (Op. 119)! Interval runs are everywhere in our repertoire and it’s worth studying them either through repertoire or through scale practice.

The two chromatic octave exercises below should get you started. They are useful for warming up, coordinating the hands, independence and opposing movement in the left hand fingers, and can even serve as a vehicle for right-hand development, too. Here are a few ways to focus on them:

  1. Start very slowly and pluck both notes with simultaneously. No rolling!
  2. Keep the wrist relatively still so that the fingers of the left hand are extending and contracting vertically (i.e. often moving in opposite directions from each other).
  3. Keep the left hand fingers soft and close to the fretboard.

Use right-hand fingerings: pipmpapm pipi pm, pa pm, pm papa piand pi pa.

Chromatic Octave.jpg

Once this feels comfortable and in control, explore some variations like the one below.

Use right-hand fingerings: pipmpa, pm pipipm, papm, pmpa, papi, and pipa.

Chromatic Octave 2.jpg

Let me know if you find this helpful. Part 2 coming soon!

 

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Featured

Problem Solving in Pernambuco’s Interrogando

I was working on Joao Pernambuco’s groovy Interrogando with an extremely young and bright student yesterday. Despite his ability to absorb new material at a pace that inspires me, he was having a difficult time making this little part sound fluid.

Interrogando 1.jpg

After a bit of analysis, we agreed that it was due to the lack of clarity in the right hand. So, instead of playing it over and over, which is often default behavior for most students confronting a tricky passage, we decided to break it down and come up with a list of steps to once and for all solve the problem. Here are the steps.

Step 1 – Write out strings.

Interrogando 2.jpg

Writing out the strings as numbers also helps see patterns if you process information better that way (i.e. 5232 5423 1232 ).

Step 2 – Choose the best right hand fingering options. See this post for more about choosing the best options: Conde Claros, Scales, and String-Crossing.

Interrogando 3.jpg

We came up with two solutions. The top one was chosen by the student because his technique was more suited to it. I preferred the second solution given to my preference for aipi instead of amim.

Step 3 – Analyze where the right hand position change happens (if at all).

Interrogando 4.jpg

Step 4 – Practice the last box from Step 3 using right hand alone with a focus on rhythm.

Step 5 – Bring left hand into the game for that box only (right hand now does it correctly and proficiently and left hand has to catch up is a much better option than both hands struggling and doing it somewhat incorrectly).

Step 6 – Check in with the right hand alone again.

Step 7 – Go back to Step 4 and Step 6 with the second to last box. Add to last box.

Step 8 – Go back to Step 4 and Step 6 with the first box. Add to both boxes.

Step 9 – Do a few minutes of focus, take a mental rest, and go back for several more sets (building mental muscle!).

Step 10 – Check tempo and set tempo goals.

Not only could the student whip through the passage after doing this, his skills at identifying any confusion improved. Lots of “Oh!” and “Now that feels easy!”.

Problem solved!

Featured

Three Fingering Tips for Villa Lobos’s Etude Nº2

If you all were inspired (or recovered) from watching Ekachai Jearakul whip off Heitor Villa-Lobos’ Etude Nº2, you may find this post helpful. While I was a student at the New England Conservatory, the second half of one of my degree recitals was simply Villa-Lobos’ Twelve Etudes. While some of the etudes are manageable, others require relentless and careful practice, and they all have moments that can fill endless practice hours with frustration. To add to the matter, I was studying with the great Eliot Fisk and despite all of his valuable advice and help, watching him display what was possible on a regular basis conjured both extreme inspiration and a sense of hopelessness at achieving such a level of comfort with these pieces. Needless to say, the year preceding that recital, I was immersed in a figurative amazonian finger jungle and found my own way of surviving.

For those working on this particular etude, there are a few spots where I found less obvious fingerings less problematic. These solutions are personal but if the spots have been frustrating for any of you, give the following solutions a try.

Measure 3 (repeats not counted)

In order to increase the resonance, I like having the 3rd and 2nd strings open on this one so I shift to 5th position to enable this. There are a few alternate right hand fingerings to explore but I prefer the 1st.

villa-lobos-2-alt-fingerings

Measures 10-12

In this solution, guide fingers are highlighted in red. While the right hand solution is personal, I like switching to rest-stroke on the highest note of the run. If you prefer to play free-stroke, you might choose to switch to 1st position by playing the first note of measure 12 on the 1st string open and using that to shift. The second finger would still work as a great guide in this situation.villa lobos 2 alt fingerings 2.jpg

Measures 21-22

In this example, ending the repeat with a slight alteration makes a noticeable difference in playing measure 22. Again, I’ve included some alternate right hand fingerings for exploration but I prefer the 1st.

villa lobos 2 alt fingerings 3.jpg

Hope this helps!

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Featured

Villa-Lobos Etude Nº1 Part 1

I love getting to the point when a student is ready to tackle Heitor Villa-Lobos’ Etude Nº1. There are so many angles to explore and it takes a lot of dedication to master it. There was a time when I was preparing to perform all 12 etudes that I decided the best use of my warm up time was to spend at least 30 minutes on Etude Nº1, 30 minutes on Etude Nº2, and 30 minutes on Etude Nº3. After which my hands always seemed to work well as I worked on other material.

Over the course of months I may have played those etudes at least a thousand times in many, many different ways. I tried everything I could think of to make them better.

The first step in this great journey is to develop the right hand’s ability to play the entire arpeggio comfortably. The great Andrés Segovia suggested a solution that is still used by the majority of students and the one I used for years. However, as we develop our abilities we find that our hands have an easier time with certain movements and we find ways to use those movements to harness our strengths.

So, I always suggest putting in your time with Segovia’s solution until you can perform the Etude with that pattern. I find that the weakest part of the solution is moving from to a making the 3rd quarter note beat (half note of the measure) sound articulate which helps to delineate the rhythmic structure of the Etude, so I have come to prefer substituting with i. However, it wasn’t until working on the piece for many years that I slowly came to prefer it. Explore the possibilities in the practice room by adding in a few alternate fingerings to start the exploratory process. I’ve watched my mentor, Eliot Fisk, play it through in hundreds of ways just as an exercise to develop string crossing – I think I remember him even doing the whole arpeggio with m and pinky!

Here are some important ways to practice it. Stay tuned for Part 2 and we’ll go deeper.

right hand villa lobos fingering 1

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Virtuosos Tal Hurwitz and Mateusz Kowalski playing Etude Nº2 by Heitor Villa Lobos

Two different players take two different approaches to one challenging etude in one post! Both videos were wonderfully recorded by Siccas Guitars.

Though this video of Tal Hurwitz is from 2013, it displays such a keen sense of musical and physical balance that I thought I would repost it to inspire Six String Journal readers.

Here is an interview with Tal.

And, for those who have not heard this newer video of young superstar, Mateusz Kowalski, it displays a fresh and relaxed approach to the etude.

Here is a recent interview with Mateusz.

Happy practicing.

Goran Krivokapic plays Álbeniz’s Leyenda

Isaac Albéniz’s Leyenda (aka Asturias) is overplayed. Which is exactly why I’m posting Goran Krivokapic‘s wonderfully produced video of it. It stands high above most renditions. Goran’s playing has always interested me. He is always musical and supremely virtuosic. What draws me into this recording is the consistency of his articulation throughout the whole first third of the piece and the recap. I also love how he uses octaves in the slower, more introspective section. The choice imbues the melodic lines with elegance. The whole arrangement is a breath of fresh air, or perhaps, a gust of wind from southern Spain. The intensity and the clarity in Goran’s playing is a nice contrast to how calm he looks. Music is just being channeled perfectly here and fortunately for us, it was captured on video.

CD Review – Kanahi Yamashita plays the Music of Carlo Domeniconi

Carlo Domeniconi – Selected Works VIII Featuring Kanahi Yamashita was released in April of 2021 as the eighth volume of composer Carlo Domeniconi’s music. The CD features the young guitar prodigy Kanahi Yamashita playing four works by Domeniconi – Toccata in Blue, Pealrs of the Orient, Haiku, and Sonata V. Both of the later titles were written for Kanahi.

Carlo Domeniconi’s music through the hands of Kanahi Yamashita is a revelation. Like a magician casting a spell, Kanahi’s interpretations flow effortlessly as if simply conjured through her guitar. The selection of repertoire offers the listener a bit of a snapshot of Carlo Domeniconi’s development as a composer as the compositions span more than 20 years. The sophistication of Domeniconi’s harmonic language and his cultural influences seem to get woven into his musical ideas in a more seamless way as one moves into the later works. As with more familiar compositions from Domeniconi like Koyumbaba and his Anatolian Variations, much of the beauty and magic of his music exists djinnlike between times and cultures.

Kanahi Yamashita, photo: Hiromi Hoshiko

The Toccata in Blue was a familar and groovy tune that I’ve enjoyed listening to in concerts over the years. For its light heartedness, it displays Carlo Domeniconi’s ease with music genres as he blends in his unique voice on the guitar with the blues. The other three compositions were new to me. Pearls of the Orient is comprised of twelve movements or perhaps sound pictures with fanciful titles like The sultan, White Pearls, The Genie, and the Astrologer. Kanahi, with her endless palette of colors, conjures these pictures with both flair and virtuosity. Haiku, dedicated to Kanahi, evokes Japan through the use of pentatonic forms, allusions to folk music, and perhaps even sounds reminiscent in their resonance of Japanese traditional instruments like the koto.

Of all the pieces the one that I enjoyed the most was the Sonata V, also written for Kanahi. In four movements, the piece goes from Mosso to Adagio to Scherzo and finally into an Andante animato – Ritmico. Perhaps the most sophisticated display of Kanahi’s superior musical sensibility and Domeniconi’s composition skill manifest itself in this performance. Though abstract, modal musical motifs recur in Domeniconi’s Sonata as a rich blend of styles and genres. The Sonata evokes multi-cultural layers that are both complex, harmonious, and rhythmic. The techniques demanded of the performer, which are numerous and creative, are an easy match for Kanahi’s wonderful fluency on the guitar. And, as with the rest of the compositions in this recording, Kanahi navigates the Sonata with the elegance and fluidity of a master.

This CD is wonderful. You can order by contacting Kanahi Yamashita directly through her website.

Kanahi Yamashita – Artist Profile and Interview

Japanese guitarist Kanahi Yamashita is an exceptionally gifted young musician. Her playing has captivated listeners across the world and she is emerging as a powerful voice on the guitar among her generation. On the tail of releasing her first solo CD of works by Carlo Domeniconi (review to follow shortly), Kanahi sat down with Six String Journal to share some of her experience with our readers. Enjoy.

Personal

When did you start playing and why? Or, what drew you to the guitar initially?

I started playing the guitar when I was four years old and it was very natural to begin with, because I was surrounded by guitars and their sound since I was born. Thanks to my parents, I also started learning the violin, the piano, and some traditional Japanese instruments over the years, and even Noh-Theater chanting and dance. It was fun to learn various instruments and their music and that experience has been very important in my musical formation. Since I was five years old, I’ve had many opportunities to be on stage with the guitar, so the sound of the guitar has been the most stimulating and inspiring. I naturally spent most of my time playing the guitar and became more and more focused on this instrument. The other instrument I study with as much passion as I do for the guitar is singing, which I currently study at the University of Arts Berlin as part of a double degree with guitar.

What is it or was it like to come from a guitar “family”, how did it impact your desire to play?

The most precious thing I received as a member of a musical family was that I was always surrounded by music since I was born. Music was always a part of our daily life and was connected to everything we did at home. So I could learn music not as a special subject, but as a very natural part of my growing up. The process of musical training by my parents was also very multifaceted, by learning several instruments at the same time. In addition, I’ve enjoyed composing, improvising, and writing poems since I was a child. I didn’t learn everything in the strict sense, but rather enjoyed it in my own way, inspired by the special environment at home. One of the important lessons I’ve learned over the years is to not only focus on my major instrument to try to learn about music and repertoire, but trying various approaches to music and recognizing music from multiple angles.

What guitar or guitars do you perform on? Strings?

Since childhood I played on a Ramirez III built in 1985 and since 2017 I’ve been playing an Italian guitar built by Rinaldo Vacca. I also met a great American guitar maker, Michael Batell in Berlin and from him I learned a lot about guitar and its construction process. I’ve played several of his guitars in concert and I also recorded the new CD “Selected Works VIII – Guitar solo Kanahi Yamashita”. The strings I really like to play on and use regularly are EJ45 Normal Tension by D’Addario.

Which recording/s are you most proud of?

Beside two CDs I took part in as a member of “Kazuhito Yamashita Family Quintet”, I just released my very first solo CD in April 2021. This is part of a series of CDs featuring the music of the famous Italian composer, Carlo Domeniconi, with whom I’ve been studying with since I moved to Berlin in 2015. On this CD I performed four solo pieces by him, two of which are dedicated to me. I especially appreciate and am honored to have experienced the collaboration process during the recording of this CD. I learned these pieces directly from the composer and it was a unique opportunity and gift to spend such an intensive time with him, and then to have recorded the project under his advice and musical production.

What are some up and coming projects (recordings, concerts) you are excited about?

Right now it is, of course, very difficult to announce exact dates of coming concerts due to the pandemic, but in coming years I am expecting to perform as a winner of the Deutscher Gitarrenpreis 2019, which I won in Darmstadt and I will be performing in several cities of Germany. Beside that I was also invited to perform in several projects in Berlin with a Tenor, an Eurythmist, and an actress. In addition, I am planning to perform solo recitals in Berlin and Darmstadt this year including CD Release Recitals, which were postponed from spring this year. This month I will be performing in Kyoto as a Scholarship student of the Rohm Music Foundation Japan.

In the past months I suffered very much from not being able to perform regularly. I spent most of my time investigating and increasing my repertoire, so I am really looking forward to being able to perform more and more on stage again.

Technique and Performance

How much do you practice? And, do you structure your practice in any particular way?

It is hard to say how much I practice each day, since it really depends on the condition I am in each day or schedules. But I do practice more without guitar the in my hands and this mental practicing time is much more than the time I really physically train on my guitar. I spend much more time reading and playing from the score than before. I started being more careful about notation, precise reading of the music, and only less than 3 weeks before the concert, I start learning by heart.

Are there aspects of guitar that you struggle with or that you find you are still working on?

The most difficult thing is to accurately read and understand the music that the score is trying to express. I think this is the biggest aspect of being an interpreter, learning and struggling. We consider vibrating the notes written in the score, and thus the musical expression, as sounds in the room, and pursue technical topics for that purpose. For example, in order to gain a deeper understanding of early music, it is necessary to have knowledge of historical performance forms, musical instruments of the time and their playing techniques, articulations, and how to place ornamental notes. The areas to be investigated are enormous. That is also the reason I will be studying these topics with the German theorbo and lute player Björn Colell at the Nuremberg University of Music from October 2021.

Have you published any editions or do you plan to publish your own editions in the future?

In 2015 one of my compositions for solo guitar, Variation & Fantasia on ‘Star of the County Down’, was published and is available from my website. Right now I do not have any plan to publish more of my works, but I am definitely interested in composing more, especially for voice and guitar, which I perform as a singer/guitarist.

Do you have any pre-concert rituals?

Not especially, but I just try to be relaxed on that day and usually I rather not play or practice too much. I do look at the scores and study them mentally without the guitar in my hands.

Advice to Younger Players

What single most important piece of advice about practicing would you offer to younger players?

I highly recommended that you develop your sight-reading skills from childhood. That way, you can learn more repertoire in less time. And beyond the stage of understanding the enumeration of notes, you can spend enough time on the more important stage of considering the style and background of the work. I think it’s far more important than the ability to memorize and play without mistakes from start to finish.

What repertoire do you consider essential for young/conservatory students to assimilate? Why?

Naturally as a daughter of Kazuhito Yamashita he taught me how to play some of his transcriptions, such as the 9th Symphony “From the New World” by Dvorák and “Pictures at an exhibition” by Mussorgsky and I can really recommend at least to take a look at those scores because they taught me thousands of different sounds on the guitar. They expanded my technique, helped me communicate with the sounds of my own instrument, and gave me insight into his way of thinking. To know the instrument and its many various types of sounds is an endless pursuit and it will accompany you as a guitarist forever.

Recordings that every young guitarist should be familiar with and why?

I was always listening to not only guitar CDs, but a lot more of other instruments, where I was exposed to so many great musicians and their different approaches to playing pieces, their musical languages beyond instrumental and technical tasks. I cannot name only one particular recording, but I encourage young players to become familiar with the recordings of different types of instruments and their music from different parts of the world.

Tangent

What is the last book that you read? Favorite author/s?

Right now I am reading the book written by Jose Ramirez III “Things about the Guitar” (SONETO Ediciones Musicales).

Do you meditate in any way?

Not particularly, but sometimes I very much like to sit in the darkness in my room with my guitar and improvise for a while forgetting about time and any other practical issues from daily life. This is one of the moments I meditate.


Follow Kanahi on her Facebook page

Tremolo Practice Tip: Reduction

Six String Journal

Reduction

Playing through the ‘skeleton’ of a tremolo piece helps to reduce it in our mind’s ear to what essentially is happening on the musical front. Spending a large amount of time on developing the fluidity, clarity, speed, and all that goes into a beautiful tremolo technique so often draws a majority of our attention into the micro-discovery world that the thought of the larger macro world of what a tremolo piece is trying to achieve musically is somewhat ignored.

There are various ways to enhance the way we psychologically perceive our pieces to make them seem less daunting. The most tried and true method is to play through them hundreds of times. For tremolo pieces, play through them in an abbreviated way, as illustrated below, at faster tempos:

Limosna reduction 1.jpg

Another method, which I have grown to like despite the substandard sonic quality, was recommended by Malaysian guitar virtuoso, Philip Hii

View original post 85 more words

Active Practice Techniques to Improve Tremolo, Part 4

Six String Journal

Aural Refocus

This is an interesting technique that I have found truly helpful for developing speed and the correct rhythmic feel across whatever pattern you are practicing, and since I have not found any reference to it in the literature, I refer to it as aural refocus. Its purpose is to refocus your hearing on the larger beats within a pattern or movement, and then “feed in” the rest of the notes while retaining attention on the larger concept and rhythmic feel.

In theory, we want to perform the larger movements in time—but in practice we rarely do so because we feel limited by all the minutiae that a particular movement demands. With a lot of work, patterns that undergo the aural refocus treatment will get a boost in speed while retaining their rhythmic integrity and stability.

Here are three exercises for applying aural refocus to tremolo. Before you…

View original post 95 more words

Kanahi Yamashita plays Rudnev and Martin

Here is a video of Kanahi Yamashita playing Sergei Rudnev’s beautiful The Old Lime Tree and Frank Martin’s Quatre Pieces Breves in the 2021 10th International Martinez Guitar Competition in Iserlohn. Kanahi’s playing evokes such a wondrous and colorful swirl of sound around her as she plays. It is impossible to not listen. Though I’ve heard the Martin played countless times, her interpretation manages to do everything. It sings, moves, and maintains its intensity from the moment of silence before it even begins. And, her interpretation of Rudnev’s The Old Lime Tree is equally convincing. Enjoy.

Two of the Best Tremolo Exercises

Though there is no shortage of ways to practice and develop tremolo, every now and then I’ll bump across another exercise that is worthwhile or ask a colleague to share insight especially if it sounds like they figured it out. So here are two great ways to practice your tremolo when you are feel like you are not progressing.

This first one helps develop both the independence of the right hand fingers and the evenness of the attack. I like to mess around a bit with a simple left hand addition once everything feels comfortable.

Exercise 1

This second exercise comes from the wonderful Vietnamese guitarist. Thu Le. It is a great way to sync up both hands once the right hand is warmed up. I’ve placed it on the fifth and second strings to develop accuracy. As you improve, work on minimizing squeaks. You can also use fingers 2 and 4 to mix it up.

Exercise 2

For a multitude of methods to work on tremolo with detailed explanations, please check out Six String Journal’s publication Mastering Tremolo. It’s available on Amazon or on Podia.

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Leonardo Garcia plays Vals sem nome by Baden Powell

I first stumbled upon Brazilian guitarist Baden Powell’s recording Estudos while scouring the listening library at my high school. It was hard to resist the immediate appeal of his Vals sem nome (Waltz Without a Name). I sat in that listening room for hours afterwards until the librarian kicked me out that night and went back the next day armed with a cassette to record it. His music has captivated me ever since.

Featured Artist Interview – Bokyung Byun

Praised by Classical Guitar Magazine as “confident and quite extraordinary,” Korean guitarist, Bokyung Byun​ enjoys a reputation as one of the most sought-after guitarists of her generation. Notably, she is the first female winner of the prestigious JoAnn Falletta International Guitar Concerto Competition. She has also taken first-prize finishes at the Frances Walton Competition, the Montreal International Classical Guitar Competition, and the Philadelphia Classical Guitar Competition. In recent seasons, Bokyung has performed as a soloist with orchestras, including the Buffalo Philharmonic, the Utah Symphony, West Los Angeles Symphony, among others. Bokyung’s debut recording has been praised as “a very beautiful disc. From the first notes of the “Gallarda” from Castelnuovo-Tedesco’s Escarraman, we are treated to extraordinary musicianship, technical assurance, and beauty of sound” (Soundboard Magazine). Fortunately for us, Bokyung recently sat down to share some of her experience with Six String Journal!

Personal

When did you start playing and why? Or, what drew you to the guitar initially? 

I started playing the guitar when I was six years old. One day I was watching tv with my mom, and a guitarist was performing on the tv. I was instantly fascinated by the instrument and loved the way it sounded. I told my mom I wanted to learn that instrument. We went to a local guitar school for lessons, and the teacher happened to be a classical guitarist so I began with the classical guitar.

What repertoire do you enjoy playing the most? 

It keeps changing depending on what I’m working on at the moment. In general, I love and enjoy playing Castelnuovo-Tedesco and Dowland’s music. I feel closely related to the way their music speaks to me. 

What guitar or guitars do you perform on? Strings?

I play the guitar made by Dieter Mueller paired with Paragon blue strings from Augustine. 

If you have recordings, which recording/s are you most proud of? If not, are you planning to record a cd?

I recently released a CD with my all-time favorites. It includes compositions by Ponce, Walton, Castelnuovo-Tedesco, and Sierra. Each piece in this album is presented with a little bit of a twist. For example, I played one of Ponce’s most beloved pieces, Theme, Variations, and Finale, but I played the urtext version of it, which includes several movements that were not part of the Segovia edition, and all of the movements are presented in a completely different order. 

What are some up and coming projects (recordings, concerts) you are excited about?

I co-founded a new music initiative called, the Sounding Board Project back in 2019. Our mission is to provide collaborative relationships between guitarists and composers to promote the creation of new music for the guitar. Each year we have produced and premiered innovative works for guitar in collaboration with a diverse group of guitarists and composers. This year we have invited guitarists, composers, and choreographers to collaborate and explore the inseparable bond between music and dance to create multidimensional works for guitar accompanied by choreographed dance. The premiere is set to be released in mid-August. I am very excited about this year’s project. If you would like to find more about the initiative, additional information and videos from the past projects can be found on our website (soundingboardfest.com).

Technique and Performance

How much do you practice? And, do you structure your practice in any particular way?

I try to concentrate on the quality of practice rather than the quantity. I believe one hour of an organized and concentrated practice session is way more helpful than three hours of unfocused practice. I generally practice for about 3-4 hours a day. I prioritize the pieces that I have just started learning or will be performing soon. Then I practice the other pieces to maintain the general level of preparedness on them.

Do you deliberately memorize music or have a technique that helps assimilate music into memory?

For me, I think it depends on how much time I have to learn a piece. For example, if I am given only a short amount of time before I have to perform the piece, I will try to intentionally memorize as I learn. On the other hand, if I have plenty of time between learning and performing the piece, I will let my muscle memory do most of the work first. Then I train to deliberately memorize the whole piece in my head as well. I sit down without the guitar and try to visualize in my head where the fingers need to go from the beginning to the end of the piece to check how much of the piece I have actually memorized. 

Do you have a favorite drill you use to warm up? 

My go-to drills for warm-ups are Villa-Lobos’ Etude No. 1 and Carcassi’s Etude No. 1. 

Do you have any pre-concert rituals?

Not in particular, but I tend to wash my hands with warm water before going on stage to prevent them from getting sticky.

Do you do anything to your nails or shape them in a particular way?

I wasn’t sure how to describe the shape of my nails clearly in words, so I’ve included photos which I hope will show the shape. Growing up I was very fortunate to have healthy, strong nails that I never had to use anything to help strengthen them. However, as time went on, and as I started practicing more vigorously for competitions and concerts, I realized my nails could no longer withstand hours and hours of strenuous practice sessions. I’ve tried different types of nail strengthening methods, but I settled on using gel nails. I find them to be soft enough that it doesn’t sound as harsh as artificial nails but strong enough to prevent the nails from breaking. 

Advice to Younger Players

What single most important piece of advice about practicing would you offer to younger players?

I would like to emphasize the importance of mindful and organized practicing. I am also guilty of having unproductive practice sessions when I was young, playing a piece from the beginning to the end over and over again in hopes that it will eventually improve. Rember that the pace at which you will progress will be much faster if you practice more mindfully and in an organized manner. What I mean by that is to try to come up with a list of things you have to practice per session, set goals for each piece/exercise, and single out the sections that are troublesome for you. 

What repertoire do you consider essential for young/conservatory students to assimilate? Why?

I would recommend learning all of the “essential guitar repertoires,” such as Brouwer, Britten, Bach, Castelnuovo-Tedesco, Tarrega, just to name a few.  They have been the favorites for a reason! They are great music that you can always program in your concerts, and through these pieces, you will become familiar with the idiomatic writing style of each composer. These pieces also have numerous masterful recordings that students can learn from by dissecting and comparing different interpretations. 

Recordings that every young guitarist should be familiar with and why?

The Julian Bream collection! I grew up listening to and being inspired by his recordings as well. His recordings are full of his unique humor and expressive interpretations that we can learn from. His repertoire includes such a variety of music that it will also help young guitarists expose themselves to all kinds of music from different eras, genres, and styles.

Tangent

Do you try to stay healthy? Exercise? Follow a particular diet? Have a favorite pre-concert food? 

I try to stay healthy. I find that I can focus better when I’m regularly working out. I love walking and yoga – it really helps relieve tension in my lower back and arms. 

What is your favorite way to spend time when not practicing?

I am a foodie! I love trying different cuisines from different countries. I also love spending time with my husband and watching comedy shows together. 


website – bokyungbyun.com

instagram – instagram.com/bokyungbyun

sounding board project – soundingboardfest.com