How to Visualize Your Pieces

Very early on my guitar adventure, my teacher at the time said that he would never perform anything unless he could see it physically happen in his head. He had me read a few articles on visualizing and, because I tried to be a good student and wanted to be a good guitarist, tried his advice. It was hard work. I SO much preferred to “do”. Close my eyes and sweat mentally to “see” my fingers on the fretboard? No thank you.

But, I persisted. And, from reading enough about it, am convinced it has helped me in many ways. For one, I feel more secure if I can imagine everything. Two, it inevitably builds your ability to focus. Three, I’m not sure to what degree it helps but I like to think of it as a memory safety net, one of many safety nets (mental and physical) that come with mastering pieces and eventually performing them.

At this point in my playing, I enjoy doing it. When I close my eyes, it is nice to play and hear a piece unfold in my head. Visualizing frees my musical imagination in ways that are not confined by the physical struggles of the early stages of learning new music and cold fingers.

Here is a list of visualizing techniques that I have found helpful at some point or another, some are easier than others and can be used as training wheels until you get the hang of it. Or, you’ll find the ones that work well for you and that you enjoy doing. Like exercise, the best visualizing is the visualizing you’ll actually do. From easier to more difficult:

  1. Read through the score of your piece without the guitar in hand. Try to hear it all in your head and imagine your hands playing it as your eyes scan the music.
  2. Watch a video of your favorite player and play along in your head. This is light visualization.
  3. Listen to your favorite player or a good recording of yourself and play along in your head trying to stay with it. No backtracking. If there are spots or large chunks that are blurry, work on those carefully next time you physically practice.
  4. Close your eyes, imagine a stage and where you would sit. Perform the piece in as much detail as possible with extra attention to your left hand choreography as the piece unfolds. Try the same but with the right hand.
  5. Try doing the previous step with a metronome set to an ultra slow tempo and see the piece unfold, matrix-like. Try with an ultra fast tempo. How much can you keep up? What goes blurry?

Don’t forget to smile, breathe calmly, and to remain optimistic. Happy visualizing.

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How to Play Cross-Stringed Ornaments

A renewed Scarlatti obsession, hearing French harpsichordist Jean Rondeau, and a recent David Russell workshop posted by the Bolton Guitar Series have me thinking about ornamentation on the guitar more than usual.

It’s been about 25 years since I took several masterclasses with David Russell in a tiny Andean village in Venezuela. Besides being a tremendously talented guitarist, David is a wonderful teacher: clear, patient, and able to make you sound better almost instantly. I learned a lot from him there and fortunately have continued to learn from him over the years thanks to videos of him working with students throughout the world. In the video (linked below), David explains his approach to ornamentation very clearly and demonstrates every example with his guitar. If you have lots of time, watch it and extract as much as you can! Here I’ll summarize the points I took away after watching it this morning.

Here is a summary of the basic cross-stringed ornaments and the common (and maybe not so common) ways to execute them (the repeated right hand finger is a sweep):

And here are some of the points David mentions in the workshop:

  1. Most baroque trills begin on the upper neighbor.
  2. A brighter sound is better for ornaments. This can be achieved by attacking the string with less of a right-hand angle or by angling the right hand to a more perpendicular angle to the strings.
  3. Cadential trills are important but ornaments within the piece are more personal as to their inclusion, length, etc…
  4. Practice the entrances and exits of ornaments with turns.
  5. Mute the dissonance after the trill. This is usually done with a right-hand finger.
  6. Dynamics are important within the ornament and the musical line.
  7. A shorter trill is better than a longer out of rhythm trill unless it is cadential (where time is suspended to a greater degree)
  8. Cross-string ornaments allow baroque interpretations to vary stylistically from other periods of music.
  9. Have a higher wrist for trills.

Here are a few additional points that I cannot remember whether they are in the workshop but that I think about:

  1. The ornamented note should be in time. In order to achieve this a slight acceleration into the ornament or starting the ornament before the beat helps to achieve the correct feel.
  2. Play ornaments slower in slower melodic lines.

Check out the post I did a while ago: Cross-Stringed Ornaments, Part 1

Bolton Guitar Series: Ornament Workshop with David Russell

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Marco Tamayo plays Schubert

The brilliant guitar virtuoso, Marco Tamayo, just posted a definitive performance of Johann Kaspar Mertz’s arrangement of Franz Schubert’s Lob Der Thränen (In Praise of Tears).

From the video post, Marco writes that he has modified small details in the arrangement to achieve certain resonances and more continuity in the melodic line. There are so many beautiful moments in this performance: seamless phrasing, the natural ebb and flow of pulse, and above all the purity of Marco’s magical interpretation. There is a reason La Stampa has dubbed Marco Il re de la chitarra (The king of the guitar). Enjoy!

For those looking for the music, here is the facsimile of the score:

Leo García plays Tárrega’s Recuerdos de la Alhambra

Here is a recent home recording I did at the end of a practice day last week. The songs I have been revisiting these last six months all have the theme of conjuring places far away – in both geography and time. The great Spanish guitarist, Francisco Tárrega’s (1852-1909) wonderful tremolo piece, Recuerdos de la Alhambra, is magical in so many ways. It conjures the great fortress overlooking Granada with the illusion of a sung melody and it reminds me of its infinite mosaics, fountains, streams, and trickles of water echoing everywhere throughout.

Enjoy.

Resources:

Recuerdos Study Score

Mastering Tremolo for Classical Guitar


Drew Henderson playing Domenico Scarlatti

Canadian guitar virtuoso, Drew Henderson, plays his six transcriptions of Domenico Scarlatti’s harpsichord sonatas in these two videos. The first video has three often played Sonatas (K.490, K.213, K146) and the second video has two more seldom played (K.99, K408) and a guitar favorite, K.1. Though I’ve heard masterful interpretations of these by other guitar greats, Drew’s elegant playing captures the magic of these sonatas particularly well. His playing is crisp, crystal clear, and fluid. The quality of the production, the playing, the interpretations, and Drew’s brilliance come together in true art here. Enjoy.

The scores to all of these Sonatas are available on his website!

Artist Spotlight and Interview with Julia Lange

Young German crossover guitar star, Julia Lange appears equally at ease playing classical, steel string, and funk. Versatile is perhaps an understatement. As a D’Addario sponsored artist, Julia has been seen on stages across Europe and China playing her wonderful arrangements, with her funk band, with other great musicians, and performing standard classical repertoire. With an enviable command of the guitar and guitar styles, her virtuosic technique comes across in a wonderfully relaxed and musical manner. Fortunately, Julia had some time to share a bit about her guitar journey with Six String Journal. Enjoy!

When did you start playing and why? Or, what drew you to the guitar initially? 
I started playing guitar when I was 8 years old. My older brother used to take guitar lessons and he wanted to quit at that time so it was my chance to get his guitar. He gave me the very first lessons but in return I had to give him all my pocket money… soon we started fighting and I went to a proper guitar teacher.

What repertoire do you enjoy playing the most? 
I enjoy playing all kinds of music from classical guitar to Fingerstyle and electric guitar with my band mates. 

What guitar or guitars do you perform on? Strings?
I perform with my “Jakob Lebisch” classical guitar and my “Battiston” Steelstring guitar. I use D’Addario strings.

Which guitarists/musicians have had the most influence on you? There were many guitarists that influenced me but the ones who also changed my life in a certain aspect were for example Tatyana Ryzhkova, because her wonderful YouTube channel inspired me to start my own YouTube channel that opened so many doors for me. Tommy Emmanuel and Andy McKee were the first artists that inspired me to do my own thing, to make my own arrangements and start a new chapter. Later on I started composing and arranging for classical guitar as well. Last year was again a changing point when I discovered the Funk band Vulfpeck and I totally fell in love with Cory Wong’s awesome rhythm guitar playing and that made me pick up my electric guitar and start a Funk band with friends. 

If you have recordings, which recording/s are you most proud of? If not, are you planning to record a cd? Right now I just have my YouTube videos but I hope to publish an album soon. But I’m right now working on my Funk band’s first EP that we’ll publish probably at the end of the year.

What are some up and coming projects (recordings, concerts) you are excited about? Since the beginning of Covid there are many cancelled concerts and hardly any new concert requests, I hope to be on stage soon again and perform the concerts I was supposed to have in China this year or my prize winners concert for the “Lichtenberger Musikpreis” at Schloss Lichtenberg. The online living-room concert I made for the German TV channel ZDF & ARTE was one of the highlights of the lockdown time.

Technique and Performance

How much do you practice? And, do you structure your practice in any particular way? I almost always start with some warming up exercises before I play but I can’t say exactly how much I “practice” per day because it makes a big difference for me whether I arrange something new, improvise or really practice and prepare for concerts but I spend pretty much all my free time with my guitar. 

Are there aspects of guitar that you struggle with or that you find you are still working on?
I think I still find myself working and will always find myself working on all kinds of things. No matter how good you are, no matter how much you work there is no end. It could simply always be better. Which might sound terrifying but it’s awesome, because it never gets boring. Where I’d like to put more focus on the next years is improvising and composing music. And of course on electric guitar I still feel like a beginner, it’s a long way to go. 

Do you deliberately memorize music or have a technique that helps assimilate music into memory?
I enjoy using the technique of “mental practice” to memorize things better and I think that analysing the piece is a big help for a solid memory.

Do you have a favorite drill you use to warm up?  I have some warming-up exercises that I really love and I’m sharing little tutorials about them on my Patreon page, feel free to check it out: https://www.patreon.com/julialange

Do you have any pre-concert rituals?
Not really.

Do you do anything to your nails or shape them in a particular way?
As my nails have to survive not only classical guitar nylon strings but also steel strings, I use a gel layer that I harden with a UV-light lamp. Just the way the ladies are doing it in those fancy nail studios but I make the layer rather thin.

Advice to Younger Players


What single most important piece of advice about practicing would you offer to younger players?Set yourself specific goals. For example take part in competitions, get concerts, make videos and work towards a specific aim that motivates you! I found for myself that this is the only way to really get yourself out of your comfort-zone and improve.

What repertoire do you consider essential for young/conservatory students to assimilate? Why? I think the most important repertoire is the repertoire and the pieces that you really want to play from the bottom of your heart and not the repertoire that someone else tells you to play. What I’d love to see more in conservatories are teachers encouraging their students to write their own tunes based on what they’ve learned for example from the classical pieces they play. Exploring the endless possibilities of making music and the freedom we have in expressing ourselves.

Tangent

What is the last book that you read? Favorite author/s?
“Getting things done” by David Allen is a book that I really highly recommend to all kinds of independently working artists and people.

Do you try to stay healthy? Exercise? Follow a particular diet? Have a favorite pre-concert food? 
I do some sports, sometimes, could be more if I’m honest but I think I eat quite healthy although my cake consumption is pretty high. I don’t follow any diet and my favorite pre-concert food is bananas.

What is your favorite way to spend time when not practicing?
I love being outside in nature and spending time with family and friends.

_____

More about Julia:

YouTube: https://www.youtube.com/channel/UCg2K_7mrkygu0xmCQ6v9Chg

Instagram: https://www.instagram.com/julia.lange.guitar/

Patreon: https://www.patreon.com/julialange

Lessonface: https://www.lessonface.com/instructor/julia-lange

Anabel Montesinos playing Giuliani’s Grand Overture

Brilliant Spanish guitarist, Anabel Montesinos, performs a dazzling interpretation of Mauro Giuliani’s Grand Overture, Op. 61. All the operatic excitement, virtuosity, and fanfare required for this piece permeate her interpretation from the roll of the very first chord. The excitement builds from there. Anabel’s command of the guitar is exceptional on so many levels and this performance captures the dynamic quality of her playing. Hope this inspires everyone!

Yuri Liberzon – New recording of Bach’s Violin Sonatas

Internationally acclaimed guitar virtuoso Yuri Liberzon is poised to release his third and most ambitious recording yet – Johann Sebastian Bach’s 3 Violin Sonatas (BWV 1001, 1003, 1005).

Johann Sebastian Bach’s solo violin works are familiar to most classical guitarist as transcriptions. In this instance, Yuri has chosen to record Manuel Barrueco’s transcriptions of the sonatas. These works pose countless complex challenges both interpretively and technically for the artist brave enough to tackle them. The slow movements require extremely refined technique to ornament and distill the beauty of the implied lines, the fugues demand the utmost skill in maintaining the subjects, countersubjects, and counterpoint, and the allegros and prestos push the interpreter to technical limits. All this while communicating Johann Sebastian Bach’s singular and perfect command of form, harmony, and lyricism.

Yuri meets every one of the demands with elegance and finesse, two aspects I admire in his playing. From the opening lushness of the first track, the adagio from the G Minor Sonata, Yuri sets the stage for the entire recording by slowly and calculatedly pulling the listener into a world rich with introspection and beauty. The strengths of this release are many but what perhaps stands out as a theme is how grounded Yuri’s playing is while moving you with a subtle forward momentum. For instance, the allegro from the A Minor Sonata was not taken at a blistering pace but somehow managed to convey a strong, steady energy, much like a tidal wave and the inevitability of its arrival. Another highlight was the monumental Fuga from the C Major Sonata. Again, it is Yuri’s calming but steady sense of structure that moves this movement forward and manages to bring out the overall arc of the piece. The counterpoint is crystalline and phrased beautifully. This does not happen unless it is intentional and that is what is fascinating about Yuri’s playing. It’s like magic – the sum is far greater than the parts. To achieve the effect of such a long line requires an architecturally gifted mind.

I’ve always enjoyed Yuri’s playing. It is similar to Manuel Barrueco’s for all of the perfection but Yuri’s caring and elegant sensibilities, and understated virtuosity, mark his interpretations as none other than his very own.

Overall, this ambitious project is wonderfully produced by both Yuri and Grammy Award-winning producer Nahuel Bronzini. The warmth and crispness that Yuri extracts from his Ruck and is captured in this recording are absolutely delightful to sink into. It may be his best recording yet.

Check out a great interview and technique talk with Yuri from the early days of Six String Journal.

Technique Focus – Boost Left Hand Efficiency

When working out the choreography to a new interpretation there are a few aspects of left hand technique that can dramatically improve efficiency. One of those aspects involves a similar idea often referred to as ‘planting’ for the right hand. For example, when playing a rapid and repeated pim arpeggio (like in Asturias), it is common practice to place all three fingers down in a group to stabilize the right hand and to create one efficient gesture instead of three separate actions. The basic rule is that as we move away from p and towards a across string we plant fingers down so the right hand fingers are prepared. Essentially, we stabilize the right hand as we move away from the grounding of p and i.

Applying this concept to the left hand is equally important but the ‘planting’ occurs as we move from finger 4 (pinky) towards finger 1. Theoretically, if only finger 4 is down on the fingerboard, the left hand is not as stable as it would be if another supporting finger were to place somewhere nearby. For example, if we had to play a descending group of chromatic notes 4321 on a string, placing all four fingers before playing reduces the motion to a relaxed gesture of releasing fingers away. If we were to place 4321 down in a sequential fashion, it is not necessarily ‘wrong’, but it would augment the motion of the left hand into many placements and releases, rendering it less efficient. A bit of a mess.

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Some related posts:

Six String Journal’s Complete Technique Course

Featured Artist and Interview – Tariq Harb

Tariq Harb, an acclaimed Jordanian-Canadian guitar virtuoso, is arguably one of the finest young guitarists to emerge on the scene these last years. Always polished, always musical, Tariq’s playing has been praised on many stages across the world and he’s been lauded as “Canada’s next classical guitar superstar” by CBC Radio’s NEXT! Fortunately, Tariq had time to spend sharing some of his journey with Six String Journal readers. Hope you enjoy this one!

Personal
When did you start playing and why? Or, what drew you to the guitar initially?
With the classical guitar, my story is a bit unusual. It started at 26 years of age, having restarted my violin training 2 years prior, at age 24. I write “restarted” because I actually picked up theviolin at 6, for 2 years until I was 8, then I received an electric guitar as a Christmas gift from my mother, and all hell broke loose LOL! Anyways, what drew me to the guitar in general at first was Slash, the guitarist from the LA rock band Guns N’ Roses.What drew me to the classical guitar was the classical/jazz guitarist Roddy Elias, who happened to be my composition teacher during my undergraduate violin degree at Concordia University. Basically I left the violin twice for the guitar!

What repertoire do you enjoy playing the most?
Baroque, Latin American and Spanish repertoire. I also enjoy playing the blues quite a bit.

What guitar or guitars do you perform on? Strings?
Currently I’m performing on a Douglass Scott, 2018 spruce top guitar and on a Martin Blackwell, 2019 double cedar top.I use Savarez CR 540 strings mainly, and I also like the La Bella 2001 and Argento series normal tension basses.

Which guitarists/musicians have had the most influence on you?
Slash at first, for sure. The lyricism in his solos on their records was an incredible ear-opening experience for me. The discovery of “goose bumps” even, happened first as I remember from his playing on those cassettes. What an incredible feeling! That same feeling was experienced at a high level of intensity later in my life, when I was listening to Itzhak Perlman, playing Bach’s Sonatas and Partitas on violin while I commuted to work, training to be a Mutual Funds Advisor, which prompted me then to pursue music as a full-time profession. Those two musicians have left a lasting impact on my musical character on the whole, I would say.Today I cherish recordings by many great artists. Classical solo recordings by Julian Bream, John Williams, Andrés Segovia, David Oistrakh, Glenn Gould, Hélèn Grimaud, Daniel Barenboim, Amandine Beyer, Itzhak Perlman, Nathan Milstein, Jascha Heifitz, Josef Hassid, Nigel Kennedy, Kazuhito Yamashita, Janine Jansen and Paco de Lucia come to mind at this moment.

If you have recordings, which recording/s are you most proud of?
I am actually most proud of two of my latest releases: my album “Copla”, an all-Spanish repertoire recording, and my “Harb Plays Carcassi Studies” recording and educational DVD. The latter is an educational DVD first, made possible through a collaboration with Diego De Oro, owner of De Oro Music Publications. The performance tracks from the DVD have been compiled and released as a separate album. I’m also happy about a recent YouTube video recording I did of Bach’s famous Toccata and Fugue, BWV 565 arranged by Edson Lopes and recorded by Drew Henderson in a beautiful church in Toronto.

Are there any recordings that you consider have the finest recorded sound for guitar?
I really like the sound on Florian Larousse’s Laureate Naxos album. There is something magical about the sound there! I also like the sound on John Williams’ “The Great Paraguayan” album. Even though I’m not a big fan of the Smallman sound, somehow Williams makes it sound regal.

What are some up and coming projects (recordings, concerts) you are excited about?
I’m very excited about a tour that I got selected for next year’s season, which I can’t really share the details of because it hasn’t been officially announced yet! I’ll share all the concert dates on my website (tariqharb.com) once they’re made public. Prior to that I’m looking forward to officially getting back on stage, November 2020 in my second home Montréal, at the Chapelle Historique du Bon Pasteur, a gorgeous church that is perfect for guitar, and that I’ve always dreamt of performing in after attending some concerts there. I also can’t wait to perform concerts that were postponed due to the pandemic, including an Aranjuez concerto performance with the Orchestre Symphonique de l’Isle. Next year will be their 20th season anniversary, so it worked out even better!For new records, I’m planning on recording an album consisting of my original compositions (the score to “Spirit”, a five-movement work for solo guitar is now available via Les Productions d’OZ: https://productionsdoz.com/product/8769-spirit) and pieces that are dedicated to me by other composers (like “Hyperion” by Harry Stafylakis: https://productionsdoz.com/product/936-hyperion). I’m also planning on recording an all-Bach album, sometime in the near future!

Technique and Performance
How much do you practice? And, do you structure your practice in any particular way?
40 hours a day, à la Ling Ling! (@twosetviolin reference) Jokes aside, a morning practice session is important for me to maintain a healthy routine, which usually lasts between 3-4 hours. After that, anything goes; I can play through pieces in the evening, which sometimes turn into performances if I am outdoors (!),or not play at all, because of teaching or other tasks. The morning session is quite consistent so that would be the real practice time that I do.

Are there aspects of guitar that you struggle with or that you are still working on?
Oh, I’m working on it all the time! I don’t think there is such a thing as not practicing at all yet still having a polished technique, unless one is on tour. What is also true, I find, is if I practice well, say during one full winter season, the coming spring and summer seasons I often find myself just playing, and not really practicing methodically, which is ultimate fun as you may know! Then however, come the fall season, I start feeling certain aspects of technique need maintenance, and so on the cycle goes. It’s a way of life more than something separate from one’s life, at least in my experience. Having said that, there is no real struggle pertaining to playing the instrument. It is more of incorporating it in one’s life, if one chooses, in a way that enhances the quality of one’s life and improves it. I guess reaching that point and finding a working balance might be considered a struggle at first.

Do you deliberately memorize music or have a technique that helps assimilate music into memory?
For me the more complicated the music the easier it is to memorize. But that doesn’t apply to the music of J.S. Bach! Simpler or easier repertoire is easy to sight read ‘a tempo’ and does not require special attention allotted to either hand. So my eye doesn’t have to leave the page and therefore I’m not encouraged to memorize it. In general, playing a piece, reading it multiple times usually imprints it in my memory. If there are tough spots I tend to use visualization, both visualizing the score and both hand movements on the guitar.

Have you published any editions or do you plan to publish your own editions in the future?
Yes. I have several editions published via my online store (tariqharb.storenvy.com), including my most recent edition of the Carcassi 25 Melodic and Progressive Studies, Op. 60. Arrangements of music by Vivaldi, Albinoni, Bach and others are also available. I have an arrangement of Britten’s first Cello Suite that I am excited to publish once the royalties are sorted out. I also have some compositions published via my store and via Les Productions d’OZ, mentioned above.

Do you have a favorite drill you use to warm up? 
I usually try to visit what I like to call ‘the five pillars of technique’ when I warm up: scales, arpeggios, tremolo, left-hand slurs and some rasgueados. I do a bit of each at a comfortable pace and try to enjoy the feeling of gravity helping me out executing each of them.

Do you have any pre-concert rituals?
I try to relax on the day of the concert and do minimal practice. Back stage however, I do some breathing exercises and usually like to have an orange or a clementine; they hydrate really well and therefore help with the talking part during a concert, as I do like to say a few things to the audience about the pieces I perform!

Do you do anything to your nails or shape them in a particular way?
I like to file my nails to a blunted shape with a bit of a ramp on the index and middle fingers (pictures attached). I also attach a piece of a ping pong ball under my thumbnail to re enforce it.

Advice to Younger Players
What single most important piece of advice about practicing would you offer to younger players?
Revisit the basics often and apply variety in your playing. By that I mean be creative with the way you practice, the way you handle the guitar, the way you warm up. Don’t do the same thing over and over again, especially if it’s not yielding consistent positive results. If possible, learn another instrument well, especially one that is not from the immediate family of the guitar. By doing that you are providing enough variety for your brain to stay healthy and encourage plasticity, which in turn improves your learning abilities when you go back to the guitar.

What repertoire do you consider essential for young/conservatory students to assimilate? Why?
All the simple and advanced studies and lessons by Sor, Aguado, Carulli, Giuliani, Carcassi and Coste are important for young students to play well, because they will help in understanding and learning to navigate the guitar’s interface successfully. They will also teach, by osmosis, sort to speak, the idiomatic nature of the guitar and it’s idiosyncrasies.

Recordings that every young guitarist should be familiar with and why?
The recordings of the great old masters: Andrés Segovia, Julian Bream, John Williams are essential for every classical guitarist to know well, simply to become aware of the coloristic and expressive possibilities of the instrument early on.

Tangent
What is the last book that you read? Favorite author/s?
“Music in the Castle of Heaven” by John Eliot Gardiner was the last book I read.Two of my favourite authors are Paulo Coelho and Clive Staples Lewis.

Do you try to stay healthy? Exercise? Follow a particular diet? Have a favorite pre-concert food? 
Yes, I exercise 4-5 times a week doing either a run outdoors, or engaging in High Intensity Interval Training (HIIT), which has become a game changer as to how I can incorporate exercise after guitar practice. Exercise usually happens in the afternoon after my morning practice session. I don’t follow a particular diet as I do pretty much eat everything (thankfully no allergies). But I do prefer a more protein based meal before performance. I find if I have mainly carbohydrates before a performance, I tend to feel heavy overall and a bit lethargic. A high-protein meal gives me sustained energy, and a clementine or an orange before going on stage keeps me hydrated and keeps my mind sharp.

Do you meditate in any way? 
Not so much, every now and then I do meditation. But it has never become a steady routine.

What is your favorite way to spend time when not practicing?
Spending time with close friends and family, cooking, swimming, enjoying the outdoors, watching thought-provoking movies and space documentaries, and occasionally annoying my cat through forced affection LOL!

For more info on Tariq check out the links below:

Website: www.tariqharb.com
Facebook: www.facebook.com/tariqharb

Instagram: www.instagram.com/tariqharbmusic

YouTube: www.youtube.com/teeharb

Online store: tariqharb.storenvy.com
Faculty profile at Concordia University: www.concordia.ca/faculty/tariq-harb.html