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 begin, set the metronome to an ambitious tempo (72–88+ bpm per half note) and keep it constant through each exercise. Play only the fingers indicated, do not play the small notes in the following exercises and feel the larger beat in the right hand. Play through each line for at least a minute. Then alternate freely between the lines, coming back to the first line often to reestablish the longer sense of pulse and technical ease.
Spanish guitar phenomenon, Rafael Aguirre, is likely the most acclaimed guitarist of his generation. With an incredible tally of 1st prizes from the most important international competitions to collaborations with conductors and musicians across the globe, Rafael’s guitar playing speaks for itself – technically perfect, captivating, dazzling, and full of fantasy and introspection. Fortunately for Six String Journal readers, Rafael found a bit of time between concerts and practicing to share some of his thoughts and philosophies with us. Enjoy!
Personal
When did you start playing and why? Or, what drew you to the guitar initially?
I started to play when I was 8 years old. Basically I could choose between piano and guitar and my older brother started the piano earlier so I didn’t want to fight with him sharing the piano like we did with video games. I wanted to finally have a tool only for me and I didn’t know it was an important decision. Probably the music education by my mother was crucial since we used to listen to “Peter and the Wolf” by Prokofiev before we went to school every morning and it was then that I started to have a connection with classical music and felt it was beautiful. My mother probably noticed or knew I had a musical ear. I should ask her… ; ) Nice memories…
What repertoire do you enjoy playing the most?
I think every repertoire could be enjoyed if you feel completely free from technique barriers, because it is like every person in life. Every person has its uniqueness that you can enjoy. But probably Spanish music, transcriptions and Latin American music is what I enjoy a lot if I analyze my youtube videos for instance. But what I really enjoy is to sight read music from Dowland and Da Milano to Berio and Ianarelli, and even pop songs or cinema music. I like to “eat” music and nourish my soul through sight reading. So in the end I choose very carefully what I play on stage after having played a lot of music. You should see my library and the room where I practice. I have all kinds of music from the most intellectual to the most banal, but for me not only is it important the quality of the music but also if you like it for a reason. I like Gran Jota even if it has not the richness of Mahler’s 6th Symphony, but I feel a strong connection with the piece, an attraction. So sometimes I play a piece because I realize it’s a masterwork and other times just because of that. In the end, we are all humans and musical attraction also exists. ; )
What guitar or guitars do you perform on? Strings?
Currently I perform on guitars built by my father. I am performing already on a fourth one. They are built in Málaga, Spain following my advice and taste and I am very happy with the result. Sometimes I still play on my Gnatek from Australia. I always use D’addario hard tension strings since I am a proud D’addario artist and still find them irresistible.
Which guitarists/musicians have had the most influence on you?
Early on, Narciso Yepes and John Williams. And later, musicians like Daniel Barenboim, Karajan, Krystian Zimerman, Anne Sophie Mutter, Frank Peter Zimmermann, Carlos Kleiber, Leonard Bernstein, Placido Domingo, Pavarotti, Radu Lupu. My favorite guitarist nowadays is Paco de Lucía. Also Chucho Valdés, Paquito d’Rivera, Diego el Cigala, Caetano Veloso, Yamandu Costa or fado singers like Ana Moura influence me a lot when I listen to them.
What recording/s are you most proud of?
I have difficulties listening to my own playing because you would like to change things that are impossible to change and it is very frustrating, but sometimes I listen to them. I guess it is a problem when you know yourself. I also prefer much more the concert stage than the recording studio. But I would say I like my first Naxos Recording in 2008 (Rautavaara, Ibert) and the “La vida breve” Cd with Nadège Rochat, cello. But also the “Classica brasiliana” Cd for Dabringhaus Grimm label, where I was a guest artist. The “Transcriptions” cd I am very proud because of the music selection, but I would play it differently today probably. Very challenging music on the guitar.
Are there any recordings that you consider have the finest recorded sound for guitar?
Listen to Koen Claeys “Paint me blue” cd [Koen Clays Six String Interview]. I love that sound! Loud and clear! The problem of classical guitar recordings is that they don’t sound loud enough and when you listen to them in a car you can’t recognize anything. They only work with a very high stereo sound system at home. So I rather enjoy recordings by Yamandu Costa or even flamenco players because of that reason. I think we have to think about this. We are afraid of getting noises from the strings and we put the microphones too far (they also did on my recordings) and the guitar sounds from far away, and that doesn’t go with the status quo of a very penetrating sound in today’s recording industry where people listen with their iphones and tablets. The great thing about the guitar is when you listen to it as a player and the guitar sounds like you are in a cave in el Sacromonte in Granada, this is magic! Unfortunately because the lack of projection of the instrument we cannot get this magic putting the microphones far away. Now I would record with the mics very close. Listen to my video of Cinema Paradiso with bandoneon. I started to experiment there and I am very happy with the result.
What are some up and coming projects (recordings, concerts) you are excited about?
There is a famous opera singer that I admire that invited me to record with her on her debut album for Warner Classics some songs. Very excited about this! Also about my debut at the “Auditorio nacional” in Madrid next year. Also my Japanese debuts with orchestra in Kyushu and Tokyo (Tokyo Symphony). In general I want to show the guitar to new audiences or to audiences accustomed to Segovia and they stopped since he died. Also to continue to play for guitar audiences where I can share my latest discoveries for a more comprehensive reception since they know what I do better. But I am still excited to have joined one of the best agencies in the world in London last September, Intermusica. All the projects that will follow from our collaboration already excite me. Imagine, they just signed pianist Yuja Wang who is one of the superstars of the circuit of classical music. Representing the guitar in such an agency is a blessing and I only can give my best.
Technique and Performance
How much do you practice? And, do you structure your practice in any particular way?
Something between 3 and 6 hours maximum a day. I like to sight read a bit, practice a bit of flamenco for my technique and fun and I have a list with my upcoming repertoire and I write down every time I practice it complete or in sections or difficult parts in order to have like a diary and control it. But I can be also a mess and just play for fun instead of practice but always very focused on playing as perfect as I can.
Are there aspects of guitar that you struggle with or that you find you are still working on?
Yes. Some flamenco techniques and in general the way I practice is always different because my goal is to play with the brain and completely free of effort. So I am working a lot on that right now. Controlling everything from the brain like a Macintosh computer in order to enjoy. It is a lot of work particularly for the right hand but it is showing some results which excite me already!
Do you deliberately memorize music or have a technique that helps assimilate music into memory?
I have to repeat a piece a lot of times. Also I have to be able to play the piece a tempo. I have tried many things and techniques from famous musicians, but in the end I do it very instinctively. I also record myself to understand why I fail on the same spots and what has to be worked out. And it works! Also being patient and going for a walk or a good restaurant to rest the brain and give a little bit of time to absorb the piece works well.
Have you published any editions or do you plan to publish your own editions in the future?
To be honest I am a very lazy person writing music down and I cannot use any computer program to write music. I am very ashamed of that, but one day I hope all my arrangements will be written and I will be more modern. Let’s do another interview in 25 years, hahaha.
Do you have a favorite drill you use to warm up?
Yes. Being conscious of every note I play with the right hand and so I warm up my brain. I don’t believe in warming up your hands, because you can warm up your hands also playing baseball, and anyway if you are nervous on stage it doesn’t help a lot. I believe in brain warm up. Your brain works every minute faster because you are aware of all the movements and notes you play. Paco de Lucía said “The scales are in your brain” this is something that is difficult to explain on an interview without the guitar.
Do you have any pre-concert rituals?
Sleeping and eating something. I hate playing hungry. I read yesterday that Federer likes to eat two hours before every match. I totally understand him. Sometimes I like to do a bit of meditation and basically play a little bit and do my brain warm up with the guitar.
Do you do anything to your nails or shape them in a particular way?
I put on some lacquer. It is a nail hardener. I shape them with the half moon form.
Advice to Younger Players
What single most important piece of advice about practicing would you offer to younger players?
Never practice faster that you can think. Also practice playing softly and in a relaxed manner, until you feel you can increase the volume.
What repertoire do you consider essential for young/conservatory students to assimilate? Why?
Brouwer, Sor and Villa Lobos Studies. These are the basis of our technique. Also I would encourage students to learn a few flamenco pieces to extend the fingers “out”. We only do inside or flexing movements as classical guitarists.
Recordings that every young guitarist should be familiar with and why?
Is nice to listen to guitar, but you pay attention to the “guitaristic” things. I would recommend listening to old guitarists like Segovia, Alirio Diaz, Lagoya, Barrios, Yupanqui, until Barrueco or Gallén and the young players but try to listen to Mahler Symphonies, Schubert Lieder and Juanita Reina (for Spanish music). There you pay more attention to the musical aspect, and we need to cultivate our fantasy as musicians. A guitarist without fantasy is missing all the possibilities and magic of our instrument, It is more complex than it appears.
Tangent
What is the last book that you read? Favorite author/s?
Right now I am reading Plato’s Dialogues. I don’t have favorite authors since I am always changing the writer and I haven’t read yet five or more books of the same author to have this opinion.
Do you try to stay healthy? Exercise? Follow a particular diet? Have a favorite pre-concert food?
Oh yes, swimming, biking on the gym. I work with a nutritionist and try to divide the food during the day in particular order, but since I love eating and going to restaurants, I eat everything I like. Favorite pre-concert food is a good meat or fish.
Do you meditate in any way?
I do Vipassana meditation at the moment. I love it and recommend it everyone!
What is your favorite way to spend time when not practicing?
Traveling, walking, trying restaurants and nice cafés, spending time with family and friends, reading, movies, going to concerts exhibitions (sounds like the typical answer of somebody trying to be cool but is truth).
Any things else you’d like to add?
Remember that music is more important than the guitar and think outside the box.
Thought I’d let you all know that I’ve published the first of a series of technique workouts for classical guitarists. This first book, A Technical Workout for Classical Guitar, Level 1 – Base Building, is all about developing a strong foundation with a focus on the most common movements necessary for technique development in both hands. It is suitable for all levels – beginners trying to develop their own routine or advanced players looking for a systematic way to approach technique development. I wish I had had this when I was a young guitarist! It is available on kindle for now with more options soon. Stay tuned for videos going through some of the movements, supplemental publications, and more advanced workouts!
Years ago, I came across an article on a Spanish site guitarra.artepulsado.com posted by Oscar López who had taken notes during a summer course with the great Cuban composer and guitarist, Leo Brouwer. The title of the post was Axiomas básicos de Leo Brouwer. I found the word file and thought I’d translate it for all non-Spanish speakers. It provides a wealth of advice. I’ve added a few commentaries below to expand the ideas a bit. Hope they are helpful.
Warm Up
Use chromatic octaves for the left hand and arpeggios and rasgueados for the right hand. Play close to the body in higher resonant positions upon starting your practice.
*I think this may mean to start your practice without having the left hand in an extended position. Starting in higher positions is less stressful for the left hand.
Speed and Scales
Use fixed, non-shifting positions in the left hand that are close to the body (i.e. higher positions) to play short bursts of notes. Play bursts in short crescendos (soft to loud or light to intense). Start on one string, then expand to two strings. Add one note at a time and pause between each mini-scale.
Add color and articulations to scales.
Left Hand Shifting
Left-hand notes should be played staccato (*perhaps he means before a shift). Focus on the arrival (not the departure) as you shift from 1st to 2nd, 1st to 3rd, 1st to 4th, etc., position.
Left Hand Independence
With a fixed first finger bar, play slurs and scales across all the strings with the rest of the fingers. Try all combinations possible.
Memory
To avoid embedding errors, do not start memorizing at the very beginning of learning a piece.
Fingerings
There are never definitive fingerings.
*What Brouwer most likely means to covey here is that fingerings evolve throughout the lifetime of learning a piece. Inevitably, we discover better, more efficient, more musical, more interesting ways to play passages and discard or change older fingerings as our familiarity with the piece increases.
Color
Exploit the three primary sonorous zones of the guitar: over the sound hole (resonant zone), over right part of the rosette (resonant and clarity zone), and near the bridge (clarity zone).
Harmonics
Do not pluck harmonics diagonally.
More Advice
The position of the guitar to your body should remain consistent.
Remember that the 2nd and 3rd strings tend to be the weakest so we must compensate when necessary.
Pluck consonant chords with no arpeggiation. Pluck rare (dissonant) chords with arpeggiation for clarity.
Velocity contains impulse and direction.
Cadential ornaments should be in time.
Resonance is at the heart of the guitar.
Vibrato is used for intensity not rest.
The thumb (left-hand) acts as a pivot during slurs.
Forte is found at the limit of a beautiful sound.
Breathe between phrases and project energy towards the end.
During rasgueados the energy is channeled towards the 1st string.
Anything that is repeated should be varied. Change either the color or the volume or the timbre.
YouTube is both a blessing and a curse. Among thousands of videos not worth watching, there are a few gems waiting for discovery. I’m hoping to add video tutorials on the elementary pieces that my students enjoy playing after they’ve finished the KinderGuitar curriculum. In the meantime, I’ll share some great videos I’ve discovered after being trapped in the YouTube world a few weeks ago. If you are still developing your technique, watch them over and over. If you are far along, there are still wonderful moments of insight to extract. I watched most of them in one sitting at 1.5x speed, taking notes, and sipping coffee. These videos come from Russian guitarist Andrey Parfinovich. He’s done the guitar world a great service when he decided to film his lessons with the masters!
Just like in our Left Hand Technical Workout, I’m going to break this post into a few parts. This first part focuses on developing the macro movement of the hand as a unit.
Right Hand Movements
For all of the following movements, begin with the right hand positioned over strings 4, 3, 2, 1 with fingers p, i, m, a, respectively. Later, to expand into tremolo movements, p can remain on a different string and i, m, a can be used on the same string.
This part of the workout for the right hand involvies larger gross-motor skill requiring movements: chords and rasgueados.
Go through all fingerings for each movement.
Step 1
Chordal Movements – pima, pim a, pima, pma i, pmia, pia m, paim
Groups of fingers that are underlined move together and alternate with the next finger/fingers. Below is an example of pim a. I tend to use a simple scale of thirds or if you are craving dissonance, a diminished 7th chord (think Villa Lobos) as I ascend and descend the fretboard.
Focus on keeping the right hand relaxed but still. All movement must originate from the knuckles as if lightly closing your fist. I really have to get some short videos demos of this stuff…
Step 2
Rasgueado movements – cami, amii, pai, camii, im mi
For the movements below, rest the thumb (p) on string 5 when not using it in the pattern. Movement should originate from the knuckles outwards. Time to develop those flexors. Don’t overdo it though!
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