Archive for the ‘best classical guitar’ Category
Play Classical Guitar – Google Site Search
This is a custom site search to help you find anything within the Play Classical Guitar site. The videos are a selection of the classical guitar videos from YouTube. When a photograph from a video is shown click on read the rest of this post, to view the video. Thank you.
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Best Classical Guitar
There is plenty of argument about what constitutes the best Classical Guitar, however there is some general agreement. The best instruments are made with hardwood backs and sides (mahogany or rosewood) and a more flexible face board usually cedar or spruce. The neck of the instrument is usually made of rosewood, maple or ebony. It is common in Classical Guitars to make the neck of a cheaper wood such as maple and to front it with a fingerboard made of rosewood or ebony into which the frets are set. Some guitars are quite elaborately decorated with mother of pearl or ivory used to mark the main playing positions (the positions marked vary from make to make) but usually the 5th 7th and 12th frets are marked. Many Classical Guitars appear to have no position markers, but in these cases it is customary to mark the positions on the left side of the fingerboard so the player can see the positions but the audience can not.
The question as to which guitar is best is of course an aesthetic one as each player and each listener will prefer different aspects. A good guide is the hardness and stiffness of the materials used the harder the woods the more strident and bright the music that is produced. Some people will prefer the clearer and brighter sound of the harder woods and some the softer and more mellow tones of the softer woods. What is without question though is that the cleaner the manufacturing processes and the higher the quality of the workmanship the better any particular instrument will sound, and of course since they are made of natural materials no two will ever sound quite identical!
This said most people believe that the best guitars for Classical Players are those made by the Ramirez family, but for those of that can not afford a truly hand made and crafted instrument, those guitars made by Yamaha are excellent factory produced examples. The Yamaha process is one of supreme accuracy in cutting and preparing all of the parts and when you inspect any of their instruments the gluing is delicately and precisely done and there is great attention to detail.
My first guitar a Yamaha CG 100 A actually had better tone than one of my tutors hand made guitars from Germany! That cost many times its price. Westwood, Washburn, Alvarez and Hohner are also manufacturers that make excellent mass produced instruments. It should be noted that Yamaha now also make hand crafted top end instruments that are very hard to beat in terms of value for money.
Classical Guitar Building, Oberg Guitars, Clamping the Top to the Body
Luthier, guitarist, and composer Peter Oberg demonstrates his method for gluing and clamping the top to the body of a classical guitar.
Duration : 0:10:49
Asturias – Isaac Albeniz
Asturias(Leyenda) – Isaac Albeniz played by John Williams
Duration : 0:5:59
Chitara clasica.(Classical guitar)
emanuel pascuhttp://gdata.youtube.com/feeds/api/users/emanuelpascuMusicChitara clasica.(Classical guitar)
Duration : 0:55:35
Best Solo … Spanish Guitar
While “classical guitar” is today mainly associated with the modern classical guitar design, there is an increasing interest in early guitars; and understanding the link between historical repertoire and the particular period guitar that was originally used to perform this repertoire.
Nowadays it is customary to play this repertoire on reproductions of instruments authentically modelled on concepts of musicological research with appropriate adjustments to techniques and overall interpretation. Thus over recent decades we have become accustomed to specialist artists with expertise in the art of vihuela (a 16th-century type of guitar popular in Spain), lute, Baroque guitar, 19th-century guitar, etc.[6]
Different types of guitars have different sound aesthetics, e.g. different colour-spectrum characteristics (the way the sound energy is spread in the fundamental frequency and the overtones), different response, etc. These differences are due to differences in construction, for example modern Spanish guitars usually use a different bracing (fan-bracing), than was used in earlier guitars (they had ladder-bracing); and a different voicing was used by the luthier. See Classical guitar making for more information.
It is interesting to note the historical parallel between musical styles (baroque, classical, romantic, Spanish nationalist, flamenco, jazz) and the style of “sound aesthetic” of the musical instruments used, for example: Robert de Visée played on a baroque guitar with a very different sound aesthetic than the guitars used by Mauro Giuliani and Legnani – they used 19th century guitars. These guitars in turn sound different from the Spanish models used by Segovia, that are suited for interpretations of romantic-modern works such as Moreno Torroba.
When considering the guitar from a historical perspective, the musical instrument used is just as important as the musical language and style of the particular period. As an example: It is impossible to play a historically informed de Visee or Corbetta (baroque guitarist-composers) on a modern classical guitar. The reason is that the baroque guitar used courses, which are two strings close together (in unison), that are plucked together. This gives baroque guitars an unmistakable sound characteristic and tonal texture that is an integral part of an interpretation. Additionally the sound aesthetic of the baroque guitar (with its strong overtone presence) is very different from modern Spanish-type guitars, as is shown below.
Today’s overuse of Torres and post-Torres type Spanish guitars for repertoire of all periods is somewhat critically viewed: Torres and post-Torres style modern guitars (with their fan-bracing and design) have a thick and strong tone, very suitable for Spanish and modern-era repertoire. However, they are considered to emphasize the fundamental too heavily (at the expense of overtone partials) for earlier repertoire (Classical/Romantic: Carulli, Sor, Giuliani, Mertz, …; Baroque: de Visee, …; etc.). “Andres Segovia presented the Spanish guitar as a versatile model for all playing styles”,[7] to the extent, that still today, “many guitarists have tunnel-vision of the world of the guitar, coming from the modern Segovia tradition”.[8]
Interestingly, while fan-braced Spanish (Torres, post-Torres style) instruments coexisted with traditional central European ladder-braced (19th century style) guitars at the beginning of the 20th century; the central European guitars eventually fell away. Some attribute this to the popularity of Segovia, considering him “the catalyst for change toward the Spanish design and the so-called ‘modern’ school in the 1920′s and beyond”.[7] The styles of music performed on ladder-braced guitars were becoming more and more unfashionable; and e.g. in Germany musicians were in part turning towards folkstyle music (Schrammel-music and the Contraguitar), but this only remained localized in Germany and Austria and was quickly unfashionable again, etc. On the other hand, Segovia was concertizing around the world, popularizing his Spanish guitar, as well as a new style of music in the 1920s: Spanish romantic-modern style, with guitar works by Moreno Torroba, de Falla, etc. Some people consider it to have been this influence of Segovia, which eventually led to the domination of the Spanish instrument – factories all over the world began producing them in large numbers.
Duration : 0:3:28
Ana Vidovic, guitar – Serenata del Mar
~ Ana Vidovic performing ‘Serenata del Mar’ at Zuidlaren Guitar Festival in 2009 ~
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Lì sul ciglio, assorta nel silenzio, ascolto il canto delle onde… e il canto del vento… e con mute parole dipingo il mare…
Le spumose onde si rincorrono in una danza perpetua mosse dal soffio della brezza…..
O, brezza marina, inebriami col tuo potere!
… Coriandoli d’acqua salata fluttuano sull’azzurro tappeto del mare andando altrove, fino a dissetare sua maestà il Re Sole, immobile spettatore, da sempre assoluto padrone e gran signore!
Sorrido: tra le due forze – mare e vento – in continuo movimento, il terzo, inchiodato lassù nel cielo, piacere riscuote… e splendendo, a modo suo, gode!
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Ana Vidović (born 8 November 1980 in Karlovac, SR Croatia, Yugoslavia) is one of the youngest virtuoso guitarists in the world. She started playing guitar at the age of five, inspired by her brother Viktor. By the age of 11 she was performing internationally, and at 13 became the youngest student to attend the prestigious National Musical Academy in Zagreb where she studied with Professor Istvan Romer. Vidović’s reputation in Europe led to an invitation to study at the Peabody Conservatory in Baltimore, U.S., with Manuel Barrueco, from where she graduated in May 2003. In an interview, she has stated that she plays lots of scales and uses a metronome.[1]
Vidović has won an impressive number of prizes and international competitions all over the world. These include first prizes in the Albert Augustine International Competition in Bath, England, the Fernando Sor competition in Rome, Italy, and the Francisco Tárrega competition in Benicasim, Spain. Other top prizes include the Eurovision Competition for Young Artists, the Mauro Giuliani competition in Italy, the Printemps de la Guitare in Belgium, and the Young Concert Artists International Auditions in New York.
Ana Vidović has given over one thousand public performances since first taking the stage in 1988. Her international performance career includes recitals in London, Paris, Vienna, Salzburg, Rome, Budapest, China, Warsaw, Tel Aviv, Oslo, Copenhagen, Toronto, Baltimore, San Francisco, Knoxville, Houston, Austin, Dallas, St. Louis, Jakarta,and Zuidlaren.
(from Wikipedia, the free encyclopedia)
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No copyright infringement intended!
Duration : 0:6:43
Sharon Isbin Interview & Lesson on GuitarTV
GuitarTV traveled to New York City to interview the best classical guitarist we have ever heard. Head of The Juilliard School Guitar Department, international sensation, former student of Andres Segovia, — we are talking about the one-and-only Sharon Isbin.
This in-depth 40 minutes interview with Sharon showcases various classical guitar playing techniques, tips and performance snippets from her latest release “Guitar Passions”.
http://www.sharonisbin.com
Duration : 0:35:48
Peaceful Music
Relaxing guitar music from the playlist Glimmer of hope:
http://www.youtube.com/playlist?list=PLsx59yihTDVcC68bVBPb5RXt_5J5RgkZ8
Hopeful instrumental for relaxation. Romantic classical guitar sound, nice listening.
Original composition. If you like this video, please rate, comment, share and subscribe for more original music. All support is very much appreciated.
Glimmer of Hope, 2006
(c) Petri Olavi Sihvola
http://www.youtube.com/user/PetriSihvola
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Check out the Magic Channel for more interesting uploads:
http://www.youtube.com/user/MagicPete
Duration : 0:2:43
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