Search results
Results from the WOW.Com Content Network
By contrast, Andres Segovia maintained that playing scales two hours a day "will correct faulty hand position" (1953) and for many years, this was the accepted practice. In both schools—one being all free-stroke (Giuliani arpeggio practice) and the other rest-stroke (Segovia scale practice) -- the basis for learning the technique is hours of ...
Étude No. 7 is a study, first in rapid scales, then a section of arpeggios supporting a lyrical melody played entirely on the first string, and a return to the scales, creating a ternary (ABA) form. [ 3 ]
Andrés Segovia Torres, [a] 1st Marquis of Salobreña (21 February 1893 – 2 June 1987), was a Spanish virtuoso classical guitarist. Many professional classical guitarists were either students of Segovia or students of Segovia's students. [1]
Modes of limited transposition are musical modes or scales that fulfill specific criteria relating to their symmetry and the repetition of their interval groups. These scales may be transposed to all twelve notes of the chromatic scale, but at least two of these transpositions must result in the same pitch classes, thus their transpositions are "limited".
The concerto was written for the Spanish guitarist Andrés Segovia, to whom the score is dedicated.Initially in three movements and titled Fantasia concertante, Villa-Lobos later added a cadenza at Segovia's request, and changed the title to Concerto for Guitar and Small Orchestra. [1]
Daring to tamper with the designs of Torres, Ramírez built larger and more powerful concert guitars, with longer scale lengths and asymmetrical bracing. Both of these innovations, and many others, are standard today. Segovia was an uncompromising customer, but when Ramírez' designs gave him what he wanted, an unsurpassable supporter.
According to Yepes, Asencio "was a pianist who loathed the guitar because a guitarist couldn't play scales very fast and very legato, as on a piano or a violin. 'If you can't play like that,' he told me, 'you must take up another instrument.'" Through practice and improvement in his technique, Yepes could match Asencio's piano scales on the guitar.
Second, Segovia incorrectly claims that Yepes "added four thick tongues" [17] to the guitar. In fact, Yepes added one "thick" (seventh) string only. As Yepes pointed out, the first criticism from Segovia already came "before he had seen or even heard the instrument, soon after Ramírez made the ten-string guitar."