Rob, I'm a beginning guitarist without a teacher and just recently discovered your videos. You are truly inspirational. I love your playing, and the way you teach through your videos has helped me in a number of ways. Perhaps most importantly, as I'm working my way through very basic scales, exercises, and the simplest etudes and other compositions, all at a sometimes painfully slow tempo, you've helped me understand that even these things can be played beautifully. That has added immensely to my enjoyment of this process and so to my motivation to stay with it. No doubt it is also making me a better musician.
Thanks , after 5 years of learning to play, your video has enlightened my approach to playing exercises & simple music (that's all that I am capable off ). The body movements & timing my breathing, helped me to push & pull the music. Learned more from this 15 minute video & it will develop my approach for all my future endeavours. Brilliant.
Cheers, Rob. It is something that is not discussed enough, but as you say is incredibly important. My contention is that complete beginners can be taught the basic principles of it from the outset. No need to wait until you are a virtuoso first, as by then it is probably too late.
My pleasure. Phrasing is rarely discussed, but it can change a piece from sounding like a boring technical exercise to a beautiful melody. Now think about phrasing with every piece you play. And good luck! Rob
Rob, you have a wonderful teaching technique. Thank you for posting. I purchased my edition of Solo Guitar Playing by Frederick Noad in 1970. Just open the book up for the 1st time in 20 years and will be going through it again. My USA edition which I purchased in London has this piece listed as exercise 25.
Oh my… I have gone back and forth with this exercise just trying to make sense of it. My first inclination was to play on time but then it just sounded so flat across. I still keep coming back to it over and over trying to understand it’s purpose. Thanks for the guidance. I wish the musical guidance you give here was suggested somehow in a sentence or two before every exercise.
Method books rarely discuss phrasing. Private lessons are the best way, but that can be expensive. I do teach students across the world, should you ever want to go that route. Nevertheless, best wishes for your progress!
What a great lesson! I wonder if the composer of the exercise had this in mind when he wrote it? But no matter, the way you played it is a clear improvement, transforming the piece from a mere exercise to actual music that speaks to people. I really enjoyed this video, and learned from it.
Good to know, Daniel. I don’t know of any student book that discusses phrasing in this way, mainly because it is difficult to write effectively about, yet it is clearly important. I’m glad you got something from the video. Best wishes for your musical journey!
Great stuff Rob . Particularly about the metronome which I often think forces students to try and cram through the technically difficult parts in a piece or exercise in order to keep in time with the metronome. Often the difficult bits can be easily sorted when taken completely out of time and ultra slowly. (and then put back in time once sorted of course!)
I think this might be even more important with some of these simpler pieces. Some of those are barely music in your mind until you kind of make a mental place for the notes to sit.
Yes, Joe, the simpler the piece the less information we have to work with, which is why it is so beneficial to work at them this way. More advanced pieces have more to distract us with, so we think we are progressing, yet we might not be at all. Get the simple things right, then the complex things will be right too…eventually.
I’m not a classical player, but one thing you must learn in jazz is you MUST listen and play in context of the song and the other musicians. After Rob’s comment about the singer, it was a truth you learn early in jazz ensembles. Otherwise you aren’t invited back!!!
And in classical ensembles, Chris. Classical-guitar players tend to be individualists who have not learned the instrument in the context of ensemble playing. So it’s not surprising they are not used listening outside themselves. The best education I ever had has been when accompanying singers or flute. I then had to figure out how to transfer that to solo guitar playing.
This is fabulous. I've been looking for this way of explaining phrasing. I took 3 or 4 guitar lessons when I was young. I'm now fairly old and I want to learn again. Thank you. Don't be surprised if I become your student online. Do you still teach? EDIT: I listened to the end and I see that you do still teach.
Thanks. Yes, I still teach via Zoom. Details on my website: rmClassicalGuitar dot com. I’d be happy to hear from thou. I aim to stop teaching in late 2025.
I had the good fortune of being one of Frederick Noad's students in the early seventies. He introduced me to the idea of singing a song on the guitar, but also striving for a "sound." By that he meant a strong, powerful, and confident musical voice.
Luck you, William. To be honest, I’m not a great fan of his recordings, but he seemed a really nice guy, even emailing me shortly before his death to tell me how much he enjoyed one of my earliest videos. I don’t think I had an email from anyone before his, it was quite a surprise. I thanked him for getting me started. Too bad he left us too soon.
@@RobMacKillop1 Rob, I don't believe he recorded anything except his PBS series "Playing the Guitar." Somebody else recorded those exercises in from his books. That isn't him. Fred's own playing was round, clean, and projecting. I was inspired by it.
@@williamstanford7994 Wow, that’s very interesting! I never heard his recordings when I had his book - first or second edition - but heard the recordings that came with later editions, which I (wrongly) assumed were by him. I’m very pleased to learn that they were not! And not being an American, I never saw the PBS programs…Thanks for sharing that information, William!
Many more, leading to real repertoire that professionals perform and record. You can buy it with or without sound files. I strongly recommend WITHOUT. As for de-emphasising bass notes, that is something you need to master. I have a hierarchy of importance: melody, bass, anything left over, unless of course the melody is in the bass, or it is a work of Renaissance polyphony, where everything is melody.
wow what a great video. The difference between the two versions of the Noad exercise is mindblowing (I play like the version 1! ). So much to learn! Thanks, Rob!
Cheers, Kali! Just keep at it, and things will improve. But look closely at the music without guitar in hand, and see what you can discover about its phrases and contours, use your imagination as well as your analytical reasoning (4-bar phrases, for example). We can all improve as guitarists by putting our guitar away sometimes!
Very interesting Rob and I understand completely all you said but when playing more complex music this makes it Way way harder to play and learn , I had teacher before and she was way over the top in terms of harmony and phrasing and articulation, i mean she turned a nice easy piece into a ordeal , after one piece I was exhausted , I was so bogged down worrying about all sorts it made me play unmusical and turned me off , my point is phrasing etc etc can be overdone , the average listener only hears nice melody , good sound and some sparing phrasing, At the beginning you played the line of music twice but student version was just really slow , second version was quick ,
Sorry, Alan, but if your aim is to play to the average listener, then go ahead. I’m not playing for any level of listener. I’m focussed entirely on the music itself, trying to play it as best I hear it. I don’t expect my students to play it with good phrasing straight away, but I see no reason why the basic concepts cannot discussed early on. My demonstration was to show what could be done, and how I go about doing it. For most it is a revelation, and it has inspired some to try to find their own interpretation. If you first “learn technique” then “put the music in later on”, your technique will influence the outcome. There are too-many guitarists today (in my humble opinion) with great techniques but little concept of phrasing. I want technique to serve the interpretation, to arise out of the music, not the other way round. Another thing to keep in mind is that this is an overview video. With each private student I address their own skill level and capacity for learning. The video is just to inspire and debate. So I am happy you commented!
@@RobMacKillop1 and of course I’m no where near qualified to question you Rob ! My point really is interpretation can be taken to extreme s and for average amateur players like me (and I am very keen and passionate about classical guitar )pieces could take forever to learn , good tone , good legato , some clear dynamics, some clear colours , maybe emphasise few nice bits here and there , after that and especially trying to perform it under pressure my mind and hands can’t handle anymore …. Cause also trying to play error free which is very hard for ordinary joe soaps like me at tempo under pressure,
@@AlanMcCarthyguitar I completely understand, Alan, and sympathise. I well remember how difficult everything seems at first. Look, people don’t subscribe to me because I have a great technique, they come here because I have something else going on, something less definable than measurable technique. To a beginner I might sound virtuosic, but to an advanced player I am not. But many think I do have something else going for me. That is, I think, phrasing and tone, and a certain feel. I contend that these things CAN be understood and learned by beginners, but it does help if you are not scared to join in with the creative process. To unlock that, one simple exercise would be to play, for example, C Major scale, but just make up little melodies with it, and best of all try to sing what you play. I can’t sing for toffee, but I can more or less sing bits of the scale as I play. Play a short melody, just a few seconds long. Play it again this time varying dynamics, next time tone, next time rhythm. You can do it in the privacy of your own room when no one is listening, and don’t be afraid to make mistakes. Remember the sense of Play you had when you were a kid…rekindle that. Do it every day for a few minutes, and hopefully you will be able to relax more on the instrument, and learn the value of making your own decisions. I can honestly confess that I’ve never played a single piece of music without making mistakes, but as my focus is on expression and not 100% accuracy, people can accept what I do, and perhaps not notice. Some will notice, those who have placed accuracy before expression, but I’m not really playing for them. Well, that’s my approach, Alan, but you will find your own. Best wishes for your progress!
@@RobMacKillop1 very interesting again Rob , thank you for such in-depth replies,I will try that !!… your playing is captivating that’s for sure , gentle and charming, much like how you speak
No, just a regular traditional footstool on its maximum height. I’ve tried all the modern alternatives, but the footstool works best for me, and my body seems to have adapted to it…
Hi Rob, sorry to hijack this video, excellent as it is BTW, but I am looking for the music for Cammeyers Ballad No1. All the previous links to it seem to have expired. Would you still have it somewhere? Really getting into the classic banjo stuff just now. Some lovely music. Thanks Keith
Hi Keith. All Cammeyer’s scores can be found in the library of the Ning Classic Banjo site - worth being a member. Lot’s of other stuff there too. Somebody called Keith just sent me a “coffee”. If that was you, many thanks!
@@RobMacKillop1 you're welcome Rob. I can't seem to find that one on there. I am a member already. Great site, it's brilliant having all the scores available.
Wow. I haven't played Exercise 29 since May 13, 2005. A simple, beautiful, forgotten 8 bars I played through without much thought and at the time surely hated! I remember how badly I wanted to get through the exercises so I could play the Waltz and Andantino by Carulli. The Carulli were, of course, "real pieces". It makes me wonder what else I may have overlooked...in my guitar repertoire, of course. Thank you for your video.
Exactly, Alfred! Many of the exercises are very beautiful, yet we all rush to the Spanish Study (too hard for where it appears in the book) and then Malagueña, and then we reach the “real” music. If Tárrega had written Ex.29, we might have treated it with more care. So, get your Noad book off the shelf, and analyse those early exercises for phrasing - breathing spaces, notes to highlight with dynamics or tempo fluctuations, etc - and discover some miniature gems, and also discover the art of phrasing. Have fun! Rob
Thanks Rob. Very informative topic and in fact is what I am working on alone at home. My son (a pianist) helps me weekly with music by phone, and this topic will be right up his alley. I sent him this link that we can discuss next week.
Good points regarding not playing staccato or letting bass notes ring. However, you really are taking liberties with the time. If i ever used that much rubato, my teachers would've scowled at me
Sure. When I’m teaching, we do both approaches. The student needs to know what good time keeping is, but they also need to learn how to - for want of a better word - bend time. My contention is that this CAN be taught very early on in a student’s development. The guitar is not just a tuned percussion instrument, it can sing too. But these days I hear more of the former than the latter, a situation I would like to change.
Hi rob. Nothing related to the topic of today’s video. Just wanted to say that tonight I took the plunge and cut off my nails! Been playing for a few hours now and I love it. I was worried I would struggle to play certain tunes and it’s not the case. Rest strokes sound so full and round! Think I’m gonna stick with it
Good to know, Jo jo. I suggest you take care of the finger pads by using hand cream on them two or three times a day, and tune down a semitone or tone for a month or three, just to allow the pads to get used to their new role. Congrats on taking the plunge!
@@RobMacKillop1 cheers for the tips rob! I’ll try that tomorrow. I’ve always loved no nail tone (particularly yours and Dominic miller) but always thought maybe you had already be an amazing player to pull it off. But just from a few hours tonight, I think I’ll prefer it and it’s definitely gonna improve my sound. It feels more relaxed to play too
Big decision to take but Rob creates such a beautiful sound using flesh I can understand why. Keeping ones nails in shape for guitar playing is very time consuming and as I have got older my nails have developed line faults that split very easy and sometime need the superglue teabag method to repair. My maintenance kit consists of various grade of files and Micromesh polishing cloths. DIY projects inevitably always lead to a damaged nail and the annoying wait for a broken nail to grow again. What a waste of time. John Williams wrote that he needs to file and maintain his nails every day to avoid breakage. Martin Taylor who plays steel strings with nails said that he was very fortunate to have nails of iron that needs very minimal maintenance.
Thanks Rob, I've been trying to learn guitar for 55 years. Exercise 29 makes the gears mesh smoothly.
Good to know, Wallace. Best wishes for the next 55 years! Rob
Thank you Rob performing music the end game valuable lesson ❤
Rob, I'm a beginning guitarist without a teacher and just recently discovered your videos. You are truly inspirational. I love your playing, and the way you teach through your videos has helped me in a number of ways. Perhaps most importantly, as I'm working my way through very basic scales, exercises, and the simplest etudes and other compositions, all at a sometimes painfully slow tempo, you've helped me understand that even these things can be played beautifully. That has added immensely to my enjoyment of this process and so to my motivation to stay with it. No doubt it is also making me a better musician.
Good to know, so, many thanks for your comment. The guitar needs more poets, not more gymnasts. Best wishes, Rob.
Wonderful teaching
Thanks , after 5 years of learning to play, your video has enlightened my approach to playing exercises & simple music (that's all that I am capable off ). The body movements & timing my breathing, helped me to push & pull the music. Learned more from this 15 minute video & it will develop my approach for all my future endeavours. Brilliant.
You’ve made my day, Paul, and it’s only 8.15!
Great info. Thank you!
⭐️ DANKE, Rob. I listened w/ interest!
Cheers, MariUS! Glad you liked it!
Phrasing and tying things together is incredibly important. It's something I struggle with, thank you for giving me new insights here.
Cheers, Rob. It is something that is not discussed enough, but as you say is incredibly important. My contention is that complete beginners can be taught the basic principles of it from the outset. No need to wait until you are a virtuoso first, as by then it is probably too late.
RUclips takes you sometimes to unexpected, but splendid, videos. I really loved it. And I think it will be really helpful.
Thank you, Rob
My pleasure. Phrasing is rarely discussed, but it can change a piece from sounding like a boring technical exercise to a beautiful melody. Now think about phrasing with every piece you play. And good luck! Rob
Thank you
Great teacher. Where have you been all my life?
Teaching! 🙂 Book some Zoom lessons sometime. I have students from across the globe. See rmclassicalguitar.com/skype/
Rob, you have a wonderful teaching technique. Thank you for posting. I purchased my edition of Solo Guitar Playing by Frederick Noad in 1970. Just open the book up for the 1st time in 20 years and will be going through it again. My USA edition which I purchased in London has this piece listed as exercise 25.
Cheers, Terry. Mine is the 4th edition - I use that instead of my 1st edition copy as most students buy it new today. Best wishes for your studies!
Great Lesson Rob😊
Cheers, Drew!
Oh my… I have gone back and forth with this exercise just trying to make sense of it.
My first inclination was to play on time but then it just sounded so flat across. I still keep coming back to it over and over trying to understand it’s purpose.
Thanks for the guidance. I wish the musical guidance you give here was suggested somehow in a sentence or two before every exercise.
Method books rarely discuss phrasing. Private lessons are the best way, but that can be expensive. I do teach students across the world, should you ever want to go that route. Nevertheless, best wishes for your progress!
What a great lesson! I wonder if the composer of the exercise had this in mind when he wrote it? But no matter, the way you played it is a clear improvement, transforming the piece from a mere exercise to actual music that speaks to people. I really enjoyed this video, and learned from it.
Good to know, Daniel. I don’t know of any student book that discusses phrasing in this way, mainly because it is difficult to write effectively about, yet it is clearly important. I’m glad you got something from the video. Best wishes for your musical journey!
Love your work mate, please keep it up l learn heaps from watching your videos
Thanks. Will do. Donations accepted - see link below video.
Great stuff Rob . Particularly about the metronome which I often think forces students to try and cram through the technically difficult parts in a piece or exercise in order to keep in time with the metronome. Often the difficult bits can be easily sorted when taken completely out of time and ultra slowly. (and then put back in time once sorted of course!)
Agreed, Harry!
This just helped me compose a H. Villa-Lobos-like line of my own music! So THANKS! lol
Well there you go! Now keep on going 🙂
Interesting !
Good! 🙂
I think this might be even more important with some of these simpler pieces. Some of those are barely music in your mind until you kind of make a mental place for the notes to sit.
Yes, Joe, the simpler the piece the less information we have to work with, which is why it is so beneficial to work at them this way. More advanced pieces have more to distract us with, so we think we are progressing, yet we might not be at all. Get the simple things right, then the complex things will be right too…eventually.
I cannot believe you’ve been watching me practice from outside my window this whole time! That beginning part is so like my playing it’s uncanny.
Ah, my secret is out! The infamy!
Merci Rob.
Merci, aussie, Karine!
I’m not a classical player, but one thing you must learn in jazz is you MUST listen and play in context of the song and the other musicians. After Rob’s comment about the singer, it was a truth you learn early in jazz ensembles. Otherwise you aren’t invited back!!!
And in classical ensembles, Chris. Classical-guitar players tend to be individualists who have not learned the instrument in the context of ensemble playing. So it’s not surprising they are not used listening outside themselves. The best education I ever had has been when accompanying singers or flute. I then had to figure out how to transfer that to solo guitar playing.
This is fabulous. I've been looking for this way of explaining phrasing. I took 3 or 4 guitar lessons when I was young. I'm now fairly old and I want to learn again. Thank you. Don't be surprised if I become your student online. Do you still teach? EDIT: I listened to the end and I see that you do still teach.
Thanks. Yes, I still teach via Zoom. Details on my website: rmClassicalGuitar dot com. I’d be happy to hear from thou. I aim to stop teaching in late 2025.
You are the consummate classical guitarist in my opinion. I really love everything about your playing.
Thanks, Micha. You are a true gentleman!
Teaching the Intuitive Nature of Guitar so wonderfully. Absolutely amazing.
Cheers, S/V.
I had the good fortune of being one of Frederick Noad's students in the early seventies. He introduced me to the idea of singing a song on the guitar, but also striving for a "sound." By that he meant a strong, powerful, and confident musical voice.
Luck you, William. To be honest, I’m not a great fan of his recordings, but he seemed a really nice guy, even emailing me shortly before his death to tell me how much he enjoyed one of my earliest videos. I don’t think I had an email from anyone before his, it was quite a surprise. I thanked him for getting me started. Too bad he left us too soon.
@@RobMacKillop1 Rob, I don't believe he recorded anything except his PBS series "Playing the Guitar." Somebody else recorded those exercises in from his books. That isn't him. Fred's own playing was round, clean, and projecting. I was inspired by it.
@@williamstanford7994 Wow, that’s very interesting! I never heard his recordings when I had his book - first or second edition - but heard the recordings that came with later editions, which I (wrongly) assumed were by him. I’m very pleased to learn that they were not! And not being an American, I never saw the PBS programs…Thanks for sharing that information, William!
Very interesting ! I like the de-emphasis of the bass notes. I need to work on this aspect. Does that book have other exercises like this ?
Many more, leading to real repertoire that professionals perform and record. You can buy it with or without sound files. I strongly recommend WITHOUT. As for de-emphasising bass notes, that is something you need to master. I have a hierarchy of importance: melody, bass, anything left over, unless of course the melody is in the bass, or it is a work of Renaissance polyphony, where everything is melody.
👏🏼👏🏼👏🏼
Brilliant!
This goes to all of my students now!
Cheers, Mikael!
wow what a great video. The difference between the two versions of the Noad exercise is mindblowing (I play like the version 1! ). So much to learn! Thanks, Rob!
Cheers, Kali! Just keep at it, and things will improve. But look closely at the music without guitar in hand, and see what you can discover about its phrases and contours, use your imagination as well as your analytical reasoning (4-bar phrases, for example). We can all improve as guitarists by putting our guitar away sometimes!
Very interesting Rob and I understand completely all you said but when playing more complex music this makes it Way way harder to play and learn , I had teacher before and she was way over the top in terms of harmony and phrasing and articulation, i mean she turned a nice easy piece into a ordeal , after one piece I was exhausted , I was so bogged down worrying about all sorts it made me play unmusical and turned me off , my point is phrasing etc etc can be overdone , the average listener only hears nice melody , good sound and some sparing phrasing,
At the beginning you played the line of music twice but student version was just really slow , second version was quick ,
Sorry, Alan, but if your aim is to play to the average listener, then go ahead. I’m not playing for any level of listener. I’m focussed entirely on the music itself, trying to play it as best I hear it. I don’t expect my students to play it with good phrasing straight away, but I see no reason why the basic concepts cannot discussed early on. My demonstration was to show what could be done, and how I go about doing it. For most it is a revelation, and it has inspired some to try to find their own interpretation. If you first “learn technique” then “put the music in later on”, your technique will influence the outcome. There are too-many guitarists today (in my humble opinion) with great techniques but little concept of phrasing. I want technique to serve the interpretation, to arise out of the music, not the other way round. Another thing to keep in mind is that this is an overview video. With each private student I address their own skill level and capacity for learning. The video is just to inspire and debate. So I am happy you commented!
@@RobMacKillop1 and of course I’m no where near qualified to question you Rob ! My point really is interpretation can be taken to extreme s and for average amateur players like me (and I am very keen and passionate about classical guitar )pieces could take forever to learn , good tone , good legato , some clear dynamics, some clear colours , maybe emphasise few nice bits here and there , after that and especially trying to perform it under pressure my mind and hands can’t handle anymore …. Cause also trying to play error free which is very hard for ordinary joe soaps like me at tempo under pressure,
@@AlanMcCarthyguitar I completely understand, Alan, and sympathise. I well remember how difficult everything seems at first. Look, people don’t subscribe to me because I have a great technique, they come here because I have something else going on, something less definable than measurable technique. To a beginner I might sound virtuosic, but to an advanced player I am not. But many think I do have something else going for me. That is, I think, phrasing and tone, and a certain feel. I contend that these things CAN be understood and learned by beginners, but it does help if you are not scared to join in with the creative process. To unlock that, one simple exercise would be to play, for example, C Major scale, but just make up little melodies with it, and best of all try to sing what you play. I can’t sing for toffee, but I can more or less sing bits of the scale as I play. Play a short melody, just a few seconds long. Play it again this time varying dynamics, next time tone, next time rhythm. You can do it in the privacy of your own room when no one is listening, and don’t be afraid to make mistakes. Remember the sense of Play you had when you were a kid…rekindle that. Do it every day for a few minutes, and hopefully you will be able to relax more on the instrument, and learn the value of making your own decisions. I can honestly confess that I’ve never played a single piece of music without making mistakes, but as my focus is on expression and not 100% accuracy, people can accept what I do, and perhaps not notice. Some will notice, those who have placed accuracy before expression, but I’m not really playing for them. Well, that’s my approach, Alan, but you will find your own. Best wishes for your progress!
@@RobMacKillop1 very interesting again Rob , thank you for such in-depth replies,I will try that !!… your playing is captivating that’s for sure , gentle and charming, much like how you speak
I would love to know what guitar support you use? I assumed you use a cushion on your lap but i can’t exactly tell. Thank you
No, just a regular traditional footstool on its maximum height. I’ve tried all the modern alternatives, but the footstool works best for me, and my body seems to have adapted to it…
Hi Rob, sorry to hijack this video, excellent as it is BTW, but I am looking for the music for Cammeyers Ballad No1. All the previous links to it seem to have expired. Would you still have it somewhere? Really getting into the classic banjo stuff just now. Some lovely music. Thanks Keith
Hi Keith. All Cammeyer’s scores can be found in the library of the Ning Classic Banjo site - worth being a member. Lot’s of other stuff there too. Somebody called Keith just sent me a “coffee”. If that was you, many thanks!
@@RobMacKillop1 you're welcome Rob. I can't seem to find that one on there. I am a member already. Great site, it's brilliant having all the scores available.
@@WansbeckBikecam Okay. Can you give me your email address?
Wow. I haven't played Exercise 29 since May 13, 2005. A simple, beautiful, forgotten 8 bars I played through without much thought and at the time surely hated! I remember how badly I wanted to get through the exercises so I could play the Waltz and Andantino by Carulli. The Carulli were, of course, "real pieces". It makes me wonder what else I may have overlooked...in my guitar repertoire, of course. Thank you for your video.
Exactly, Alfred! Many of the exercises are very beautiful, yet we all rush to the Spanish Study (too hard for where it appears in the book) and then Malagueña, and then we reach the “real” music. If Tárrega had written Ex.29, we might have treated it with more care. So, get your Noad book off the shelf, and analyse those early exercises for phrasing - breathing spaces, notes to highlight with dynamics or tempo fluctuations, etc - and discover some miniature gems, and also discover the art of phrasing. Have fun! Rob
Thanks Rob. Very informative topic and in fact is what I am working on alone at home. My son (a pianist) helps me weekly with music by phone, and this topic will be right up his alley. I sent him this link that we can discuss next week.
Good to know, Edward! I’m very pleased you and your son will be discussing the ideas in this video! Best wishes, Rob
Good points regarding not playing staccato or letting bass notes ring. However, you really are taking liberties with the time. If i ever used that much rubato, my teachers would've scowled at me
Sure. When I’m teaching, we do both approaches. The student needs to know what good time keeping is, but they also need to learn how to - for want of a better word - bend time. My contention is that this CAN be taught very early on in a student’s development. The guitar is not just a tuned percussion instrument, it can sing too. But these days I hear more of the former than the latter, a situation I would like to change.
Hi rob. Nothing related to the topic of today’s video. Just wanted to say that tonight I took the plunge and cut off my nails! Been playing for a few hours now and I love it. I was worried I would struggle to play certain tunes and it’s not the case. Rest strokes sound so full and round! Think I’m gonna stick with it
Good to know, Jo jo. I suggest you take care of the finger pads by using hand cream on them two or three times a day, and tune down a semitone or tone for a month or three, just to allow the pads to get used to their new role. Congrats on taking the plunge!
@@RobMacKillop1 cheers for the tips rob! I’ll try that tomorrow.
I’ve always loved no nail tone (particularly yours and Dominic miller) but always thought maybe you had already be an amazing player to pull it off. But just from a few hours tonight, I think I’ll prefer it and it’s definitely gonna improve my sound. It feels more relaxed to play too
@@jojo1492 Great. The last thing you want, though, is to develop calluses, so take care of them!
@@RobMacKillop1 duly noted. Cheers rob! 👍
Big decision to take but Rob creates such a beautiful sound using flesh I can understand why.
Keeping ones nails in shape for guitar playing is very time consuming and as I have got older my nails have developed line faults that split very easy and sometime need the superglue teabag method to repair. My maintenance kit consists of various grade of files and Micromesh polishing cloths. DIY projects inevitably always lead to a damaged nail and the annoying wait for a broken nail to grow again. What a waste of time. John Williams wrote that he needs to file and maintain his nails every day to avoid breakage. Martin Taylor who plays steel strings with nails said that he was very fortunate to have nails of iron that needs very minimal maintenance.