Venezuelans must be very proud, and rightly so, to have within your ranks a composer of the quality of Lauro. My congratulation and admiration from this Mexican. Viva Venezuela!!!
@@MarkInLA what he/ she means is that he is expressing admiration for Venezuelan music. And just sending love and admiration from Mexico... not saying that Venezuela is a part of Mexico.. I hope that clarifies 😅
I like it that other musicians play and teach this beautiful valse. I´m Venezuelan people and I am glad an instructor of other language teach this beautiful Lauro´s Valse.Congratulations madam.
You are such a master performing artist/teacher, Sharon! I have admired your playing for years. I have resumed playing after a 40 year hiatus since receiving my Master's in Guitar Performance from Florida State. Let me tell you... it is such a joy to play again... but this time, on my own terms. I'm discovering so many amazing things... namely, that slow, methodical practice with purpose (using a metronome) amazingly reignites muscle memory and profoundly improves technique. (My technique is actually BETTER now than it was in my student days! What I need to improve on now is endurance!) To be perfectly honest, as a student, I would waste so much time merely playing through pieces without focus... the result of an ego unwilling to put in the "grunt work"! (I bet you encounter many students today like myself, who want to jump in to fulfil their egos without putting in the technical work necessary to back up their artistry.) If I could go back in time and do it over again, I would approach the instrument in a very different way. Funny that today I am discovering some of the technical idiosyncrasies and bad habits (and finally addressing them) that had hindered my playing ability way back when. Mine is a cautionary tale... build a framework first. Plowing through pieces in order to satisfy the ego is a waste of time! I'm happy to have finally learned a life lesson. Better late than never.
Thanks for a great interpretation with so many details; it was a was a wonderful surprise to find Antonio Lauro's Natalia as a guitar lesson. Once again, thanks!
Mirando a Sharon tocar la guitarra, es como ver una perfecta puesta del sol. Yo pudiera pasar toda una vida viendola y escuchandola hacer sus melodias.
Very nice, I played this about 40 years ago, but not well. I am now getting back into guitar over the past 2 years and your explanation of this piece and wonderful playing really inspires me to grab the music once again, but I have lost most of my sight reading ability and what I had was not that good. But again this is inspirational, thank you!
She is so beautiful and kind in sharing her skills and knowledge. She is so full of love. I wish her happiness always. I will learn this piece if it takes me a long time..I hope I will meet her one day and say the same words to her. Ken C
Great stuff. I see so many young players sticking rigidly to a sort of ponticello tone when it sounds so much more involving to mix up some colour and change some volume on a piece to give it more character. i also love the 'four finger vibrato' tip which works great. I have had masterclasses from world class guitarists and no-one has ever mentioned that technique. Thank you Ms. Isbin!
wisdom seeker thats how i feel this info can apply to many pieces its million dollar advice and she looks so nice and explains in plain and simple manor thank you Sharon for a great lesson !
think it was Alirio Diaz, who started to make a race out of Lauro waltzes. I was in the country 30 years ago, but never heard a waltz played at that speed.
I teach general music and guitar and after watching this video, I have a renewed and greater admiration for Sharon not only as a superb guitar player, but also as a musician and teacher. The instructional value of this video is amazing!
Totally agree the focus is on musicallity .as apposed too speaking about technique. Hemiola agogic accent and dynamic contrast without not going too sound so good
A year ago I had posted that I wasn't really getting anything out of this. But, now that I've really got this piece pretty much down I finally understand what Sharon is saying and appreciate her insights. It was just that this lesson is for advanced players and how to fine tune this piece. My apologies to everyone here as this is truly a very insightful tutorial by Sharon.
why do pianist need to do that? different instruments have different characteristics. Piano can do things guitar can't do. It is just exaggeration for guitarist to do this.
Thanks Sharon.......stunning version. Wow.............working on that ;its going to be an annual project. You add so much colour and your instruction. Not clear on the changing rhythms 6/8 and 3/4 yet ....as my knowledge of south American music and syncopation pretty weak. Will take this up with my teacher. Your help is very much appreciated.
Lovely playing and great teaching. Thanks for the tip on vibrato Sharon; I've always just used a single finger at that point in the piece. Also I always struggled with that long stretch in the middle section but I notice you don't try to hold down the low G bass for the full note; makes sense. I envy you your long and strong right hand nails.
Some interesting thoughts on this piece - thanks. In most other transcriptions / performances, I see the b in the second bar of the first section notated / played as a harmonic on the 12th fret of the b string. Is there a reason you chose to play this fretted?
Anyone know what strings she prefers/uses and more so what gauge ? I thing they may be medium or even light gauge because she attains a very flowing sweet but not real powerful delivery (
Ricardo José Rodríguez, gracias por subir esta interpretación maestra con esta dama especial... Ahora hermano, ¿puedes indicarme qué debo hacer para bajar esta clase y poder estudiarla paso a paso, a cualquier hora en cualquier sitio? Le pongo "bajar " y no funciona...
About 0:36 the high 'e' is written as a harmonic. But I'd been doing same as Sharon til a week ago when I finally happened to notice the 'harm.' marking.. Now I have to make a decision. Hmmm.. M
Makes perfect sense, and it's always good to analyze how you want to play things. I don't necessarily agree with all of this talk (in terms of the outcome) but in general, it makes a huge difference whether or not you do some more thinking about what's going on. Having said that, personally, I think the danceability of the outcome is much more important than any effect (admitting that I'm also into flamenco). 3/4 vs 6/8 is extremely important, and although she mentions it, I hear little of the imprint of this 'beat'. Note for example that bars 2-4 are in 6/8 notation. Is this on purpose? Try it out and note that there is quite a difference if you change the pulse. Also, I do not like the almost obsessed 'every second time should be really different from the first time' is a bad idea IMO. You are not in it to show how cool you can make it sound different many times, you're in it to take the listener by the hand in a developing story. So I like much better the 'the first time present it, the second time enjoy it better' idiom. Like you first show 'hey listen to this, it's great' and the second time 'one more time ...'. I dislike it when I hear pieces played that way; when they try to hammer in 2 really different views on the same notes. But all in all a very interesting presentation, and it certainly gives me things to think about.
Esta señora toca terrible ese vals. Es como una procesión de mochos. Los bajos le y las notas al aire quedan resonando dejando rastros y suciedades en la armonía continuamente.
valla un estilista estirado, jajajaja por que no nos enseña usted en ves de criticar? parecen a los estirados del conservatorio Jose Anbgel Lamas donde enseño el maestro Lauro con humildad.
Leonardo Viloria valla un estilista estirado, jajajaja por que no nos enseña usted en ves de criticar? parecen a los estirados del conservatorio Jose Anbgel Lamas donde enseño el maestro Lauro con humildad.
Yes. Just instinctually I've always that too...Yet if you picture a ballroom and lots of people waltzing round and round and round, somehow it works as a fast waltz ! : one, 2, 3 / one, 2, 3 / one, 2, 3 ......... I play it, but not like her or others. At that tempo I make clams more than I will normally make !!
You couldnt be boring if you tried!!.....talk any way you wish.....but just keep playing ! Than you for the great insight into adding the tonal variation garnishments....
Con todo respeto Sra. Isbin, pero la digitación que Ud. hace en Natalia no esta correcta. El maestro Antonio Lauro escribió por ejemplo de Sol a Fa# en la segunda cuerda y el Si que Ud hace en la primera cuerda 7mo traste no es así, este Si es en la segunda cuerda con un armónico en la segunda cuerda. Recuerden la linea melódica y los timbres. En la interpretación musical se pueden cambiar algunas cosas pero en esta obra esas notas no se deben hacer en esas cuerdas. Lo otro es que se estan guiando con una partitura no original. Saludos, no es una critica es una preocupación porque soy venezolano y no me gustaria que esa obra se tocara incorrecamente internacionalmente por ser Isbin la gran guitarrista que es, y se que tiene muchos seguidores y esta música es parte de otra cultura.
Chale, en lugar de decirle lo guapa que está , te quieres poner a darle clases, no manches Rudy, sólo espero que no seas mechica o de la gran Tenochtitlan.
If you really wish to teach how to play this beautiful waltz, please consider all those people watching you, I think you should play really slow in order to allow us to see each possition you play, its clear for all youre an excellent guitarrist but please share your knowledge..
Martin Gonzalez Tu peux toujours enregistrer la video et la passer au ralenti, voir directement la jouer à demi-vitesse sur RUclips puisque cela t'est possible.
Seems rushed and lacking in fine tone and dance quality. Why play so fast for a student? I’m a fan of her great playing but this is not so impressive. Lauro played with such grace and sensitivity.
I wish she would give the bass notes in the opening bars their full written value. The section sounds kinda spastic with them played staccato. Also ponticello used this cookie-cutter manner sounds robotic, besides being thin and tonally ugly. I'm not generally fond of her approach to Lauro, her version of El Maribino also makes me cringe.
Everything is excellent , except for one thing: When she says that this or that sound has meaning she fails to tell what it means. In my view, no sound has any meaning. Any sound does not have a semantic meaning. Walter Pater, the English critc, used to say that music does not say anything, it suggest rather than tell. Music seems like is going to tell you something but never does. Or, on the contrary, it seems that just told you something but you are not able to know what it just told you. Except for programmatic music, Like Peter And The Wolf, were the sound of each instrument is assigned a role in the story, this is to associate the sound with a particular animal. But this is done with WORDS not with sounds!
Is that a tutorial on the Valz, or your personal impressions and interpretation of that musical piece? Somehow boring, and distant from the original version. By far overly-mechanized, desensitized from expression, and way to constricted in execution. Like a body without a heart, and an eye that cannot see, so it is. Like a face covered with the make-up of infatuation, and the perfume of arrogance, that pushes the listener away instead of drawing it near, so it is. What else can be said.....
![Gunna - today i did good [Official Video]](http://i.ytimg.com/vi/ulGLk8TaXcI/mqdefault.jpg)
Venezuelans must be very proud, and rightly so, to have within your ranks a composer of the quality of Lauro. My congratulation and admiration from this Mexican. Viva Venezuela!!!
Venezuela is not in Mexico ! It is a separate country, since you are a wisdom seeker !!
@@MarkInLA what he/ she means is that he is expressing admiration for Venezuelan music. And just sending love and admiration from Mexico... not saying that Venezuela is a part of Mexico.. I hope that clarifies 😅
I like it that other musicians play and teach this beautiful valse. I´m Venezuelan people and I am glad an instructor of other language teach this beautiful Lauro´s Valse.Congratulations madam.
And advanced tutorial, for advanced ears and players. immaculate performance and technique
You are such a master performing artist/teacher, Sharon! I have admired your playing for years. I have resumed playing after a 40 year hiatus since receiving my Master's in Guitar Performance from Florida State. Let me tell you... it is such a joy to play again... but this time, on my own terms. I'm discovering so many amazing things... namely, that slow, methodical practice with purpose (using a metronome) amazingly reignites muscle memory and profoundly improves technique. (My technique is actually BETTER now than it was in my student days! What I need to improve on now is endurance!) To be perfectly honest, as a student, I would waste so much time merely playing through pieces without focus... the result of an ego unwilling to put in the "grunt work"! (I bet you encounter many students today like myself, who want to jump in to fulfil their egos without putting in the technical work necessary to back up their artistry.) If I could go back in time and do it over again, I would approach the instrument in a very different way. Funny that today I am discovering some of the technical idiosyncrasies and bad habits (and finally addressing them) that had hindered my playing ability way back when. Mine is a cautionary tale... build a framework first. Plowing through pieces in order to satisfy the ego is a waste of time! I'm happy to have finally learned a life lesson. Better late than never.
Thank you so much, I love that work by the maestro Lauro and your masterclass helped me to play it now
Thanks for a great interpretation with so many details; it was a was a wonderful surprise to find Antonio Lauro's Natalia as a guitar lesson. Once again, thanks!
Mirando a Sharon tocar la guitarra, es como ver una perfecta puesta del sol. Yo pudiera pasar toda una vida viendola y escuchandola hacer sus melodias.
Thank you so much, what a great teacher.
Very nice, I played this about 40 years ago, but not well. I am now getting back into guitar over the past 2 years and your explanation of this piece and wonderful playing really inspires me to grab the music once again, but I have lost most of my sight reading ability and what I had was not that good. But again this is inspirational, thank you!
She is so beautiful and kind in sharing her skills and knowledge. She is so full of love. I wish her happiness always. I will learn this piece if it takes me a long time..I hope I will meet her one day and say the same words to her.
Ken C
Great stuff. I see so many young players sticking rigidly to a sort of ponticello tone when it sounds so much more involving to mix up some colour and change some volume on a piece to give it more character. i also love the 'four finger vibrato' tip which works great. I have had masterclasses from world class guitarists and no-one has ever mentioned that technique. Thank you Ms. Isbin!
Excellent tutorial, excellent song, excellent performance, excellent teacher, excellent all. Thanx so much for this video
wisdom seeker thats how i feel this info can apply to many pieces its million dollar advice and she looks so nice and explains in plain and simple manor thank you Sharon for a great lesson !
Sharon's so pretty I can see she has a humourous smile. Quartro valses played must be 25 yrs ago great music.
think it was Alirio Diaz, who started to make a race out of Lauro waltzes. I was in the country 30 years ago, but never heard a waltz played at that speed.
I teach general music and guitar and after watching this video, I have a renewed and greater admiration for Sharon not only as a superb guitar player, but also as a musician and teacher. The instructional value of this video is amazing!
Lo mejor que he oido ❤
Fabulous lesson. Always one of my favourite pieces. Thanks for posting.
Great teacher... And great lesson.... Magistrale...💯🔝🔝🔝
Fantastic lesson! How this video got 65 down thumbs is beyond my comprehension. Anyone playing this piece, this is must viewing.
Totally agree the focus is on musicallity .as apposed too speaking about technique. Hemiola agogic accent and dynamic contrast without not going too sound so good
Eres genial Sharon y gracias por compartir tu arte con nosotros 😘😘😘😘
Beautiful.
Simply fabulous!
Sharon siente la musica de lauro, tocando esa pieza parece una sirena salida del encuentro de los DOS rios (ORINOCO/CARONI).
A year ago I had posted that I wasn't really getting anything out of this. But, now that I've really got this piece pretty much down I finally understand what Sharon is saying and appreciate her insights. It was just that this lesson is for advanced players and how to fine tune this piece. My apologies to everyone here as this is truly a very insightful tutorial by Sharon.
" Pianist can't do this, but violonists can, songers can so can guitarists " I love this sentence omg !
why do pianist need to do that? different instruments have different characteristics. Piano can do things guitar can't do. It is just exaggeration for guitarist to do this.
Love her. But she left out trombone ...probably the most frequent employer of portamento and glissando ....
Grato, mesmo não entendendo seu idioma entendi perfeitamente sua aula, seu método de ensinar é Very good.
Who is this lady? I'll never see this piece the same way I saw it before I watched this video. Wonderful interpretation of the piece! Beyond words!
Gracias por tocar tan lindo nuestro vals venezolano ,saludos
Спасибо от души за информацию, предоставленную Вами.
Great way explain this piece, Thank-you Sharon!
Thanks Sharon.......stunning version. Wow.............working on that ;its going to be an annual project. You add so much colour and your instruction. Not clear on the changing rhythms 6/8 and 3/4 yet ....as my knowledge of south American music and syncopation pretty weak. Will take this up with my teacher. Your help is very much appreciated.
I got it Sharon Isbin -- FANTASTICAAAA !
Nice dynamics tutorial
You are soooo AMAZING!!! I wish you were my instructor.
I love this song! Thanks a lot!
Lovely playing and great teaching. Thanks for the tip on vibrato Sharon; I've always just used a single finger at that point in the piece. Also I always struggled with that long stretch in the middle section but I notice you don't try to hold down the low G bass for the full note; makes sense. I envy you your long and strong right hand nails.
Thank you, Sharon, for this sensitive interpretation -- and for your fine teaching.
Thanks so much ! This is a wonderful lesson !
I love it, is unbelieve!. This piece show Lauro's sensitivity, the interpretation is very complex, your hand must be very exact....
Thanks for the great tips on interpretation!
Great advice. Sharon you could see when you had your eyes closed you where memorising the score which had learnt. Thank you.
Some interesting thoughts on this piece - thanks. In most other transcriptions / performances, I see the b in the second bar of the first section notated / played as a harmonic on the 12th fret of the b string. Is there a reason you chose to play this fretted?
When I tried it it was not as easy as shown here...unbelievable how you make the form audible!
grandisimo lauro...aqui una instructora de otras latitudes, enseñando un tema de un venezolano
Anyone know what strings she prefers/uses and more so what gauge ? I thing they may be medium or even light gauge because she attains a very flowing sweet but not real powerful delivery (
You have beautiful hands.
que buen video, gracias por compartirlo!!!!
Voce é muito linda e sabia
Quero ser seu aluno
❤❤
J'aimerais bien la rencontrer elle est très jolie, et puis je joue aussi ce beau morceau !
Sharon great job, your interpretation is really amazing !
Ricardo José Rodríguez, gracias por subir esta interpretación maestra con esta dama especial... Ahora hermano, ¿puedes indicarme qué debo hacer para bajar esta clase y poder estudiarla paso a paso, a cualquier hora en cualquier sitio? Le pongo "bajar "
y no funciona...
Beautiful
Bien bueno el video. Sobre todo por los efectos q le imprime
Great explanation and interpretation... Beautiful!
Thanks for the lesson.
Thank you for all this!
Intriguing Wow..
Mas tao loje aquí no brazil
beautiful!! amazing instructor :)
Eu queria ser seu aluno
About 0:36 the high 'e' is written as a harmonic. But I'd been doing same as Sharon til a week ago when I finally happened to notice the 'harm.' marking.. Now I have to make a decision. Hmmm.. M
thank you so much.you are beautiful teacher
Makes perfect sense, and it's always good to analyze how you want to play things. I don't necessarily agree with all of this talk (in terms of the outcome) but in general, it makes a huge difference whether or not you do some more thinking about what's going on.
Having said that, personally, I think the danceability of the outcome is much more important than any effect (admitting that I'm also into flamenco). 3/4 vs 6/8 is extremely important, and although she mentions it, I hear little of the imprint of this 'beat'. Note for example that bars 2-4 are in 6/8 notation. Is this on purpose? Try it out and note that there is quite a difference if you change the pulse.
Also, I do not like the almost obsessed 'every second time should be really different from the first time' is a bad idea IMO. You are not in it to show how cool you can make it sound different many times, you're in it to take the listener by the hand in a developing story. So I like much better the 'the first time present it, the second time enjoy it better' idiom. Like you first show 'hey listen to this, it's great' and the second time 'one more time ...'. I dislike it when I hear pieces played that way; when they try to hammer in 2 really different views on the same notes.
But all in all a very interesting presentation, and it certainly gives me things to think about.
Just one word: Bravo!!!
I love you
Esta señora toca terrible ese vals. Es como una procesión de mochos. Los bajos le y las notas al aire quedan resonando dejando rastros y suciedades en la armonía continuamente.
valla un estilista estirado, jajajaja por que no nos enseña usted en ves de criticar?
parecen a los estirados del conservatorio Jose Anbgel Lamas donde enseño el maestro Lauro con humildad.
Leonardo Viloria valla un estilista estirado, jajajaja por que no nos enseña usted en ves de criticar?
parecen a los estirados del conservatorio Jose Anbgel Lamas donde enseño el maestro Lauro con humildad.
She's the goddess...
Estoy enamorado de esa mujer!!!!!!
What's the point of playing it so fast in the tutorial??
Carrie from Homelands!?
she's hilarious.she's awesome
Thanks
This version of finger position is most strange I never learned that way.
What a great teacher she is !!!
The performance starts at 13:01....
are the tabs available as a document?
+89Redge I know it by Marcel Dadi under the title Mayan Dance. I found a link.... yadi.sk/d/SDZStCT0fXpj4
Listen this here, all questions will be lifted!
ruclips.net/video/32imQ1lsQsk/видео.html
Can you imagine a pianist playing waltz like this?
Yes, I can. What's your point ?
thanks again
What model of guitar is that?
think it was Alirio Diaz, who introduced the Lauro valses to be played as fast as the devil. Its a silly custom.
Yes. Just instinctually I've always that too...Yet if you picture a ballroom and lots of people waltzing round and round and round, somehow it works as a fast waltz ! : one, 2, 3 / one, 2, 3 / one, 2, 3 .........
I play it, but not like her or others. At that tempo I make clams more than I will normally make !!
You couldnt be boring if you tried!!.....talk any way you wish.....but just keep playing ! Than you for the great insight into adding the tonal variation garnishments....
🌹
Bravo !
Con todo respeto Sra. Isbin, pero la digitación que Ud. hace en Natalia no esta correcta. El maestro Antonio Lauro escribió por ejemplo de Sol a Fa# en la segunda cuerda y el Si que Ud hace en la primera cuerda 7mo traste no es así, este Si es en la segunda cuerda con un armónico en la segunda cuerda. Recuerden la linea melódica y los timbres. En la interpretación musical se pueden cambiar algunas cosas pero en esta obra esas notas no se deben hacer en esas cuerdas. Lo otro es que se estan guiando con una partitura no original. Saludos, no es una critica es una preocupación porque soy venezolano y no me gustaria que esa obra se tocara incorrecamente internacionalmente por ser Isbin la gran guitarrista que es, y se que tiene muchos seguidores y esta música es parte de otra cultura.
Chale, en lugar de decirle lo guapa que está , te quieres poner a darle clases, no manches Rudy, sólo espero que no seas mechica o de la gran Tenochtitlan.
como si te fuera a leer
mezquino
Rodolfo Gil Cuando subes tú vídeo?
Estas bien desesperado Jairo..si quieres un interprete de la guitara clasica que esta como quiero, busca Ana Vidović, and enjoy... lol.
Slowmotion... for Flash. (?)
What it her name ?
saw you in detroit...truely beautiful
If you really wish to teach how to play this beautiful waltz, please consider all those people watching you, I think you should play really slow in order to allow us to see each possition you play, its clear for all youre an excellent guitarrist but please share your knowledge..
The first time she plays each measure, she plays really slow?!
She's teaching for who already know the piece. She explains very very clear how to play it.
This is not for beginers.
Martin Gonzalez Tu peux toujours enregistrer la video et la passer au ralenti, voir directement la jouer à demi-vitesse sur RUclips puisque cela t'est possible.
6:24 wow thats slid sounds really beautiful
Mija, aviéntate la clasecita en español, please, si?
Sorry Sr. That song is not spanish. It is a venezuelan waltz. Regards.
Seems rushed and lacking in fine tone and dance quality. Why play so fast for a student?
I’m a fan of her great playing but this is not so impressive. Lauro played with such grace and sensitivity.
Your accents on the base line in the first part makes it much to rigid. There is much more counterpoint in that part....
You play very well but what is your purpose forthis presentation
I wish she would give the bass notes in the opening bars their full written value. The section sounds kinda spastic with them played staccato.
Also ponticello used this cookie-cutter manner sounds robotic, besides being thin and tonally ugly.
I'm not generally fond of her approach to Lauro, her version of El Maribino also makes me cringe.
c est un italien et non un mexicain
Everything is excellent , except for one thing: When she says that this or that sound has meaning she fails to tell what it means. In my view, no sound has any meaning. Any sound does not have a semantic meaning. Walter Pater, the English critc, used to say that music does not say anything, it suggest rather than tell. Music seems like is going to tell you something but never does. Or, on the contrary, it seems that just told you something but you are not able to know what it just told you. Except for programmatic music, Like Peter And The Wolf, were the sound of each instrument is assigned a role in the story, this is to associate the sound with a particular animal. But this is done with WORDS not with sounds!
U should practice ur tone. It would stop obnoxious noises from happening. It is very plucky. Also make sure u are play the melody not base
base is the melody
Is that a tutorial on the Valz, or your personal impressions and interpretation of that musical piece?
Somehow boring, and distant from the original version. By far overly-mechanized, desensitized from expression, and way to constricted in execution. Like a body without a heart, and an eye that cannot see, so it is. Like a face covered with the make-up of infatuation, and the perfume of arrogance, that pushes the listener away instead of drawing it near, so it is.
What else can be said.....