Williams had a wonderful technique which was helped by his lack of tension. He was always supremely relaxed. I was fortunate to have seen him play many times and he never disappointed.
Thank you for this excellent and detailed account. One thing which has always struck me is how relaxed he seems. His posture is just like he's sitting chatting. I had never noticed just how far his LH thumb is above the neck, even when playing in the higher positions. It seems to be only during barre chords that it comes into the traditional 'middle of the neck' position. Since I have always struggled to maintain that position outside of barres, it's given me something to think about.
I've been lucky enough to see John Williams perform many times. I met him twice. In 1981, I attended a week long Masterclass (as an audience member) at The Victorian College Of The Arts, St Kilda. He hardly talked about any aspects of technique at all. He did emphasise the importance of sight reading (which Classical Guitarists are notoriously poor at) and recognising functional tonality as applied to the fretboard. I personally knew two Graduates in Classical guitar from 'The College Of The Arts,' and neither of them could sight read a simple chord chart, count, find common chords or chord progressions, compose or improvise. I saw John play with Sky a few times - also with Inti Illimani and others. On these occasions he used a foot stool under his right foot with the headstock more parallel to the floor. He still sounded and played the same. It was no impediment at all. I studied Classical Guitar up to Grade V when I was younger. Looking back, I should have asked more questions. I often accepted things as 'correct' and that often held me back - particular Segovian techniques. Segovia did a lot of good things for Classical Guitar - but he also did a lot which was good for him and useless to others. In mentioning Segovia, I need to add that He, John Williams, Julian Bream and a few other successful Classical Guitarists had totally different approaches to playing - technique, posture and otherwise. They all well knew it too. It was John Williams' father that taught him - certainly not Segovia. I used to be precious about Classical Technique. Now I have totally different attitudes.
Brilliant. The first time I've seen someone correctly analyse the great JW technique . Something lots of people miss is that both Segovia and Williams have what is sometimes called 'hitchhiker thumbs', the double joint which means on the left hand the thumb rests behind the 1st finger not the second because of the thumb bend and the higher wrist angle on the right can be comfortable also because of the thumb joint, this is why in my opinion if you have a "hitchhiker thumb' i believe the player will find the 'old style' much easier than the 'new style' which favours the more common straight thumb. Just my opinion. no doubt someone will tell me i'm wrong! ha ha. But this is my theory between old style and new style ways of playing. thank you for your video
I find that each guitar players hands and bodies are unique and therefore their playing position will naturally be found over time as they respond to their own natural inclinations. Eventually you discover what feels most comfortable for your own ergonomic limitations. Finally, I would say that your right hand technique is driven by the sound that you wish to hear. It may be subtly different from another player but still enable you to extract the sounds that please you the most and provide you with a signature tone.
Thank you for sharing your perspective! Of course, every guitarist’s hands and body are unique, and finding a natural and comfortable playing position over time is essential. It’s also important to mention that at no point in the video was it suggested to copy anyone’s technique directly. However, there are fundamental principles that can serve as a guide, where looking up to renowned players can be helpful-especially when it comes to promoting a healthy and relaxed approach to the instrument. This is particularly true regarding how relaxed our hands and body are while playing, as this can make a significant difference in our comfort and sound.
@@TheArtofClassicalGuitar I do agree that watching a professional players position can be very helpful when starting to play the guitar and having no point of reference. It's very hard to break bad habits that can lead to injury or a poor technique that doesn't lead to a very good tone. As you implied, being relaxed is key to avoiding injury and enabling you to practise for a long time with no strain.
All bodies are different -geometrically speaking. Narrow hips, wide hips, tall short ... I have had teachers that pushed me in not very productive directions when I was too young to make my own judgements. After decades of dedication my conclusion is that one must find their own comfort level - but with a carefull eye from a seasoned player; bad habits are ez to infect, but difficult to eradicate. But senseless confines of saying "you must tilt the guitar towards you" because Segovia did (he did so because he had an 'ample' tummy), or sit straight up obscuring total vision of the fretboard because that is the way so 'n so played -well that is in my opinion counterproductive to the art. Just my 2 cents.
His right hand position is old style. But very efective in sound volume I think. Position of left hand isnt relevant. Left hand position must be same when you play classical guitar. You completely missed very important thing - lenght of the fingers.
Thank you for your comment! We can’t agree with you that the position of the left hand isn’t relevant. On the contrary, we believe it’s crucial-not necessarily in the same way as the right hand for tone production, but equally important in its own right. The left hand affects intonation, tone clarity, and techniques like vibrato. We won’t achieve the same tone if our left hand is tense compared to when it’s relaxed. As for finger length, it definitely plays a role in stretches and challenging left-hand positions. However, we don’t believe it’s a key factor when discussing the fundamental principles of guitar playing. We’d suggest paying attention to great players with small hands. Here is just one example of it, the fantastic Duo Siqueira Lima: ruclips.net/video/b-DTsjfeITk/видео.html
I’m sorry, but you are wrong about most of what you say in this video. John Williams taught my teacher (the great and late Phillip Houghton) and my teacher taught me everything about his technique. The first thing is the left foot is not further away. It is slightly closer to the body than 90°. It’s just hard to see with these angles. Having the feet inward allows the back to sit up straight and lean forward when necessary and yes, he’s always leaning forwards. I want to teach this technique to the world. Please send me a message if you want private lessons online.
So you are an Australian? My teacher was Adrian Walter, a friend of the Maestro. I recall the amazement and great affection he would express when talking about John’s technical and hence musical facility.
“One of the best guitarists ever!”……..you say. I say Mississippi John Hurt was. And remember as Dylan sang: no one plays the blues like Blind Willie McTell. Or Blind Willie Johnson whose “Dark Is The Night Cold Is The Ground” is on the Golden Disc now in deep space representing (with other artistic and scientific works) the highest and most noble achievements of mankind.
One thing I want to add is, the whole discussion of his posture and hand and arm positions enable him to "relax" entire body especially his upper body that controls his hands. Also, most importantly, his mental focus towards hand movements and music. Older I get, I feel brain power is the key driving factor to the guitar playing and every other thing in achieving our goals.
Great analysis.
Williams had a wonderful technique which was helped by his lack of tension. He was always supremely relaxed. I was fortunate to have seen him play many times and he never disappointed.
His father lived near me in the 1970s in Cornwall - he was a very good jazz guitarist.
Thank you for this excellent and detailed account. One thing which has always struck me is how relaxed he seems. His posture is just like he's sitting chatting. I had never noticed just how far his LH thumb is above the neck, even when playing in the higher positions. It seems to be only during barre chords that it comes into the traditional 'middle of the neck' position. Since I have always struggled to maintain that position outside of barres, it's given me something to think about.
I've been lucky enough to see John Williams perform many times. I met him twice. In 1981, I attended a week long Masterclass (as an audience member) at The Victorian College Of The Arts, St Kilda. He hardly talked about any aspects of technique at all. He did emphasise the importance of sight reading (which Classical Guitarists are notoriously poor at) and recognising functional tonality as applied to the fretboard.
I personally knew two Graduates in Classical guitar from 'The College Of The Arts,' and neither of them could sight read a simple chord chart, count, find common chords or chord progressions, compose or improvise.
I saw John play with Sky a few times - also with Inti Illimani and others. On these occasions he used a foot stool under his right foot with the headstock more parallel to the floor. He still sounded and played the same. It was no impediment at all.
I studied Classical Guitar up to Grade V when I was younger. Looking back, I should have asked more questions. I often accepted things as 'correct' and that often held me back - particular Segovian techniques. Segovia did a lot of good things for Classical Guitar - but he also did a lot which was good for him and useless to others. In mentioning Segovia, I need to add that He, John Williams, Julian Bream and a few other successful Classical Guitarists had totally different approaches to playing - technique, posture and otherwise. They all well knew it too. It was John Williams' father that taught him - certainly not Segovia. I used to be precious about Classical Technique. Now I have totally different attitudes.
Excellent analysis of my favorite classical guitarist.
John Williams ? Solid as a rock!!!!
Brilliant. The first time I've seen someone correctly analyse the great JW technique . Something lots of people miss is that both Segovia and Williams have what is sometimes called 'hitchhiker thumbs', the double joint which means on the left hand the thumb rests behind the 1st finger not the second because of the thumb bend and the higher wrist angle on the right can be comfortable also because of the thumb joint, this is why in my opinion if you have a "hitchhiker thumb' i believe the player will find the 'old style' much easier than the 'new style' which favours the more common straight thumb. Just my opinion. no doubt someone will tell me i'm wrong! ha ha. But this is my theory between old style and new style ways of playing. thank you for your video
Thank you for your amazing video! I love that you are spreading analysis and education about the classical guitar ❤
I find that each guitar players hands and bodies are unique and therefore their playing position will naturally be found over time as they respond to their own natural inclinations. Eventually you discover what feels most comfortable for your own ergonomic limitations. Finally, I would say that your right hand technique is driven by the sound that you wish to hear. It may be subtly different from another player but still enable you to extract the sounds that please you the most and provide you with a signature tone.
Thank you for sharing your perspective! Of course, every guitarist’s hands and body are unique, and finding a natural and comfortable playing position over time is essential. It’s also important to mention that at no point in the video was it suggested to copy anyone’s technique directly. However, there are fundamental principles that can serve as a guide, where looking up to renowned players can be helpful-especially when it comes to promoting a healthy and relaxed approach to the instrument. This is particularly true regarding how relaxed our hands and body are while playing, as this can make a significant difference in our comfort and sound.
@@TheArtofClassicalGuitar I do agree that watching a professional players position can be very helpful when starting to play the guitar and having no point of reference. It's very hard to break bad habits that can lead to injury or a poor technique that doesn't lead to a very good tone. As you implied, being relaxed is key to avoiding injury and enabling you to practise for a long time with no strain.
Wondrous !
good analysis
Your Mayor Lily Wu seems like a wonderful person. I hope you guys are doing well.
All bodies are different -geometrically speaking. Narrow hips, wide hips, tall short ... I have had teachers that pushed me in not very productive directions when I was too young to make my own judgements. After decades of dedication my conclusion is that one must find their own comfort level - but with a carefull eye from a seasoned player; bad habits are ez to infect, but difficult to eradicate. But senseless confines of saying "you must tilt the guitar towards you" because Segovia did (he did so because he had an 'ample' tummy), or sit straight up obscuring total vision of the fretboard because that is the way so 'n so played -well that is in my opinion counterproductive to the art. Just my 2 cents.
In line with my understanding and admiration towards The Great John Williams
What is that "bump" on the top of his right hand??
Ganglion cyst
His right hand position is old style. But very efective in sound volume I think. Position of left hand isnt relevant. Left hand position must be same when you play classical guitar. You completely missed very important thing - lenght of the fingers.
Too true - some great players have really long 4rth fingers on the left hand.
@@philwinter2017 Ano 1st finger as well :-)
Thank you for your comment! We can’t agree with you that the position of the left hand isn’t relevant. On the contrary, we believe it’s crucial-not necessarily in the same way as the right hand for tone production, but equally important in its own right. The left hand affects intonation, tone clarity, and techniques like vibrato. We won’t achieve the same tone if our left hand is tense compared to when it’s relaxed.
As for finger length, it definitely plays a role in stretches and challenging left-hand positions. However, we don’t believe it’s a key factor when discussing the fundamental principles of guitar playing. We’d suggest paying attention to great players with small hands. Here is just one example of it, the fantastic Duo Siqueira Lima: ruclips.net/video/b-DTsjfeITk/видео.html
@@TheArtofClassicalGuitar thanks!
I learned never to come late to one of his concerts.
So you learned the hard way.
Don't forget folks, get your foot in the correct position and you'll play like John Williams, oh, and keep your back straight.
I agree. Total nonsense.
I’m sorry, but you are wrong about most of what you say in this video. John Williams taught my teacher (the great and late Phillip Houghton) and my teacher taught me everything about his technique. The first thing is the left foot is not further away. It is slightly closer to the body than 90°. It’s just hard to see with these angles. Having the feet inward allows the back to sit up straight and lean forward when necessary and yes, he’s always leaning forwards. I want to teach this technique to the world. Please send me a message if you want private lessons online.
So you are an Australian? My teacher was Adrian Walter, a friend of the Maestro. I recall the amazement and great affection he would express when talking about John’s technical and hence musical facility.
“One of the best guitarists ever!”……..you say. I say Mississippi John Hurt was. And remember as Dylan sang: no one plays the blues like Blind Willie McTell. Or Blind Willie Johnson whose “Dark Is The Night Cold Is The Ground” is on the Golden Disc now in deep space representing (with other artistic and scientific works) the highest and most noble achievements of mankind.
One thing I want to add is, the whole discussion of his posture and hand and arm positions enable him to "relax" entire body especially his upper body that controls his hands. Also, most importantly, his mental focus towards hand movements and music. Older I get, I feel brain power is the key driving factor to the guitar playing and every other thing in achieving our goals.