Merci pour le partage David Russel un très grand guitariste et en plus un très bon pédagogue. J’adore écouter David Russel c’est un enchantement 🎶🎶🌹🌹🌹🎵🎵
I don't understand why students love to read sheet music above their ability to do so. My friends, start with easy pieces followed by beginner pieces leading to intermediate pieces (this is where I stand) and then final to advanced pieces that lead to professional guitarist. In other words, why rush? Why jump from Mary Had A Little Lamb to Mozart in less than one year? You say?
@@guidofeliz8384 Because Bach is far more edifying than the introductory pieces. There's nothing wrong with it as long as you are also developing the stuff at your level.
Playing Bach in front of David Russell….I’ve played the second lute suite on many occasion, but I think I would’ve choked. You did an excellent job, congrats
I think, having the huge chance to attend these kind of master class with such a great musician, you must at least, have a minimal performance level, so the class really worth the time, and the master experience.
The late Michael Johnson (Bluer Than Blue) spent a brief period studying with Segovia before resuming his folk career: "If anything it cleaned up a lot of slop in my playing", he said.
There is also a pooped student vs master worldclass teacher factor... He is probably glad that his fingers can find the fingerboard... To deliver one interpretation the player needsvto be in "the zone", it's difficult to get there when you are not relaxed
Student has to internalize the piece - sing to himself, think about it through out the day, AND create technical exercises using musical passages. He seems unsure of his next move. Maybe this piece was thrown at him to learn only a few days/week prior to the recording session.
I also think he needs an internal story, something he wants to express. Only making sure you hit the notes is not the same as making music, especially not in Bach and that is where Bach gets especially complex. Maybe there is someone he can think of, that he can dedicate it to, or whatever, he needs to play with personal meaning. Faultless is a good thing to be sure, but never play meaningless! That also entails not playing every note the same. In Bach I think it often feels like you have a "pulse" in the base line and you are sort of accompanying yourself, so there is this heavy-light-pharsing where you still hear the base tone and the rest of the phrase is like a reply, but it is all one arc or impulse, it shouldn't fall apart, it belongs together. ask yourself if you could move to or breathe to what you are playing. or would you stutter and trip over? I had a very strict violin teacher who wouldn't allow me to play Bach until I was ready, although I had played more technical and virtuouse pieces before. although I disapproved at the time I think she was right.
@@misssophie6515I like the idea of having an internal story or meaningful dedication in mind as you play. I've often found I've had to simplify certain passages so as to prioritise an authentic expression rather than technical showmanship.
@@jensworthiii4455 I agree! it is more important to "make music" and many people choose difficult pieces where they are so busy getting just the score right, that they don't have freedom to express something. many people also forget to manage their body tension and breathing. if someone is just playing from the ends of the hands, quite disconnected from the body, and not breathing with the music, they are going to play without phrasing or different colours and they are much more vulnerable to "getting stuck" in a live scenario. Sports and dancing also help with getting this right, especially under pressure on stage.
He just doesn't properly know the piece yet and it may be just a touch above his ability at this stage. To give him his due, this suite is particularly difficult. For example, he gets into trouble in bars 40-44 because, well, they are a pain in the ass to play. I absolutely hated those bars when I was learning this piece. Unfortunately, outside of the Sarabande, the Prelude is probably the easiest movement in the suite. The fugue gets quite hairy in the double, as does the Gigue. To be clear, I am not at all being critical of him and I admire his courage in playing for David.
can some native speaker explain the first conversation about bach? i dont understand it. but its something about burrowing, copying, lending as far as i udnerstand it. someone gets the intention?
It was hard to hear, but the person speaking off-camera seems to be saying that another musician (Gustav Leonhardt, I think) didn't believe that BWV 997 was actually by Bach. There is definitely some uncertainty about whether these suites were really written for lute or for a keyboard instrument called a Lautenwerck, but I've never heard anybody suggest 997 wasn't written by Bach.
man, until you can play through the piece with perfect flow you will not be able to Play with the emotions youre feeling. well itll actually sound like youre nervous
I'll take some convincing that this isn't Bach. That would suppose another genius of his calibre was at work contemporaneously, without being widely known.
David Russell seems to be compassionate tactful teacher---in the beginning the student has absolutely no dynamics and sounds like a typewriter---David tactfully includes a discussion on interpreting this piece in a more artistic way.
What a nice man David Russell is! No airs at all. Learnt a lot from watching this. Thank you for posting.
So unlike Segovia
Allürenfrei sollte normal sein! Und jeder, der Allüren als künstlerisches Recht sieht, krank genannt werden!
Mr Russel is an excellent artist and an excellent teacher, as well. Thanks for uploading.
Merci pour le partage David Russel un très grand guitariste et en plus un très bon pédagogue. J’adore écouter David Russel c’est un enchantement 🎶🎶🌹🌹🌹🎵🎵
You're so talented, keep going! I can't imagine how hard it must have been to play for David Russell 😮.
Such a great video.
Thanks for uploading. Love this suite and working on it, actually on recorder, but some great ideas here for any instrument
Well done 👏 this is a tricky piece! Wish I could memorise it 😳😁
====== You can memorize it. ====== Time is the enemy here. ======
You can! Just practice a lot to the point it's just muscular memory :) and of course, keep in mind the rythm :)
Brilliant stuff, I wish he’d talk about how the pupils can improve their accuracy to reduce buzzing
Thanks for uploading. You’re pretty talented yourself. I can’t imagine the nerves you have to overcome to play in front of David Russell.
I don't understand why students love to read sheet music above their ability to do so. My friends, start with easy pieces followed by beginner pieces leading to intermediate pieces (this is where I stand) and then final to advanced pieces that lead to professional guitarist. In other words, why rush? Why jump from Mary Had A Little Lamb to Mozart in less than one year? You say?
@@guidofeliz8384 Because Bach is far more edifying than the introductory pieces. There's nothing wrong with it as long as you are also developing the stuff at your level.
Hey, just wanted to say I really appreciate you for uploading this! Thanks!
Yeah man no problem 👌
Brilliant teacher! Knows how to bing it across!
Que bueno.. ya me gustaría tenerlo de profe,...que diferencia!con todos mis respetos..entre tocar..y saber tocar,gracias a los dos
Playing Bach in front of David Russell….I’ve played the second lute suite on many occasion, but I think I would’ve choked. You did an excellent job, congrats
Jimenez seems quite relaxed about that and David is very approachable and never aloof or judgemental
Super helpful thank you so much 😊 🙏🏼💕🎶🎸
I'm learning this piece, thanks for uploading this video it has been very insightful :)
I think, having the huge chance to attend these kind of master class with such a great musician, you must at least, have a minimal performance level, so the class really worth the time, and the master experience.
Great Video! Love it!
David Russell is as great a teacher as he is a guitarist.
00:00-01:10 thanks for (not) editing the audience's invaluable input.
Soulful vs soulless. Not to be harsh, as the student sounds damned good, but the comparison is stunning. Tough stuff. Probably why I’m a pop musician!
The late Michael Johnson (Bluer Than Blue) spent a brief period studying with Segovia before resuming his folk career: "If anything it cleaned up a lot of slop in my playing", he said.
There is also a pooped student vs master worldclass teacher factor... He is probably glad that his fingers can find the fingerboard... To deliver one interpretation the player needsvto be in "the zone", it's difficult to get there when you are not relaxed
Very cool!
Es todo Job, gracias por compartir
Estaba bien nervioso 😅
Student has to internalize the piece - sing to himself, think about it through out the day, AND create technical exercises using musical passages. He seems unsure of his next move. Maybe this piece was thrown at him to learn only a few days/week prior to the recording session.
I also think he needs an internal story, something he wants to express. Only making sure you hit the notes is not the same as making music, especially not in Bach and that is where Bach gets especially complex. Maybe there is someone he can think of, that he can dedicate it to, or whatever, he needs to play with personal meaning. Faultless is a good thing to be sure, but never play meaningless! That also entails not playing every note the same. In Bach I think it often feels like you have a "pulse" in the base line and you are sort of accompanying yourself, so there is this heavy-light-pharsing where you still hear the base tone and the rest of the phrase is like a reply, but it is all one arc or impulse, it shouldn't fall apart, it belongs together. ask yourself if you could move to or breathe to what you are playing. or would you stutter and trip over? I had a very strict violin teacher who wouldn't allow me to play Bach until I was ready, although I had played more technical and virtuouse pieces before. although I disapproved at the time I think she was right.
Sure... That's really easy to say... Then you meet the master and have a master class in front of everyone else... I tad intimidating, I'd say...
@@misssophie6515I like the idea of having an internal story or meaningful dedication in mind as you play. I've often found I've had to simplify certain passages so as to prioritise an authentic expression rather than technical showmanship.
@@jensworthiii4455 I agree! it is more important to "make music" and many people choose difficult pieces where they are so busy getting just the score right, that they don't have freedom to express something. many people also forget to manage their body tension and breathing. if someone is just playing from the ends of the hands, quite disconnected from the body, and not breathing with the music, they are going to play without phrasing or different colours and they are much more vulnerable to "getting stuck" in a live scenario. Sports and dancing also help with getting this right, especially under pressure on stage.
He just doesn't properly know the piece yet and it may be just a touch above his ability at this stage. To give him his due, this suite is particularly difficult. For example, he gets into trouble in bars 40-44 because, well, they are a pain in the ass to play. I absolutely hated those bars when I was learning this piece. Unfortunately, outside of the Sarabande, the Prelude is probably the easiest movement in the suite. The fugue gets quite hairy in the double, as does the Gigue. To be clear, I am not at all being critical of him and I admire his courage in playing for David.
David Russell seems very down to earth---unlike Segovia who seemed to be a prick.
I can’t believe he’s 68
what's in that pencil case then? it seems there are a lot there. ;D
я тоже об этом подумала😂😇
Great job! Were you nervous playing for David? I think I’d be a bit nervous to understate it.
Great work ! What grade is this piece ?
maybe grade 10?
can some native speaker explain the first conversation about bach? i dont understand it. but its something about burrowing, copying, lending as far as i udnerstand it. someone gets the intention?
It was hard to hear, but the person speaking off-camera seems to be saying that another musician (Gustav Leonhardt, I think) didn't believe that BWV 997 was actually by Bach. There is definitely some uncertainty about whether these suites were really written for lute or for a keyboard instrument called a Lautenwerck, but I've never heard anybody suggest 997 wasn't written by Bach.
man, until you can play through the piece with perfect flow you will not be able to Play with the emotions youre feeling. well itll actually sound like youre nervous
I'll take some convincing that this isn't Bach. That would suppose another genius of his calibre was at work contemporaneously, without being widely known.
If it's not Bach, it's some other genius. The Fuga is just fantastic.
David Russell seems to be compassionate tactful teacher---in the beginning the student has absolutely no dynamics and sounds like a typewriter---David tactfully includes a discussion on interpreting this piece in a more artistic way.
Como va a una máster sin estudiar.... Es penoso ⁉️⁉️⁉️⁉️⁉️🤦🏿