GUITAR TECHNIQUES SESSIONS AND EXERCISES Harry G. Pellegrin CLASSIC GUITAR METHOD on lulu.com

Piano Transcription

MUSICAL LIFE LESSON: Transcribing from a piano score is NOT impossible!

First hear

This sample is from my first album, a piece called Storm on the Moon. I enjoy composing for the piano and I really love to play as well. On a long plane ride, I got bored and decided to see how good my transcription skills were -- can these notes even be played on the guitar was not the issue, but could I capture the essence of the music without an instrument in my hands? I dug out a staff book and began scribbling. Here's an extract of the piece as it was written:

The simple point of fact is that I tend to write very simple lines. I have never want 'flash' to take precedent over what I am trying to relate emotionally. So, I knew I would have no ten-fingered counterpoint to have to trim, wade through and over-weed to make a decent transcription. And I had no guitar nearby! Being a guitarist, I rarely compose anything in G flat, so I was happy to be working in C. Wonderful. When I got home, I transferred the thing into my notational software on the computer. The names have been changed to protect the guilty.

The first fourteen measures were a 'gimmee' with a direct transcription -- not one thing had to be changed. Immediately thereafter the bass line came in -- way below the guitar's register. I liked the wide open harmonies in this and was miffed that I would have to pull things in to accomodate hte instrument. Life sucks, eh? By keeping things thin (removing some inner voicings) I thinbk you'll find I maintained the flavor of the original. See measure 23 in both the original and the transcription.

The big gliss (I used the side of my thumb when I recorded it) in measure 46? I 86'd it. Ity sounds better on the guitar without some sort of bolluxed up immitation. That gliss is so piano-ish!

Meaure 49 on became the irksome section. Ther eis a rolling octave in the bass line in the piano score. This mioght be immitated for the first few measures before the piano part's right hand stuff comes in, but to establish the rhythm in the guitar transcription and then lose it when the melody begins would sound a bit funky -- in a bad way! I figured pedalling the A in the bass made more sense as I could continue to use this figure as the harmonies change during this section.

The thirds-trill in measure 59 had to be re-thought as well. I actually do something a bit different when I play this piece now (and I do use it in performance; the transcription came out that well...)

This is obviously a partial rendition. Check my next CD for the whole thing, or buy my first with the piano version. It's REFLECTING POOLS available through www.bathtubmusic.com.

Reflecting Pools is a departure for me as it is totally keyboard. Well, the guitar did show up on one track...

Click the image to the left to learn more, hear a few tracks --even get ordering info if you want it!

Harry George Pellegrin is an author of mystery novels, a musician and recording artist. Primarily a guitarist, Harry's latest recordings are keyboard-driven and most easily classified as New Age, though we don't like to consider the music in a 'genre box.' Harry G. Pellegrin's first published novel, LOW END, is a murder mystery set in South Yonkers and New York City in the late 1980's. The characters, all derived from friends and acquaintances, try to investigate the death of one of their own -- not so much to solve a crime, but to keep from sharing a similar fate. LOW END has been met with great critical acclaim. The sequel, DEEP END, is being shopped by a well-known literary agent at the time of this writing.

This page is designed for a number of reasons. We'll be honest, a primary goal is to expose a larger audience to Harry's music and writing. Another goal of the webmaster is to create a repository for the knowledge that years of experience in the performing arts industry has given Harry. Creating a chronicle of life in the Bronx in the 1960's and 1970's is another goal we hope to accomplish.

AVAILABLE NOW !

The Classic Guitar Method: Now in one volume, much of what the novice classical guitarist will need to know to lead him or her to the recital stage. From proper instrument care and maintenance to the necessary technical skills, musical mind-set, and the standard repertoire—all exposed and explored with enough detail and insight that the student will wish to keep this book handy years to come as a ready reference source.

With the aid of a good teacher, the student will rapidly progress through The Classic Guitar Method attaining technical proficiency and musical eloquence.

This method stems from the need to incorporate a number of schools into a single cohesive curriculum. Years of honing a logical approach to the guitar and the creation of music culminate in this volume. As a self-proclaimed Disciple of Valdés-Blain , much of that famed teacher's focus can be found in Mr. Pellegrin's method.

Why do we need another CLASSICAL GUITAR METHOD?

During the course of teaching guitar over the past twenty six years, I have often noted that no single method book contains all the information I wish my students to have readily available to them on a continuous basis. It has not been uncommon for me to assign as many as three methods to a new student—all good, by the way, but not one of them being all inclusive. This is not an unusual circumstance, and one I should have anticipated in my teaching experience as I distinctly remember Albert Valdés-Blain (10 April 1921—30 January 2002) assigning me a mind-numbing ten books at my first lesson, seven of them methods or collections of studies.

I consider myself a disciple of Valdés-Blain. I met him in 1974, though, of course, I had heard of him by reputation. An excellent musician and teacher, Lawrence Silvestro—who had brought me along to that point at which I was ready to undertake a study of the classical guitar at the college level—had admonished me when he'd heard with whom I would be studying. With much the same advice as Mary had given the servants at the marriage feast at Cana , Mr. Silvestro told me "Whatever he tells you to do, just do it!" So I did.

When I decided that the time was right for me to create a new method—one that would include all the necessary technical and musical disciplines to lead the serious student from neophyte hobbyist to burgeoning recitalist—I resisted the urge to call the Method something like ‘Maestro Valdés-Blain's School of Guitar' as this would imply that my method would accurately reflect his system of instruction and musical nurturing. While I do follow his precepts fairly consistently and faithfully, my method reflects his impartation to me and me alone. I did not intimately observe his method with other students but what I did witness leads me to presume that he tailored his approach to each individual, within logical constraints, no doubt. No less importantly, I had also modified my teaching methods to my own personality and style of instruction over the years. In short, this method echoes the classical approach of a well-known and much-loved pedagogue and student of Segovia , but is filtered through and expanded by a respectful devotee.

Is my method all-inclusive? In light of what I wrote previously, possibly not. It should be very close though! No method will be absolutely all-encompassing for every student. A good instructor will direct the student to studies and pieces that focus in on the student's particular weak areas. Aside from this, there is the legal ramification that any composition penned in the Twentieth Century is, of course, protected by copyright and while I can not include any such item here for this reason, I do direct the student to exemplary editions of milestone modern music. All the performance pieces and many of the studies are public domain. In the case of studies by Fernando Sor, Ferdinando Carulli, Mauro Giuliani, Napoleon Coste and the other classic masters, I have included my editions of some of their works. I then direct the student to complete editions from which these gems are drawn. The student can then choose to acquire these for further study. [Photo to left: Albert Valdés-Blain circa 1965.]

What my method does is expose the student to the technical disciplines required to effectively perform on the instrument and give enough basic recital repertoire that when the method is completed, the guitarist will be able to perform a recital of approximately forty-five minutes in length. I have included many tips and explanations that should shed light on the correct process of attempting to solve problems. Teach a student a solution and he has one problem solved. Teach a student to be a problem-solver and he or she is on the road to mastering the instrument.

Included in this book are sections on the correct interpretation of lute tablature in its varieties. Why? The lute enjoys one of the largest repertoires of any instrument ancient or modern. Much of this lute music remains untranscribed for the guitar, its modern descendant. The guitarist will want to mine this wealth of material for fresh program pieces.

Many students have asked me to recount the development of the guitar as the instrument we know today. So few people know exactly what a classical guitar even is: “Children's guitars have nylon strings while real guitars have steel strings.” Little do those who make this ridiculously false statement realize that some of the priciest, most desired instruments on the planet are nylon-strung classical guitars, so this book includes a section on history as well as instrument care.

Music is hard work. Mastering an instrument is an endeavor that requires more years than a lifetime can possibly ever contain. With that said, many will then ask ‘why bother?' It's a fair question and if you ask it, maybe playing an instrument is more a hobby for you and less a vocation. For those who begin their journey by considering it a vocation, it becomes an obsession; a passionate one that can never be fully satisfied. If you are fervent about playing the classical guitar—and playing it well—then this book, my method, may be the one book you need to make it all happen. Practice is crucial, critical listening is, well, critical. An awareness of musicality is more than vital—music is what it is all about and unless the performer can impart an emotion to humanity-at-large, then why bother?

Indeed, it can be stated that music is the most spiritual of all the arts. It is more fleeting than sand painting as once the sound has been produced, it is over and gone except for the image it leaves on the human heart. Recordings are wonderful, but they can never hope to capture the intrinsic veracity of a genuine, intimate live performance. The guitar is arguably the most intimate of all instruments; you must hug it to make music with it! Its relatively small voice requires the listener to draw close to the performer. This double dose of intimacy makes the guitar an incredibly personal and articulate voice for an artist. [Photo to left: Harry Pellegrin Nov. 1980.]

I wish you great success with music. Music will feed your soul in a way that nothing else can. I wish you equal success with the guitar. Attaining mastery of an instrument is a long road—a road with many rewards and more than its fair share of frustration. A good tutorial method will help you avoid some frustrations and work through others. There are poor paths and rough roads to be found. This method of mine, should you decide to let it, will put you on the right road, but this road doesn't end when you close the book. Should you decide to turn the page, I welcome you to the road you will travel for the rest of your life!

ISBN: 978-1-4116-9442-2

Published by PAB Entertainment Group, P.O. Box 2369 Scotia, New York 12302

Please go to www.lulu.com to order.

Covering a variety of topics and regularly updated, this feature is designed to help musicians of all levels achieve a higher level of professionalism.

Harry George Pellegrin's first keyboard album Reflecting Pools can be auditioned here. Visit this page link to hear samples...

The second album, In That Zone, has a page where one can hear samples as well. Follow this link...

Spa Anthology -- need relaxation music for your Day Spa or Facial and Massage Facility? Click here for hassle-free music.

If you are looking for some unique gifts, please consider either a copy of LOW END or one of Harry's fine CD's of inspirational and relaxing music.

LOW END is available through www.amazon.com and Reflecting Pools and In That Zone can be purchased through www.bathtubmusic.com. Thanks!

klassiskgitar.net : On this site You will find many free scores for beginner/student/amateur. The images and artwork on this site are quite beautiful and very worth checking out!

Helen is the kind of girl you dream about. She's smart and confident, funny and affectionate, and is killer good-looking. Gary has fallen for her hard. Even so, he is distracted by life's little happenstances. It's those little things like, oh, crooked cops, shady club owners, illegal smuggling, and a few dead bodies.

Still, Gary can't keep his eyes off Helen.

Harry Pellegrin's mystery novel DEEP END is packed with eerily real sinister characters, music, interesting locales, bizarre spiritualizm and a plethora of corpses. Couple this with an exceeedingly clever plot and we have this year's best beach-read.

And there's Helen!

Read all about her in DEEP END: The Wreck of the Eddie Fitz

Buy Low End through PAB Entertainment Group on AMAZON.com. (Go to the USED AND NEW section) Not only will you get the book, but you'll also receive a FREE COPY of Reflecting Pools, Harry's first keyboard album. You will enjoy!

Do you know how to chain your effects pedals? Do you sound like a 'Wall of Oatmeal' sometimes? ALL the time? Check this out!

Can't read standard musical notation? If you can read the gas prices to the left, sure you can! Please see these articles for the help you need:

Exercise/Technique Session Number Forty: July 14, 2005 Standard Notation -- so simple even musicians can read it!

Exercise/Technique Session Number Forty Four: August 11, 2005 Back to Basics PART ONE -- teaching the new student to read above the fifth fret.

Exercise/Technique Session Forty Five: August 18, 2005 Back to Basics PART TWO -- teaching the new student to read above the fifth fret.

Exercise/Technique Session Forty Six: August 25, 2005 Back to Basics PART THREE -- teaching the new student to read above the fifth fret.

Exercise/Technique Session Forty Seven: September 1, 2005 Back to Basics PART FOUR -- teaching the new student to read above the fifth fret.

Exercise/Technique Session Forty Eight: September 8, 2005 Back to Basics PART FIVE -- teaching the new student to read above the fifth fret.

Exercise/Technique Session Forty Nine: September 15, 2005 Back to Basics PART SIX (The last in this series, but not on this topic! Teaches the new student to read above the fifth fret.  Next week a new topic.  YEAH!

Covering a variety of topics and regularly updated, this feature is designed to help musicians of all levels achieve a higher level of professionalism.