Does anyone know where I can purchase a copy of the English version of this method? Since over use of anything can be thought of as a vice, it might be fair to have referred to the rest stroke as such. For that purpose, he developed an intricate series of different ways to articulate and lock the different joints of fingers and thumb. His left-hand technique feels real light, Renaissance music sounds great that way. Forum guitare classique — Forum chitarra classica — Foro guitarra clasica — Free sheet music for classical guitar — Delcamp. Among other reasons, he tought rest stroke would 1 produce more noise and 2 dampen strings which sometimes ought to sound freely.

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Without a doubt, the very future of the artist will also be a consequence of his or her acquired experience. How important it is, then, that those elements which are considered constructive be well-defined no as to avoid those which are negative or harmful. This history ix full of virtues and defects, both of which can serve as very important wuides: the virtues have laid out a sure path, one which we should follow with determinution; the defects, when examined, should arrest our attention in order to discover how not to err in the same way ayuin.

Both converging towards single point, these concepts form so intimate and subtle a bond that it is not possible to know where onc cnds and the other begins. Before this unity could become a reality, however, a learning period is required so that our knowledge might evolve into something alive and musical. How then are we to obtain the proper orientation that can guide ua towards acquir- ing maximal results with minimal effort?

The reconsidering and reworking of the fundamental shortcomings of the traditional guitar school are absolutely cssential. Going through life both as my own apprentice und teacher has convinced me of this fact, and has led me to collect material year afer year trying to devise a system that could stand on its own.

This book is a testimony of an experience lived over the yeurs. My pupila from different parts of the world many of them are already fine guitarists have helped me with their questions—questions similar to those I asked mysclf during my first developing stage.

To them, my thanks, for with them I have learned; und faithful to the pupil in me and the teacher in me, I shall go on learning. Further encounters in France in and , and in New York and Madrid in , led us finally to an interna- tional seminar in Montevideo where we stayed on in order to expand our knowledge of the new achool. Through a regular and more intimate con- tact with the Maestro, our desire to become fully aware of what hin crea- tion for the guitar world represents was fulfilled.

Both its development and our as- similation of it are supported by a dual reality, a conceptual one estab- lished on theoretical grounds, and an empirical one obtainable through daily inquiry. There in an urgent need to make this theory known to the guitar world, for it opens a new path that has in addition to a tangible truth, a reality baxed on strict logic, both with which a unified structure has been constructed.

We feel that this thoroughly rational approach to the art of guitar playing is not only important but that it represents an indispens- able stepping stone for the guitariat of toda; When Carlevaro expremed a strong desire that we personally take charge of a translation of his book into English, we embarked on the work with great enthusiasm.

After analyzing the text in detail and consulting frequently with the author, and especially after having been tutored in this method by Abel Carlevaro himself, we became convinced that we could offer the English reading guitar world a translation, faith- ful both in text and spirit.

The work has not only presented us with a further opportunity to delve even more profoundly into the concepts, it has also given us a great deal of joy. Our sincerest thanks go to the Maestro for having made our task possible.



Rather than being a mere outcome of the activity of the fingers, technique should be conceived as a process that is under the complete control of the voluntar system of the cerebrum: it should never be an unmeditated state. There is one thing that has to be learned: the trade; but there is sam thing else that is our very own and that no one can teach us. A performer is always faced with two problems. One concerns the pur ly mechanical difficult! It is highly advisable to tackle the latter problem first, for the artistic domain should be entered from the very beginning.



Malajin His musical production ranges from his Preludios Americanosnow established as part of the standard concert repertoire, to his Concierto No. When traveling abroad, Carlevaro was often invited to teach Master Classeswhere in the course of a few consecutive days, students of all levels brought him their inquiries about technique, fingering, expression, or the like. The two books complement each other as I tyr to learn and explore various styles and techniques. Archived copy as title Articles needing additional references from July All articles needing additional references Articles with hCards Webarchive template wayback links Wikipedia articles with autores. This special model of guitar was first built in by the Spanish luthier Manuel Contreras father in Madrid. Carlevaro invited participants to play the piece or section in question, and listened attentively. Carlevaro was a devoted composer.


Escuela de la Guitarra (School of Guitar): Abel Carlevaro

Unsourced material may be challenged and removed. The student needs to understand proper left hand movements for extensions, distensions, longitudinal and transversal movements. Abel Carlevaro — Wikipedia He established a new school of instrumental technique, incorporating abel carlevaro school of guitar fresh approach to seating and playing the guitar, based on anatomical principles. All posts 1 day 7 days 2 weeks abel carlevaro school of guitar month 3 months 6 months 1 year Sort by: So from the word go Carlevaro presents a startling perspective to those like myself who had focused on the finger mechanisms as the starting point for gaining dexterity. This special model of guitar was first built in by the Spanish luthier Manuel Contreras father in Madrid. An easy example is when you use a bar and allow the arm to assist in the bar instead of squeezing with your thumb muscle which is small and tires easily. The first book to clearly explain how the arm position controls left hand fingering on the guitar.

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