Comments for Jay Kauffman http://jaykauffman.com Guitarist, Composer, Teacher Sat, 19 Nov 2011 20:08:36 +0000 hourly 1 http://wordpress.org/?v=3.2.1 Comment on A Video Lesson on Villa-Lobos Etude No. 1, and how to Integrate Your Technique with Natural Musical Expressiveness by jey http://jaykauffman.com/learning-classical-guitar-a-video-lesson-on-inner-guitar-technique/#comment-2976 jey Sat, 19 Nov 2011 20:08:36 +0000 http://jaykauffman.com/?p=1548#comment-2976 Hi Jay, Thanks for the demonstration of the wonderfull piece. This piece is a very good practice for the righthand techinique. It is difficult to do fast but slow practice initially will allow to get up to speed. Very tricky right hand practice. It ensures the flexibilty of the fingers. Pima pattern takes some to time to get used to it.- Pipipmiamaimpipi -Sequential planting to be applied. Harmonically , a beautifull piece. It gives a very good feeling. Left hand technique is basically easier as it is the similar chord pattern to be followed throughout. I used this piece as a warm up practice and increases the flexibilty of right hand. Jey Hi Jay,

Thanks for the demonstration of the wonderfull piece. This piece is a very good practice for the righthand techinique. It is difficult to do fast but slow practice initially will allow to get up to speed. Very tricky right hand practice. It ensures the flexibilty of the fingers. Pima pattern takes some to time to get used to it.- Pipipmiamaimpipi -Sequential planting to be applied. Harmonically , a beautifull piece. It gives a very good feeling. Left hand technique is basically easier as it is the similar chord pattern to be followed throughout.

I used this piece as a warm up practice and increases the flexibilty of right hand.

Jey

]]> Comment on Knocking “eye-to-hand coordination” Off Its Pedestal. by Peter http://jaykauffman.com/knocking-eye-to-hand-coordination-off-of-its-pedestal/#comment-2933 Peter Wed, 16 Nov 2011 10:08:04 +0000 http://jaykauffman.com/?p=505#comment-2933 Very insightful article. Becoming more aware of the other kinds of coordination when playing really helped me. Thank you. Peter Very insightful article. Becoming more aware of the other kinds of coordination when playing really helped me. Thank you. Peter

]]> Comment on Music Theory? Why Should I Care? by jey http://jaykauffman.com/music-theory-why-should-i-care/#comment-2901 jey Tue, 15 Nov 2011 01:17:37 +0000 http://jaykauffman.com/?p=1227#comment-2901 Dear Jay, Thanks for the the time spent on the analysis of the piece by Santiago de Murcia. Very well explained. You have explained the leading tones in terms of various scales at different places where it is relevant. What you are saying ,it is not important to know whether it is a melodic minor or harmonic. It all depends how the composer wants the music to be. The sense of music. In this piece , it is evident that the music is written in D harmonic minor as the the seventh note C is sharpened. The presence of G# which is the leading tone for the A minor scale at couple of places confirms its harmonic minor scale. I find it is a mixture of A harmonic minor and D harmonic minor scales where G# and C#are the dissonance for the respective minor scales Yes, the understanding of the musical language helps in memorisation. It is a slow process. Thanks for the information. Jey Dear Jay,

Thanks for the the time spent on the analysis of the piece by Santiago de Murcia. Very well explained. You have explained the leading tones in terms of various scales at different places where it is relevant. What you are saying ,it is not important to know whether it is a melodic minor or harmonic. It all depends how the composer wants the music to be. The sense of music. In this piece , it is evident that the music is written in D harmonic minor as the the seventh note C is sharpened. The presence of G# which is the leading tone for the A minor scale at couple of places confirms its harmonic minor scale. I find it is a mixture of A harmonic minor and D harmonic minor scales where G# and C#are the dissonance for the respective minor scales
Yes, the understanding of the musical language helps in memorisation. It is a slow process.

Thanks for the information.

Jey

]]> Comment on The True Instrument You Must Learn (according to Dr. Firgus-Fortuna Zelfrumzinger Bones) by jey http://jaykauffman.com/the-true-instrument-you-must-learn-according-to-dr-firgus-fortuna-zelfrumzinger-bones/#comment-2899 jey Mon, 14 Nov 2011 23:56:45 +0000 http://jaykauffman.com/?p=1181#comment-2899 Dear jay Lovely article. In order to play an instrument , we need the technical studies which are mentioned above. I have been through the above stuidies and it takes a lot of hard work, time and patience to overcome the techinical barrier. But, it is very satisfying as it produces lovely music . No regrets. It is a gift of GOD to know how to play the classical guitar. Jey Dear jay

Lovely article. In order to play an instrument , we need the technical studies which are mentioned above. I have been through the above stuidies and it takes a lot of hard work, time and patience to overcome the techinical barrier. But, it is very satisfying as it produces lovely music . No regrets. It is a gift of GOD to know how to play the classical guitar.
Jey

]]> Comment on Music Theory? Why Should I Care? by Jay http://jaykauffman.com/music-theory-why-should-i-care/#comment-2229 Jay Wed, 28 Sep 2011 16:01:36 +0000 http://jaykauffman.com/?p=1227#comment-2229 Thanks for your great questions:) Here's how I break it down for myself: The choice of accidentals (sharpened, natural, or flat notes) always depends on the musical context. It's very rare to find pieces that stay entirely in one scale. In my demo, I did change all the minor scales into harmonic minor scales, but I just did that in order to emphasize the concept of leading tone. So, when you see a C sharp, it's creating stronger pull towards D. But there's not actually enough information in this piece to create a feeling of harmonic minor...there are no flat sixth notes leading up through sharp seventh notes ending on the tonic. If there were, the piece would have a very different flavor:) Whenever B flat is raised to B natural in this piece, it's because it's adjusting to a different tonal center, such as A minor or C major. One way to experiment with why the composer chose to do this is to try raising or lowering the note when you play through it, and usually it will be obvious...it doesn't feel right! As for memorization, studying music theory is always a huge help with memorization! It's moving you closer to understanding the language in which the piece is writtten, and it's much easier to memorize things in a language you understand. Thanks for your great questions:)
Here’s how I break it down for myself:
The choice of accidentals (sharpened, natural, or flat notes) always depends on the musical context. It’s very rare to find pieces that stay entirely in one scale. In my demo, I did change all the minor scales into harmonic minor scales, but I just did that in order to emphasize the concept of leading tone. So, when you see a C sharp, it’s creating stronger pull towards D. But there’s not actually enough information in this piece to create a feeling of harmonic minor…there are no flat sixth notes leading up through sharp seventh notes ending on the tonic. If there were, the piece would have a very different flavor:) Whenever B flat is raised to B natural in this piece, it’s because it’s adjusting to a different tonal center, such as A minor or C major.
One way to experiment with why the composer chose to do this is to try raising or lowering the note when you play through it, and usually it will be obvious…it doesn’t feel right!
As for memorization, studying music theory is always a huge help with memorization! It’s moving you closer to understanding the language in which the piece is writtten, and it’s much easier to memorize things in a language you understand.

]]> Comment on Music Theory? Why Should I Care? by jey http://jaykauffman.com/music-theory-why-should-i-care/#comment-2219 jey Wed, 28 Sep 2011 01:34:59 +0000 http://jaykauffman.com/?p=1227#comment-2219 Dear Jay, Thanks for the email. It is interesting to note your teaching process. The piece is written in D minor scale as the seventh note is sharpened .In all diatonic scales, the seventh note is a leading note. In this piece, it becomes a melodic minor scale. How would you differentiate from melodic minor and harmonic minor? I know in harmonic minor, the seventh note is sharpened But, in melodic minor, ascending sixth and seventh notes of the scale are sharpened and in the descending order becomes natural. Here, in this piece b and c are to be sharpened in the ascending order and natural in descending order. But it does not happened always. Why? Give me more tips on memorisation. I have seen your video on memorisation. Jey Dear Jay,
Thanks for the email.

It is interesting to note your teaching process. The piece is written in D minor scale as the seventh note is sharpened .In all diatonic scales, the seventh note is a leading note. In this piece, it becomes a melodic minor scale. How would you differentiate from melodic minor and harmonic minor? I know in harmonic minor, the seventh note is sharpened But, in melodic minor, ascending sixth and seventh notes of the scale are sharpened and in the descending order becomes natural. Here, in this piece b and c are to be sharpened in the ascending order and natural in descending order. But it does not happened always. Why?

Give me more tips on memorisation. I have seen your video on memorisation.

Jey

]]> Comment on Free Download! Solo Recital: San Francisco by Zoe-Marya Issa Merian http://jaykauffman.com/solo-recital-san-francisco/#comment-1683 Zoe-Marya Issa Merian Sat, 13 Aug 2011 21:43:41 +0000 http://jaykauffman.com/?page_id=276#comment-1683 YOU ARE AWESOME! YOU ARE AWESOME!

]]> Comment on Listening Room by Why Do You Play Classical Guitar Anyways? | Jay Kauffman http://jaykauffman.com/video/#comment-1025 Why Do You Play Classical Guitar Anyways? | Jay Kauffman Thu, 26 May 2011 17:11:46 +0000 http://jaykauffman.com/artofguitar/?page_id=78#comment-1025 [...] Listening Room [...] [...] Listening Room [...]

]]> Comment on Breaking Through The Technical Obsession Barrier by Jay http://jaykauffman.com/breaking-through-the-technical-obsession-barrier/#comment-600 Jay Wed, 16 Mar 2011 17:41:52 +0000 http://jaykauffman.com/artofguitar/?p=41#comment-600 Thanks Doug, for your generous comments! Shane was my first roommate! Haven't thought about those days in a long time....but I remember him prank calling me once, using a funny accent and posing as a potential student who wanted to have free lessons in the "apprenticeship" tradition.....good times:) Are you still playing classical guitar? Thanks Doug, for your generous comments!
Shane was my first roommate! Haven’t thought about those days in a long time….but I remember him prank calling me once, using a funny accent and posing as a potential student who wanted to have free lessons in the “apprenticeship” tradition…..good times:)
Are you still playing classical guitar?

]]> Comment on Breaking Through The Technical Obsession Barrier by Doug Fishman http://jaykauffman.com/breaking-through-the-technical-obsession-barrier/#comment-593 Doug Fishman Wed, 16 Mar 2011 05:46:52 +0000 http://jaykauffman.com/artofguitar/?p=41#comment-593 Hi Jay, You had me over to your building with Shane Stineford and Darren Wilsey in the 90's. I was so impressed with the way you played and how humble you were. You took the time to help me with my sound and then performed for us. I am so happy to see how you care about classical guitar and indeed classical guitarists (how selfless!). I am glad you are still doing your thing (better than ever) and I will continue to follow your stuff. You rock, Jay! Perhaps we will cross paths again one day.... Hi Jay,
You had me over to your building with Shane Stineford and Darren Wilsey in the 90′s. I was so impressed with the way you played and how humble you were. You took the time to help me with my sound and then performed for us. I am so happy to see how you care about classical guitar and indeed classical guitarists (how selfless!). I am glad you are still doing your thing (better than ever) and I will continue to follow your stuff. You rock, Jay! Perhaps we will cross paths again one day….

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