What is the right hand fingering that you use for the opening scales? I performed it two different ways. The first time I did it legato (slurred) and the second time after the repeat I did it apoyando (rest stroke) using m-i. The first is legato which is the way I think sounds best and if I were to record it again today this is the way I would play the scale both times. I should be honest about the reason for the apoyando the second time around. The choice was not a musical reason, because I think that it sounds best slurred. Using apoyando the second time was to show that I was also able to play it that way. Today I would not do that since I think the musical idiom of the guitar comes out much better playing legato.
Ex: Villa-Lobos Etude No.7 What about the bossa nova feel to the arpeggio section? It was funny, it was just by chance. I found that if I did not concentrate myself in the rhythm the bossa nova feel came right out, because the arpeggio in this case works like that. I realized how much better and natural it sounded playing it in this way.
Villa-Lobos Etude No.7 (arpeggio sect.)
What do you do to practice the independence between your fingers in both your right and left hands? I started to find my own way during the middle of my studies. What I always work on first and what I presently have my students do is just to practice the movements without plucking the strings, but only to move and prepare the fingers. The same I do with the left hand, for ligado, something I practice in the same way. First I prepare the fingers as close as possible to the strings and while maintaining the fingers in the air I move down the second finger, then the third finger and I follow this by combinations of, for example, the second and fourth fingers together. This is very difficult because the tendency is for all of the other fingers to move around. I also do the same kind of exercises for the right hand. I start by plucking with one finger at a time and later introducing plucking with two fingers in combination i-m and so forth, I work very hard at this kind of practice.
Is most of your right hand fingering for scales played i–m? Yes, I frequently use that fingering. I also often use combinations like p-m-i and on the bass strings I like to use p-i.
How do you know Julian Bream? This picture was taken last December. I first met Bream about 25 years ago. I have been fortunate to have heard him several times in private concerts he has given near my home town for small audiences of around 60 people. It always was a real pleasure. Also, he once gave me a private lesson; that was also about 25 years ago. I have stayed in contact with him from time to time over the years and last December, when I went to visit my good friend and guitar maker Christopher Dean, I also contacted Bream again to visit him. It was great!
The Gavotte en Rondeau comes from the Suite in E BWV 1006a. This work Bach transcribed himself for the lute. The best way to explain how I do this ornament is to go to measure 82 of my edition PRIM-16750. This long trill makes it possible to recreate the ornament that would be expected in period harpsichord interpretation.
a) original score. b) Includes Hoppstock's fingering for the trill
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