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General QuestionsSubmitted by Eric Sargent on Sun, 2008-05-18 05:34.
1. How do you warm up for practice or performance? 2. Given the jazz sensibility you bring to your music, do you practice scales other than the diatonic major and minor scales? 3. I was brought back to classical guitar after a long hiatus by Karin Schaupp, whom I heard play 'Il Pleut dans ma Chambre' and 'Un Jour tu Verras' in concert and on her CD. It was a real challenge, but I finally acquired your original CD 'Paris Guitare' from a European distributor. Music lovers in North America are missing real magic by not having 'Paris Guitare' available! Any plans to distribute it on iTunes? 4. Learning some of the pieces from 'Paris Guitare' really challenged my technique. A light touch and rapid shifts of the left hand are required. Any tips or exercises that you recommend? Will you be performing in the Paris Metropolitan area the week of 6/21 - 6/28? Thanks for your music! Eric Sargent [ Related: Roland Dyens ]
 What started you improvising? Everything around. I came to it through jazz, listening to Joe Pass, Johnny Smith, Wes Montgomery, Oh I love Wes Tal Farlow, and others but never thought of it in the context of 'classical guitar.' So why not ? Yes, I know how different (and mostly trickier) it is in comparison to the so "clear" piano keyboard. But it really worths doing it on the guitar too. ) Who were your inspirations? Mostly pop songs at the very beginning (I was like 10/12 years old when I started to improvise). How do you help your students get into improvisation? Don't think I try to get my students into that. Improvisation is a too intimate thing to be pushy with it. Plus not everybody posseses improvisation skills (I'm even wondering if impro can be taught actually. At least you should pre-masterize perfect the "geography" of the guitar prior to start leraning improvisation). On the other hand my teaching has a lot to do with flexibility in interpretating, as if music was always improvised somehow, even through the most classical pages of our guitar répertoire. Improvisation is mostly a behaviour I think, an attitude towards music, an approach. Almost a philosophy even. I presume the pieces of Paris Guitare had their start as improvisations. Not at all. They were instead very strict from the very begining of my work, following scrupulously the original melodic lines and their proper harmonies. Did you work from a 'lead sheet'? Correct. Equivalent of the famous Real Book you perfectly know.. By the way, I recommend that anyone following this thread get Maestro Dyens' music for Paris Guitare (Henri LeMoine Yes, Henry Lemoine)! It is well worth it, although I found the music much harder to master than Tango en Skai, for example. Not 100%convinced by that actually. It depends on the way you play Tango en skaï though :). All best and thank you for your interest in my music. Roland Dyens What started you improvising? I came to it through jazz, listening to Joe Pass, Johnny Smith, Wes Montgomery, Tal Farlow, and others but never thought of it in the context of 'classical guitar.' Who were your inspirations? How do you help your students get into improvisation?
I presume the pieces of Paris Guitare had their start as improvisations. Did you work from a 'lead sheet'? By the way, I recommend that anyone following this thread get Maestro Dyens' music for Paris Guitare (Henri LeMoine)! It is well worth it, although I found the music much harder to master than Tango en Skai, for example.
Eric Sargent Detroit, Michigan Hello Eric,
Thank you for your interest in my music. Roland Dyens |
What started you improvising? I came to it through jazz, listening to Joe Pass, Johnny Smith, Wes Montgomery, Tal Farlow, and others but never thought of it in the context of 'classical guitar.' Who were your inspirations? How do you help your students get into improvisation?
I presume the pieces of Paris Guitare had their start as improvisations. Did you work from a 'lead sheet'?
By the way, I recommend that anyone following this thread get Maestro Dyens' music for Paris Guitare (Henri LeMoine)! It is well worth it, although I found the music much harder to master than Tango en Skai, for example.
Eric Sargent
Detroit, Michigan