Archive for the ‘Endorsement’ Category

Matteo Carcassi 25 Etudes Op. 60


2010
02.05

Friday, February 5…
The weather is still cold – to me at least but not if you came from Montreal – and there is nothing like staying home and when the kids are not around, just cooking, baking, reading… and play music!
Fortunatly, Carl Fisher Publishing asked me to do a very interesting work:
- revise and finger the Matteo Carcassi 25 Etudes Op. 60
Step by step I will share the process and thoughts with you.

Matteo Carcassi

Matteo Carcassi

The original edition does not have a lot of fingerings… which is surprising for a pedagogical work. However you have the freedom to put your own. The questions arising to my mind were:

- should I put “objective fingerings” the ones that will fits everybody classically trained or propose the way I play?

When I think about teachers and students, my idea is facilitate their work. But the traditional way to play classical guitar is still evolving. Postition, right and left hand techniques… It was the tradition to play scales with two fingers but, more and more I see classical guitarists playing with 3 fingers… and that since I posted this video on Youtube 3 years ago> http://www.youtube.com/watch?v=-WYIW0eeHWE (in the next one I will teach you how to play with 4 fingers.)

Then after thinking about all that, I decided to teach the way I play and share with you my main influences. This blog will also allow to interact with you all and will open up new doors to me. So, if you want to participate with your questions, videos and comments, please feel free! It will be my great pleasure to feature you and have your valuable opinion.  A mutual enrichment will be the result.  

When I think “Classical Guitar” it always remind me my teacher, my mentor, Alexandre Lagoya – Read more… – we were always taught to phrase (play) with the Art of Bel Canto (beautiful singing in Italian)  in mind. Therefore, following this advice the fingerings I choose tend not to cut, chop, a musical phrase but help to draw a line and respect the breathing.
All the proposed fingering will be also based on what you study in each etude. That can be a specific arpeggio, a scale or position shiftings… The new edition will present notes about the particular guitaristic and musical aspect of each etude.  Soon… Etude #1

Hasta Bientot~ Philippe

Alhambra Guitar’s Story


2009
11.04
About Alhambra Guitars

Alhambra 4-P (buy it online)

In the early 60’s a man named Mr. Martínez Clavel who was living in Valencia, was looking from his balcony at the street. There was a big queue of lorries and trucks waiting in front of a guitar factory to pick up instruments. His first thought was that a guitar factory would be a good business.
Then, he thought that just looking for someone able to make a guitar, would be enough to start making money. A friend of him had a brother in law called Mr Ricardo Llorens who was living in a small town called Muro del Alcoy.

 

Alhambra 5-C cw E2

At that time, Mr Ricardo Llorens was working as an apprentice of mold-maker (crafting a piece of wood that will be used to build a mold) at an important factory of paper. Mr. Martinez Clavel thought that, since Mr Llorens was able to make molds, he should not find problems to handcraft a guitar.Then he purchased a guitar and he went to Muro del Alcoy to explain his project to his brother in law’s friend. There he met Mr. Ricardo Llorens having tapas in a bar and playing card games with friends. Mr. Martinez Clavel showed him the guitar and asked

Would you be able to make one like this?

Encouraged by the presence of his friends he answered without any hesitation that he could do it in just one week. The following week the man from Valencia came back to Muro and there he met again Ricardo Llorens who had not even start the job. Mr. Llorens was embarrassed by such informality and he promised to do it.

Alhambra 1-C (buy it online)
Then, Mr. Ricardo Llorens asked for help from his mold-maker master at the paper factory. That man was Mr. José María Vilaplana Vilaplana.They made a guitar and, pushed by Mr. Martinez Clavel who was able to invest some money, they decided to found “Manufacturas Hachi” Company. It was 1962. Then, they started working in a horse stable which was property of Mr. José Luis Rodriguez (his son, named José Luis Rodriguez as well, was 14 years old at that time and he is still working in Alhambra factory).

They were a team of 8 people. Everyone was working making guitars apart from their main activities. That meant all of them had a different job and they were working making guitars only during their free time after finishing in their daily jobs.

Three years later, in the neighbour city of Alcoy, a man named José Botella was driving around with his car, a Seat 600 (the Spanish brand used by Fiat) when he saw a friend waiting at the bus station. He decided to stop in order to pick up his friend:Where are you going?
He asked. His friend said: “I’m going to Muro del Alcoy to buy a Spanish guitar”
And so off they went to Muro del Alcoy.

They arrived in Muro and, after knocking at the door, a man opened.
The man said they were lucky because maybe one week later the small workshop would be closed.At that time Mr. Martinez Clavel who was the investor had already stopped contributing and left the company, so the only owners were Mr. José María Vilaplana and Mr. Ricardo Llorens.José Botella told his father about this fact when he returned home and they decided to get some additional information about the company.
They wanted to know why Manufacturas Hachi was going to close. When they knew the problems of Manufacturas Hachi were both, financial and commercial problems, they worked together other investors to get the control of the company.

It was 1965 and then the company changed its name. The new name was “Manufacturas Alhambra, S.A.”From that moment Mr. José María Vilaplana and Mr. Ricardo Llorens took only the responsibility of the crafting process and the new shareholders started to manage the company.

The new managers started looking for a director and, after some changes, they finally contracted Mr. Jaime Juliá, who, after finishing his university studies of Engineering and a previous experience in another business field, was looking for a job more in accordance with his university background.

Many of the craftsmen who are still working here had started in Manufacturas Hachi when they were about 14 – 16 years old. Now they are the most experienced people we have and all of them are one of the greatest values of the company.

Alhambra Luthier Rio


2009
07.26

Luthier Rio Spruce

The Alhambra Luthier Rio is a beautifully crafted by two of the master luthiers at Alhambra, Javier Mengual and José Margarit. Just touching it was a sensual experience, the beautiful finish; I should say the perfect finish, the incredible quality of Solid German Spruce top with very tight and regular nodules all across it. The back and sides are made of Brazilian Rosewood. Let’s take a closer look at the sides. The book matching is perfect the grain appears to create one continuous line, and showcases a dramatic effect. How many hours did they spend matching it and have a perfect continuous pattern? The purfling itself is a piece of art.
This guitar has an amazingly rich and refined tone. Also, just by moving my finger a millimeter I get a different sound, just a millimeter! Can you imagine when you move your right hand from bridge to neck the incredible range of sound you have? It is a gazillion colors palette. It has a revolutionary floating bracing pattern that givesit a really phenomenal tone and projection. This guitar has an amazingly rich and refined tone, also, just by moving my finger a millimeter I get a different sound, just a millimeter! Can you imagine when you move your right hand from bridge to neck the incredible range of sound you have? It like a gazillion colors palette. It has a revolutionary floating bracing pattern that gives it a really phenomenal tone and projection.

Its fullness, tone quality, craftsmanship, volume, projection, and playability are superb. This guitar is a wonderful example of the fine work of the luthiers at Alhambra. This is by far the best guitar that I have played. I am in the process of re-working my whole repertoire and explore the endless possibilities of tone for new interpretations. And, trust me, I possessed some of the most expansive guitars but this one is the one I was looking for.
She’s my new love and forever!

>Listen to Alhambra Luthier Rio!>
>Read about Alhambra 8P>

Alhambra 8P


2009
07.26

Alhambra is a well known palace in Spain and, for the guitarists, it’s also what inspired Tarrega to compose one of the most beautiful tremolo piece.
But did you know it’s also a Spanish Guitar Brand? It is actually one of the most famous in Europe. Can you dream of any better than a Spanish guitar? All countries have a different conception of guitar sound but when it comes to Spain the personality is the first thing that will strike you along with the projection of the sound, the warmth and the tradition. Tradition is the key word: Those guys have made guitars for centuries; therefore, nobody can catch up with them!

A Little Bit of a Story
When you hold an Alhambra Guitar in your arms, you hold all of that. When one of my students showed up with an 8-P E2 model electric-acoustic, the first thing that struck me was the beauty of the instrument. Perfect craftsmanship and beautiful woods make this instrument one of the most impressive I have seen.

Alhambra 8-P

The Alhambra 8-P is an all-solid entry concert-level quality classical guitar with a wonderful richness of tone. But richness is not the only thing: the sound projection is so amazing that I had the urge to compare with the guitar I played at that time, hand made and priced at $10,000. That was an experience! This Alhambra was just louder than my $10,000 guitar… OK, let’s try again… unbelievable! The action was also just perfect: high enough to make the guitar sing but extremely comfortable. Basses and trebles were balanced which allows having a full control of the voices and to emphasize whatever voice you want without any struggle. Therefore you become the conductor and have a complete orchestra under your fingers. It is hard to imagine all the possibilities this instrument offers and the limits are just my imagination. I just could not believe it and had a hard time giving the guitar back to my student.
Alhambra model 8P guitars and above are built by a smaller, more experienced team at the Alhambra facility. They feature a lighter, nitrocellulose lacquer finish and a bridge-like cross bracing. All of these factors work together to give this guitar a very beautiful, loud, and refined sound. Its cedar top gives it a nice warm tone quality with excellent volume and clarity.

 

I called Alhambra and wanted to try the high-end concert models. The good news was: they were to be at the Summer NAMM Show where I went, anxious and excited.

Here they are!
Imagine a huge booth with dozens of amazing guitars exposed! All the guitars I have seen on their website, where I spent hours and hours, were there. My attraction led me to the Luthier Rio Model. I had looked at this guitar for hours on the internet and would finally play one!

>Read Reviews>
>Read About Concert Model Alhambra Luthier Rio!>

The Right Strings for your guitar…


2009
07.10

Hey Folks!

That is like the question I get all the time:
- Philippe, what strings do you put on your guitar?
and, I know when I look in your eyes that you guys had… and maybe still have if you did not read this article yet, the same issue(s) I had. Finding the right strings!
Honestly, if you get into a store and look at the brands, you really start feel ing woozy, and then you start to try one set, and another, and another… and arrive on my blog – or come to one of my clinic – and anxiously ask me about strings.

Because I tried them all, and there is not a week I do not receive a set from a string company. Some are okay… the first days of their life but, like the butterflies, they do not last a long time. Others – let’s be honest – most of the brands have intonation issues… you have to run to the store to buy other 1st or 3rd strings (no kidding! I live in Texas and the time I get to the store it’s pitch dark, that’s how far it is!!!) and you realize you have to go back to the store because the new ones you get still have intonation problems… Other sets have they basses dead in 2 or 3 days… or break.
Seriously: do you want me to break in string during a show? I tour and play a lot and want to have reliable strings!  And y’all know I bang the guitar and take all the guts out of the poor thing.

You never see me re-tuning the guitar when I perform (if you saw me, it’s because I was about to play open tuning… or it was when I did not have Alhambra Guitar… just buy the right stuffs guys)  It’s not because I’m deaf … neither because I’m blond… it’s because the strings I use stay in tune, never break, last forever… are cheap and American. Read that well coming from a Frenchy: they are MADE IN ZE USA! Okay… Should I share more about the spirit? You want me to tell you I fence my Texas ranch with those strings?

So, what is the mistery? Well, I went to Africa to meet a wizard in Zambia and he gave me the answer… are you ready?

The basses are round anb rich because they use the best wire, the highest quality. Not the cheap one that will rust in no time. Also for the “EXP” basses, they put the coating ON the wire, not just on the strings. See? Have you tried the other ones? The ones that have been made the “fast way”? Just the coating sprayed on the whole string… and what happenend after that? It’s peeling off!!! Not only it looks nasty, like if your guitar contracted leprosy – or you which is worst! – and because of the peeling-off-fast-spayed-coating… your strings buzzes. Hey, you know what I’m talking about.
 
But not the strings I use… Did you hear my guitar buzzing? Peeling? Strings shredding away? Mais non!
 
I go great basses strings! The “Must”, the “Best”. They got the sustain you are looking for and the harmonic support.
What am I talking about?
- Go to the end of the concert hall next time you attend a classical guitar recital… you barely hear the basses. They are weak. But not the one I use!
 
And the trebles… no intonation issues. Why? Because they want to be so perfect they measure each string two hundred times.
How many times? 200 – TWO HUNDRED TIMES, dos cientos, zwei hundert, δύο εκατό!!!  200 times!  
Those guys are so crazy about precision, they measure EACH string 200 times. It’s not only for fun .. or because they have time to kill… It’s because they have a vision:
- They want to make the best products ever because they take pride into what they do.
- One dissatisfied player will be talking to 8 people about how the strings caused them problems and they will talk to others who will talk to others… and so forth.
 
First, to measure the strings with such precision, they thought about hiring a bunch of elves, fairies and dwarves from the “Enchanted Forest” but, over the past 30 years, guitar strings have benefited from a wealth of engineering and manufacturing improvements and the brand I use are now made by utilizing automated computer-controlled winding machines. The result has been unprecedented quality and value for the guitarists. The trebles are sorted by a sophisticated computer-controlled laser machine which performs diameter/tension measurements and quality checks to insure precise intonation.
They want to make you satisfied… And they are.

What do I play?
The only real strings for pro… D’Addario

I use the Pro-Arte and also, on my spruce top guitar the Composites to give it a “warm gut alike touch”.

D'Addario Strings. Buy Them at a Cheap Price!

D'Addario Strings. Buy Them at a Cheap Price!

D’Addario Composite wound strings exclusively feature Zyex(R) multi-filament stranded core material, which delivers gut-like tone with extremely long life and consistency. The trebles come with two 3rd strings, one from the regular Pro Arte line (clear nylon) and one made from composite polymer (coffee colored) which has a brighter tone (the 1st and 2nd are also from the regular Pro Arte line).

Say you love me now… okay… a thank you would be enough.

Cheers!

Alhambra Guitar Club


2009
07.06

Click to join AlhambraGuitarClub

Howdy y’all!

Keeping in touch with guitarists, exchange ideas, having a place to perform and a goal to practice is sometime challenging!

The Alhambra Guitar Club start in Arlington next month, completely free!
On the top of meeting players once a month and performing in a cool and friendly environment, I will do some short presentation jus for you:
~ About guitar construction
~ How to overcome technical problem
~ The French Fries recipe
~ and more…

Just a click to become a member
Click to join AlhambraGuitarClub

Click to join AlhambraGuitarClub

See ya!

Meet my new Love: She’s from Spain and she’s Hot!


2009
06.12

Alhambra is a well known palace in Spain and, for the guitarists, it’s also what inspired Tarrega to compose one of the most beautiful tremolo piece.
But did you know it’s also a Spanish Guitar Brand? It is actually one of the most famous in Europe. Can you dream of any better than a Spanish guitar? All countries have a different conception of guitar sound but when it comes to Spain the personality is the first thing that will strike you along with the projection of the sound, the warmth and the tradition. Tradition is the key word: Those guys have made guitars for centuries; therefore, nobody can catch up with them!

A Little Bit of a Story
When you hold an Alhambra Guitar in your arms, you hold all of that. When my Friend and associate John Francis first promoted the Alhambra guitars to me I thought they were just another student model. Imagine my surprise when one of my students showed up with an 8-P model electric-acoustic that he had purchased from John’s online shop. The first thing that struck me was the beauty of the instrument. Perfect craftsmanship and beautiful woods make this instrument one of the most impressive I have seen.

Alhambra 8-P

The Alhambra 8-P is an all-solid entry concert-level quality classical guitar with a wonderful richness of tone. But richness is not the only thing: the sound projection is so amazing that I had the urge to compare with the guitar I played at that time, hand made and priced at $10,000. That was an experience! This Alhambra was just louder than my $10,000 guitar… OK, let’s try again… unbelievable! The action was also just perfect: high enough to make the guitar sing but extremely comfortable. Basses and trebles were balanced which allows having a full control of the voices and to emphasize whatever voice you want without any struggle. Therefore you become the conductor and have a complete orchestra under your fingers. It is hard to imagine all the possibilities this instrument offers and the limits are just my imagination. I just could not believe it and had a hard time giving the guitar back to my student.
Alhambra model 8P guitars and above are built by a smaller, more experienced team at the Alhambra facility. They feature a lighter, nitrocellulose lacquer finish and a bridge-like cross bracing. All of these factors work together to give this guitar a very beautiful, loud, and refined sound. Its cedar top gives it a nice warm tone quality with excellent volume and clarity.

I called Alhambra and wanted to try the high-end concert models. The good news was: they were to be at the Summer NAMM Show where I went, anxious and excited.

Here they are!
Imagine a huge booth with dozens of amazing guitars exposed! All the guitars I have seen on their website, where I spent hours and hours, were there. My attraction led me to the Luthier Rio Model. I had looked at this guitar for hours on the internet and would finally play one!

Luthier Rio Spruce

The Alhambra Luthier Rio is a beautifully crafted by two of the master luthiers at Alhambra, Javier Mengual and José Margarit. Just touching it was a sensual experience, the beautiful finish; I should say the perfect finish, the incredible quality of Solid German Spruce top with very tight and regular nodules all across it. The back and sides are made of Brazilian Rosewood. Let’s take a closer look at the sides. The book matching is perfect the grain appears to create one continuous line, and showcases a dramatic effect. How many hours did they spend matching it and have a perfect continuous pattern? The purfling itself is a piece of art.
This guitar has an amazingly rich and refined tone. Also, just by moving my finger a millimeter I get a different sound, just a millimeter! Can you imagine when you move your right hand from bridge to neck the incredible range of sound you have? It is a gazillion colors palette. It has a revolutionary floating bracing pattern that givesit a really phenomenal tone and projection. This guitar has an amazingly rich and refined tone, also, just by moving my finger a millimeter I get a different sound, just a millimeter! Can you imagine when you move your right hand from bridge to neck the incredible range of sound you have? It like a gazillion colors palette. It has a revolutionary floating bracing pattern that gives it a really phenomenal tone and projection.

Its fullness, tone quality, craftsmanship, volume, projection, and playability are superb. This guitar is a wonderful example of the fine work of the luthiers at Alhambra. This is by far the best guitar that I have played. I am in the process of re-working my whole repertoire and explore the endless possibilities of tone for new interpretations. And, trust me, I possessed some of the most expansive guitars but this one is the one I was looking for.
She’s my new love and forever!

Facebook me!

How to Use a Metronome


2009
06.12

Choosing a Metronome

I use a very advanced Metronome allowing all the beats combination. It’s also a very precise tuner and is sturdy. The only metal enclosure that I know of:
Click to buy it!
The Planet Waves Full Function Tuner & Metronome is the ultimate all-in one musicians practice tool. An intuitive, patent-pending rotary LED interface is combined with a precision dual-mode sweep/strobe chromatic tuner and professionalmulti-function metronome.
The lightweight, durable metal enclosure includes a pull-out easel for desktop use.
• Intuitive patent pending 12-segment rotary LED display
• Sweep and Strobe Mode Tuning
• Full-featured Metronome
• Full-range pitch pipe function
• Sensitive condenser mic
• 1/8 headphone jack
• DC power input jack for optional AC adapter
• Seperate mute and volume controls• Accurate to +/- 3 cents
Using A Metronome
Why is this necessary? What are the objectives?
Human beings are not born with “perfect time” or “internal clocks”. All musicians must and will spend much time practicing with a metronome to develop a sense of tempo and groove. Musicians have to learn to keep steady beat in spite of fluctuate constantly.
So, daily practice with the metronome will help you master the music pieces you want to play and measure your progress.
 
Coordination:
The metronome forces us to listen to a consistent click and match it.
In ensemble playing we must be able to listen to and match other players. To do this we have to feel when the next beat will come, we can’t listen for it then play it. To this end it is necessary to play consistently from beat to beat and measure to measure.
Rhythm is the spine of music because it will give the drive and in ensemble playing it is one more contributor to ragged groove (I’m even talking about classical here).

The students usualy say they can’t hear it.
But, the idea is to split your attention into something besides your own playing, in this case the sound of the metronome.

You can learn to hear it; firt by singing the rhythm instead of playing it directly on your guitar.
Practicing with the metronome does not make the music rigid. It helps you to gain control of tempo, learn to play with others and improve one’s playing. It is easy to play a loose tempo; you won’t forget how when you need to.
For all these reasons it just makes sense that you practice your music pieces in time. This way you will develop the technical ability for your fingers to remember the scale and chord shapes and at the same time learn to play them on the beat. It only takes a little extra effort to practice this way but pays huge dividends in your playing.
A metronome is as a tool to gauge you progress. By starting on a slow tempo and working your speed up, you can see how much progress you are making, set goals, achieve the goals and move onward!
Hints:
1) Always play slow and clean.
2) Start with quarter notes (1 note per click)
3) Advance to eighth notes (2 notes per click)
4) Do triplets too! (3 notes per click)
5) Keep track of you metronome speed settings and try to improve them.
6) Move your foot up and down with the down matching the click.
Exercises:
Set the metronome at 60 (that means 60 beats per minute) listen to it and count quarter notes along with the beats: 1 – 2 – 3 – 4. Make sure you can listen to the metronome and then play 1/4 notes on an open string along with the beats. Just be sure you can hear the metronome.When you are comfortable with 1/4 notes, count eight notes and, once you’re doing OK, play 1/8 notes on open string.Repeat the same thing with triplets and 1/16.
Let’s take a chromatic pattern on frets 5-6-7-8 and repeat excercises.
The goal is not to go fast but accurately play on the beat.
Just play 1/4s to get a feel for the beat and get comfortable.
Once you feel comfortable, increase it to 1/8ths

hold it there for a while, then increase it to triplets

old it there for a while then increase it to 16ths
Do not increase the number of notes per bar until you are totally comfortable with what you’re playing.
Now increase the tempo, but only increase it by 10bpm at the most – then start practicing 1/4s at this tempo, and work up to 1/16ths as you did at the previous tempo.

Advanced Metronome Practice Tricks
A helpful trick to strengthen your timing ability is to play around with adding and removing subdivisions of the click.

For example, instead of playing sixteenths over a quarter-note click, try doubling up the click so it is doing eighths. Yet as you play over this, retain the feel of the main pulse only on downbeats (every other click). In this case the “middle” eighth click is there just to help you mark the upbeat more precisely so you can focus on hitting that note (the 3rd sixteenth) precisely on time.
After playing like this a while, then halve the click tempo back to quarter notes and focus on supplying the same articulated feel of the upbeat — but without that middle click to support you.
Along the same lines, try removing beats entirely. Transform 16th notes into 32nd notes by halving the speed of the click. Or you can think of this as still playing 16ths, except the click only cues you to every other beat. Then let the click hit just every third beat. That’s tough! The slower the click goes, the more space you must fill to stay in time.
When playing exercises or pieces containing a constant flow of notes-straight eighths for example-my favorite trick is to move the click to hit different notes of the pattern. The 3:2 ratio (a hemiola) is the best place to start.
So instead of playing eighth notes, for example, change the beat to fall on every 3rd note and play the same sequence in triplets. Wow! That breathes new life into old, stale exercises. The 3:4 (triplets on sixteenths) pattern gives a similar effect. You can also try 4:3 and 5:4 for a little more adventure. After a little practice with this kind of rhythmic interplay, it comes easy yet always feels more interesting. It literally feels brand new, yet your fingers seem to already know the way.
Next try moving the click to a rhythm off of the beaten path. That is, instead of making the click define the pulse, you make it play quarter note triplets for example. Now YOU generate the feel of the pulse and it clicks away somewhat “against” you. On top of that, play your exercise in eighth or sixteenths or whatever. That puts an entirely new spin on things!
OK, now practice on a study or sniplet. It is important to set the metronome clicks to a very comfortable, slow, speed when starting to learn a piece. If used when starting to learn a piece, inaccuracies in note values will not be learned. Repeating a phrase or two at a time, and using the metronome to count the beats between repetitions is a very useful technique. As notes are learned, additional phrases can be added to the loop until an entire section is practiced.
The metronome can be used as an anchor through long repetition practice. This ensures that note and rhythmic accuracy are maintained. Players can use the metronome to physically settle in to a piece.The metronome can be used to gain familiarity and memorization.
Before a piece is performed, there needs to be complete mastery of the notes, there cannot be any insecurity. Once the notes are mastered, then sing the rhythm and, if it’s a really difficult one, play only the rhythm on open string. Then, when you get it down ad the notes at a comfortable tempo. Make sure the phrasing is flowing and not patched. An easy, steady pace encourages the release of tension in the arms and hands. Many technical problems work themselves out by using the metronome wile playing.
How to use the metronome to overcome technical difficultiesLet’s say you have to play an arpeggio in 16ths at a fast tempo.

First, start to learn all the notes and play the chords first

Then, play 8ths

Are you ready? OK, play the first beat with 16ths, and a 1/4rest, second beat, 1/4rest, 3rd and rest, 4th and rest.Now, play the arpeggio without the rest.

You want play faster?
Do not target all the beat, but, instead, aim the 1st and 3rs beat and emphasize them:

 
 

 

Practice a few measures at a time. When you’re ready take another group of a few bars… One you’re comfortable, put them together.Do the same thing with next groups and the first page… and so on.

Always start with a little group. The metronome will also be as a gauge to measure your progress.

Note the speed you reached and try to go faster the next day… You’ll build up the speed every day.
Makes sense you have to practice on a regular basis…
Have any question? Write a comment and I will answer.
Cheers,

Changing Strings on Classical Guitar


2009
06.11
When To Change Your Strings

“When should I change my strings?”
I use to change mine when the basses lost their brightness.
They usually last about three weeks, but I play five to six hours every day.

“How do I know my strings are dead?”
At this point you’ll see fret wear–black marks–on the strings and have difficulty tuning.
If they’re really terrible, the basses will be corroded and the trebles scratched (worn rough where you pluck).

Players with sweaty hands can kill fresh strings in less time because of corrosion.
However, the typical hobbyist that washes their hands before practice and plays an hour a day can expect a month of decent tone out of standard strings.

D'Addario Strings
Pro-Arte’s are my favorite strings and preferred by Alhambra guitar makers for their excellent tone, precision, and consistency. Each Pro Arte treble string is measured 200 times by a sophisticated, computer-controlled laser system that performs consistency and quality control checks while determining the string’s exact playing tension.

D'Addario Strings
(Buy D’Addario and Guitar Accessories at Great Price: http://www.philippebertaud.com/LaBoutique/strings)

Traditional String Changing Method

You will save a lot of time and energy usign the ultimate restringing tool. Unlike ordinary peg winders, the patented Pro-Winder is a high-quality peg winder with a built-in clipper and a bridgepin puller. The winder is designed to fit virtually all guitars.

Ergonomically designed with hardened tool steel wire cutters, the Pro-Winder with built-in clipper is the ALL-IN-ONE restringing tool.

http://www.philippebertaud.com/LaBoutique/gears-and-tools

Removing Strings

Use the Pro-Winder to unwind the strings. It’s faster than winding by hand.
Turn the winder counterclockwise to loosen the string and clockwise to tighten the string.

Don’t remove all the strings at once. Instead, remove and install one string at a time. Removing all the strings traumatizes the neck and sound board.
How? The strings exert a total force of 75 to 90 pounds of tension on the sound board and neck. If you release all the tension, the wood flexes. After reinstalling the strings it takes several hours for the sound board to flex back to optimal shape. Thus, you’ll notice a lost of volume and tone until the sound board returns to normal.

Attaching The String To The Bridge

Once you have removed a string, attach the string to the bridge as illustrated in the diagram:

 

 

 

 

 

Making Your Strings Last

Washing your hands before playing also has a major impact on string life. It is helpful to wipe your strings down with a micro fiber cloth.

Micro fiber picks up sweat and oil better than any other fabric.

The Planet Waves Micro-Fiber polishing cloth acts like a magnet for dust, dirt, and oils, and lasts considerably longer than ordinary cloths. Woven from microscopic fibers, the Planet Waves Micro-Fiber Cloth is 10 times finer than silk, up to 30 times finer than cotton, and 100 times finer than a human hair. The fibers are woven into masses of tiny “hooks & loops” which cut through stains, attracting and absorbing dirt, smudges, and microparticles that ordinary cloths cannot reachor remove.
Best of all, the Micro-Fiber polishing cloth needs only minimal polish or no polish at all when you clean your guitar!
http://www.planetwaves.com/pcaredetails.aspx?ID=6

Of course, the more you play, the faster you wear out your strings. That’s a fact of life. Live with it.
However, the enjoyment of beautiful tone and wide dynamic response is worth a string change every month or even every week.

Good luck with your next string change!

Philippe Bertaud
http://www.philippebertaud.com/