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Postad 27 maj 2016 - 18:48
Today a term "modern technique of sound" frequently appears and is perceived by the overwhelming majority of pedagogues as the most promising. Dmitry Nilov doesn't regard the performing technique of F. Tarrega, M. Llobet, A. Barrios, E. Pujol, A. Segovia, I. Presti and A. Lagoya, J. Williams, Romero family, C. Parkening and other prominent artists of the XX-XXI centuries as the past of the guitar art. In his opinion it is a classical or basic one, musicians can and should use it as a point of support in their performing quest and it would be wrong to neglect it.
For Dmitry it's a model which he follows, relevance and prospects of which he substantiates briefly in this clip, at the same time not disclaiming the right of musicians to look for new techniques to discover all possibilities of the instrument.
Postad 11 september 2016 - 12:26
G.Frescobaldi | Air with variations (Aria Detta La Frescobalda) | Dmitry Nilov (Live*)|
Live* - this concert was recorded simulteniousely on the camera's integral microphoneво and the MD-recorder. Here the MD's record is used.
Full version of the concert «Concert in France. Dmitry Nilov. 2003. Cathedral».(Live*):
Live* - Here camera's integral microphone's record is used.
Postad 11 september 2016 - 20:41
Dmitry Nilov plays Introduction and Variations on a Theme by Mozart by Fernando Sor
Live* - Here the MD's record is used.
Postad 03 oktober 2016 - 07:38
Dmitry Nilov | Exercises/Left Hand/Independence of fingers/Part 1
Improvement of the independence of the left hand's fingers is the main stage in the establishing of the performing technique. The aim is the development of the activity's freedom of each left hand's finger, the dynamic and precision of its movements. This clip demonstrates only one example of the most effective exercises
Postad 04 oktober 2016 - 16:35
Dags att plocka ner nylonarn från hyllan och stämma.......
Postad 22 oktober 2016 - 23:32
Fernando Sor/Etude №1 op.31/Dmitry Nilov
Fernando Sor/Etude №2 op.31/Dmitry Nilov
I chose Etudes by Fernando Sor op.31 for several reasons:
1) Fernando Sor is an outstanding composer;
2) My students play these etudes on different levels of their study. At their request I will from time to time record in my home studio etudes with which we are working now;
3) Not only the playing technique (here I mean velocity) is improved with the help of Sor's etudes, but also the musical thinking is developed. In my opinion it is even more important for a musician;
4) There is nothing very complicated at first sight in scores, but this impression is misleading. Each etude can be performed in a different fingering. And on the assumption of the problems to solve (conception of performing) you can identify for yourself the level of this piece's complexity.
Postad 06 december 2016 - 10:24
Tremolo/Rights hand's position/Muscular freedom/Dmitry Nilov
In this clip the right hand's (wrist's) position in the condition of muscular freedom and the angle of the each fingers' attack towards the strings are demonstrated. In the example I showed, how one can control a tempo without any effort.
More information about improving the tremolo evenness - https://www.youtube....atch?v=H4wR6...
Postad 17 december 2016 - 23:48
How to play natural harmonics vibrato//Dmitry Nilov
Natural harmonics vibrato is a simple, but a very lucky find for classical guitarists. Using this technique you can add several amazing accents-"salts" that will decorate a performed piece and will arouse public's interest.
Maria Linnemann/ "Canzone d' Amore"/Dmitry Nilov
Postad 23 januari 2017 - 23:40
Technique of the "p" finger under the classical right hand's position/ D.Nilov
I took the Etude №1 by Emilio Pujol as a base for the first part of this exercise. It's a very good example because of the opportunity to play with the "p" not only on neighboring spun strings, but also next but one, improving the tactile contact and developing the movability of the thumb.
Then I pay attention to the extensor. I consider this moment to be crucial for the developing of the classical guitar performing technique. Classical guitar players don't use such technical actions in the majority of cases (in virtue of the repertoire) whereby confining their technical capacities.
In the clip only the direction vector of the work is shown, but it's the theme by itself that is worth looking at more closely. Beyond all doubts it is subject not only to the thumb.
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