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Gick med: 13 dec 2015
Offline Senast aktiv: jan 21 2019 15:16

Inlägg jag har skrivit


13 januari 2019 - 16:31

Dear all!


How I make my videos.


Isaac Albeniz - Asturias [Dmitry Nilov]


05 september 2018 - 15:54

Dear all!

 The interview with Christopher Parkening appeared in the YouTube this August. It's very interesting in general. But I'd like to point out 2 replies of Maestro:

 GuitarCoop Interview Series - CHRISTOPHER PARKENING - Part 2/4

17:51  - The Sound


GuitarCoop Interview Series - CHISTOPHER PARKENING - Part 4/4

5:40 - Right Hand

In my opinion this is accordant to this theme...



09 juli 2018 - 10:11

Dmitry Nilov: Working at a program 

Responding questions that I occasionally receive in private messages.
Practice is a dialog with an instrument that consists of different stages. I'll point out just most evident of them.
1) You should have a precisely adjusted conception of a piece you perform. Otherwise I find no sense to start working with a text. This conception can later change, but it's strange if it doesn't exist at all.
2) Then comes the detailed study of the fingering which is based on your conception.
3) Scores' knowledge: it should be an easy job for you to write any fragment of a piece from memory.
4) While playing a piece you should name each note inwardly and accompany it with a visual control of your left hand.
5) You should be able to "play" a piece in a slow tempo without an instrument, but feeling it in your hands, looking in scores only and naming notes aloud.
6) ) You should be able to "play" all your program without scores and without an instrument with your eyes closed, naming notes inwardly and feeling a contact with an instrument.

It is a minimum.

It doesn't concern a music, but only a skill. Otherwise you'll have no freedom. These are only several examples of a practice while meeting which you have a chance to feel yourself freer. And also these is a technique. And it's also a minimum.

This should be a standard. At least for me it's a standard for last 15 years. Plus a technique and a literacy. And then it's possible to do smth if there is a background.



09 juli 2018 - 10:08

Enrique Granados. La Maja De Goya. Dmitry Nilov


17 juni 2018 - 17:23

Thank you for your question!

Dmitry Nilov's working upon the cantilena technique is based on next approaches:

The right hand's position:

- In Dmitry Nilov's opinion, the classical right hand's position (of Tarrega and Segovia), that is based on the muscular freedom and plasticity, is compulsive. It's very important.


The articulation of sound:

- The classical right hand's position provides the following advantages while performing:


Classical positioning of the right hand. Dmitry Nilov (Part I)


Classical positioning of the right hand. Dmitry Nilov (Part II)


- The main aim of this technique is to provide as long as possible duration of each note of the piece that is performed, meeting strictly requirements of scores. The sound shouldn't be shorten by no means, but conversely each note should be left in a last moment. It depends on the left hand's ability (independence of fingers and lightness of a wrist). It's difficult to achieve on a guitar, but the music is worth the cost.

- The sound is made by a nail, but touching a string by a tip of a finger is obligatory (it will provide a tactile contact with strings). Playing with a finger on a string and "preparation" can be used either as a stage of practicing, either in those cases when it doesn't affect the duration of the sound, either is determined by articulation. Otherwise the full-featured sound is impossible.


Preparation as a stage of the practice. Part 1//D.Nilov/

Preparation as a stage of the practice. Part 2//D.Nilov//