THE SAKARI METHOD For Classical Guitar                              

             "Perfect Your Passion"                                                  

The Most Challenging Classical Guitar Measures 6".  The Space Between the Ears !


With the hundreds and thousands of Classical Guitar Pieces out there to select from, one could logically ask, " Which ones should I learn ?"

The first question before that should be, "What am I going to do with any piece once I've learned it ?"

This is no small question because the implications can be enormous. There are simple pieces to give easy listening pleasure all the way up to Concerto Repertoire that can wilt even the seasoned veteran of the Concert Stage.

To many, these questions are lifestyle questions and not career questions.

Nonetheless, they need to be asked.  One should always love the pieces that you are going to commit hours of practice to, and I still stand by that criterion.

If you are a Collegiate student of the Guitar these decisions are made for you so as to remain within a pedagogy and Recital Program for Degree Candidacy.

I was in Music School prior to any real Pedagogy so I was left to create my own which opened the doors to creativity, transcriptions and the like. I had fun performing the music I loved in a Scholastic atmosphere.

Would I have enjoyed preparing standard repertoire not to my personal liking ?

No, to be quite honest.

So, the simplest place to start is with a grading system. Most instruments have them. A sort of, "On a scale of 1 - 6 degree of difficulty" system.

Most often, teachers disagree with a given piece's degree of difficulty, whoever determined it in the first place, mainly due to the Interpretive degree of difficulty being higher that the Technical degree of difficulty or vice versa.

In the Violin world, for instance, the Bach Chaconne ( that Segovia made famous ) is generally considered to be a piece of such interpretive stature that it is understood that until a Violinist reaches the age of 60, it shouldn't be attempted.

I agree, but yet I've seen it as a required piece to learn within a Bachelor's Degree Program, average age of Student, 21 years.

The system I use is my own Technique Builder Metronomic System.

If one can only comfortably play sixteenth notes at MM 66, then one shouldn't pick a piece that is loaded with sixteenth notes and comes with a recommended Tempo Marking of 96.

It's a very good starting place when choosing pieces. Why get your hopes up to play something you literally can't ?

Once you've determined your particular skill level, then choose the Period of Music you like. Renaissance, Baroque, Classical, Romantic, Modern, 20th Century, etc..

Then select the composer you particularly like and then pick some pieces you like by maybe finding them on a record album or CD so you can listen to them.

Once you've picked your piece, try to find as many recordings of it as possible to gain some understanding of what came before you, interpretively. I own, in some cases, up to 23 recorded versions of Guitar pieces, all by various Artists and I can verify that this type of exposure brings you so much understanding that one teacher simply cannot give, I can't tell you.

Now finally, and most importantly, Do Not use this piece as a way to improve your general technique. You won't do the piece justice and your excitement for the piece will go stale.

Use my Technique Builder Method to hone your skills and then put the music on your stand.

If you only follow these instructions just once in your life, I will consider my job as a Teacher accomplished.

Most often, and tell me if I'm wrong, you hear a Classical Guitar piece played by a Master, you fall in love with it, rush out and buy the music, sit down and try to Begin To Play it only to find that it is literally full of technical nuances and problematic areas. Then you start to play the first measure over and over and over until you think you have it and then go to measure #2. ( I know, hope dies hard )

Let me tell you a story to end this little discussion. In Music School, there was a Student who was determined to graduate with a degree in Piano Performance. For two years, all I heard from his practice room was the Same Ginastera Sonata. Two Years ! He must have been practicing other things but I never heard them.

Graduation came along and he played his Ginastera Sonata like a Trooper.

I ran into him a few years later and there happened to be a Piano in the room and I asked him if he would please play that magnificent Ginastera Sonata for me.

He couldn't even play Chopsticks !

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