Classical Guitar – Segovia’s Advice About Practicing

Andres Segovia

This is how I deal with practicing the Classical Guitar. First of all, I would like to relate
the words of the late Andres Segovia, the greatest classical guitarist
ever, who if anyone would be the authority on the best method of practice.
This is what he taught me and told me was his method. Practice in sets
of fifteen minutes, divided into two sets of seven to eight minutes with a
short break between. At the end of each fifteen minutes, take a 3 minute
break, stand up, get a glass of water, stretch, etc. but be sure to take a
moment to focus your eyes on something far away to relax your eyes from
the close work of the page and the fretboard and to clear your mind. Start
again and do three fifteen minute sets, totaling 45 minutes of intense
practice. This time at the end of the third set take a real break of
about fifteen minutes. Repeat this 3-set practice routine for a total of
five times. At that point you will have spent around five and a half
hours.

That is the morning session, in the afternoon you will do this
entire routine again after you have had some lunch and a chance to rest.
In the years I was living in Madrid, between 1971 and 1975, the
traditional schedule for the day was to start between 8 and 9am, and have
your main meal of the day around 2 pm; everything would then shut down for
this meal and a siesta that followed. At anywhere between 5 and 7pm,
everything would open back up and the evening meal would not be until 9 or
even 10pm. I would eat the midday meal, take a siesta and then practice
from 5 to 10 pm, before eating dinner, the lighter meal of the day.

This is what Andres Segovia would do and what I was expected to do as his
student. Recently I heard somebody claim that he witnessed Segovia
excusing himself after dinner, saying that he had to practice. This was
not the case in my experiences with him; he practiced in the mornings and
in the late afternoons and early evenings. The exact method as far as the
content of my practice will be dealt with in a subsequent blog post.

The Maestro and the Boy Chapter 2 by Eric Henderson

In 1970 I was 12 years old and I remember hearing Segovia in concert for the third time.  I remember him finishing the concert and Antonia hurrying me along with my parents to the door to the backstage area at the music center.  Antonia and I were admitted and my parents waited outside.  The reception area was crowded and there was a small but private hallway adjacent to a dressing room.  I remember shaking Segovia’s huge hand that seemed to envelope mine with its thick, thick fingers. He seemed enormous to me yet very kind, he kept smiling to Antonia and speaking in Spanish to her.  I was aware of numerous guitarists who were crowded around waiting to talk to the maestro and hanging on his every word.  I recognized Fred Noad, Chet Atkins and Christopher Parkening, as well as others standing waiting to greet him.   To my surprise, Read more

Eric Henderson at the OC Pavilion

I have seen some very fine guitar playing before but Eric Henderson’s performance at the OC Pavilion on November 21st brought an entire new dimension to the experience. Mr. Henderson proved to be a very engaging performer with inspiring musicality and impeccable execution.

Playing with flawless technique and exquisite sensitivity, he embarked on a tour-de-force of high profile and original compositions, which not only demonstrate, but also challenge the capabilities of the instrument and the talent of the performer. He is one of those rare individuals that truly own every note they play. No muffled half played passages or over the top slurred messes. Every note was there, every note contributing intrinsically to the shapes and forms of the music.

Also, from a listener’s perspective, it was captivating to hear a great composer perform his own work. His original compositions showcase an impressive array of virtuoso pieces with deeply moving melodies and sense of harmony, as well as some of his own takes and interpretations of popular guitar works like Jimi Hendrix’s Little Wing or the Rolling Stones Paint it Black. Mr. Henderson’s own works and arrangements are poised to soon find their way to the pinnacle of today’s most sought after modern guitar compositions.

Eric Henderson posseses a true gift and a very special touch not only as a player but also as a composer. The concert was nothing short of sheer pleasure for all those who attended. Mr. Henderson belongs to that small group of players that are a must see and hear for anyone who loves guitar music or music in its entirety, whether a player or a just a listener.

Author Max Ponzone