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  • very bad student

  • What she is talking about is what we call Bhav (mood or nectar) of a music piece, in Indian Classical music, where we try to bring out the ultimate feel in every phrase we play, this is exactly what differentiates a pro from novice.

  • he moves the right hand too much.

  • The capo does not help at all.

    He should get rid of that first off.

    He's very stiff and not all that passionate about the piece. Too many people show up at a Master Class and are not really ready for it. Even a simple piece like this Sarabande requires very good technique.

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  • Gah ! Pretty ! I want to learn that music. What is it called?

  • She's a "master" player - much, much better than me; I admit it. But she is NOT a teacher. Master classes should be taught by teachers. She, you know, isn't one. You know?

  • @thisisanaccount100 what do you mean by "teacher" ? One my side, it's someone who is deeply involved into music since a long time, and whatever hi got a diploma or not, he necessarly has something to transmit as long as he or she is willing to. Don't you think she is not capable of teaching according to her level and experience ? Are you dreaming about a teacher who is capable of giving all of his gifts in order for the student to not work anymore after being blessed ???

  • And yes I know official teacher who are teaching like shit and no official teacher who are just magical about transmitting things they master... And if you were a little more aware of music area, and more caring about the words you are using, "Master Classes" are not handled by teachers but by "master musicians" !!! So please, think twice next time you know ;)

  • @thisisanaccount100 Like I agree, you know.

  • its like stevie ray vaughn trying to tell you how he feels when he plays guitar, nobody else will get it

  • A really well-balanced and good critique from Ana, that covers all main aspects of interpreting. Funny enough when I listened to what she was saying, a lot of those remarks apply to my interpreting of classical guitar pieces as welll at one point or another. Almost like I can listen to what she has to say about his playing and just correct my way of interpreting. Way to go Ana. A first class player.

  • Ich habe nichts verstanden!

  • you know

  • Zzzz hahahahaha...

  • what is the name of the piece he is playing?

  • Id tap that

  • I saw that, so many bull-shit-guys blah blah blah about the way she talks. Even though, she talks in normal way (just like friend-friend,not teacher - student). You motherfuckers really can't play or say anything like her, so just stop fucking around

  • When you get to high levels of playing ability masterclass advise can more often then not be classified as "opinion". That doesn't mean that it's not good advice that you should consider taking into account. If you like the way Ana plays and she says "don't move your right hand during the phrases" then maybe you should consider applying that advice.

    If you don't like hearing someone's opinion then you should probably stay away from masterclasses.

  • i think you can move the right hand up and down to your advantage YOU KNOW and that that guy was probably doing that to start with YOU KNOW, and that all things she 'corrects' are more a matter of opinion rather then masterclass advise YOU KNOW

  • what is the name of this song?

  • The tone of his guitar is very excellent. Who made his guitar? Marcelino Lopez?

  • I've read what allan and miashred wrote - I'd be very happy to see a discussion on transcriptions in general, but saying that no transcription would work is pretty much facepalm. miashred, if you hate music that much you should consider staying away from it.

  • he did sound a lot better by the 4th time he played it.

  • useless masterclass

  • Why oh why, doesn't he skip the capo?? Anyone else noted that?

  • @TechnicalFreak

    Just because the original key of this Partita is C minor instead of A minor. Of course, with the capo, the guitar sounds "strangled" but this is the original key, no way. Bach wasn't stupid: he chose C minor, so we have no right to change the original key to make the piece "more suitable" for our instrument. To change the key changes the sense of the piece. Each key has its "mood", Bach surely knew that veeery well. Change the key is non-sense.

  • @miashred Lots of guitarist throughout history have changed the keys of pieces of music in order to 'sit well' on the instrument. To suggest we have no right to change the key is unusual in my experience. You would argue this point with everyone from Segovia and Tarrega to Ms Vidovic herself more than likely. This was originally written by Bach for harpsichord so the mood of the work will be compromised or possibly changed anyway when moving to another instrument.

  • @allan2098

    I really don't care if Segovia or any other have done similar changes before. It's undeniable that the original key sounds different than the transposed one and it's undeniable that we can obtain the original key using a capo. But the capo distort the nature of the guitar. So, why play this piece on the guitar???

    For example: make a perfect copy of a Piccasso' painting and change all the colours: still has sense?

    Each key has its colour. To change it has no sense to me.

  • @miashred Sometimes it is impossible to play in the original key on the guitar but the work is so compellingly good for the guitar that it would be a shame not to include it. Asturias (Leyenda) by Isaac Albeniz is a good example. Try to play this in the original Gm and good luck.. Can't capo it either. Harpsichord and piano works tend to be transposed to another key for guitar. Just because it is in a different key doesn't lessen its value. As for the Picasso analogy. Try to appreciate the copy.

  • I have no idea what the OP wrote, but I'm pretty sure my thumbs up is in place here.

  • I wish I could read notes. Also, I wish I could play as good as she does..

    First time I heard her play, my ears fell inlove with her music.

  • All the guys there are actually thinking "cant we just drop this lesson and all have sex with you in harmony instead?"

  • hola sujetos bueno esta es una prostituta escalva de una secta de mazones es una ninfomana zooofilica mazoquista pedofila con tendencias asesinas it is stanic wasted farsate . alejense de esta basura tienen un monton de parafilias  y ademas con un buen de infecciones ETS. su condicion de mazoquista puede hacer que uno piense que tiene algun problema pero es una trampa para joder al que este serca ¡cuidado¡ tengo la horrible condicion de conocer a esa basura

  • The guy at the back at 2:08 is like.."the things I would do to you!"

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  • I would have recommended him to remove the capo so that they could be on the same page, so to speak. A capo does make perfect sense for performances reasons, but not in this session.

  • @brtherjohn I agree. Capo changes the whole sound of the work. Also you have to retune if playing the whole suite bringing the D up to E for the other parts. Doesn't seem practical to me.

    Try keeping the audience waiting while faffing about with a capo and tuning under pressure on the third of five parts of a serious Bach suite..

  • @allan2098

    Original key is C minor.

  • Oh My God...

    she´s a genius...

    XD...(and so beauty...)

    he´s good too...

    but she´s perfect...

    XD...

  • wow she was bitching about his hand moving chill bitch

  • electric spike. sergio pacholka on youtube. please contact me, I felt allsomething very deep when you appeared on the screen. excellentconoserte need a god in person, I have videos on youtube playing electric guitar, also some Spanish, but I damaged a finger of right hand and played with the

  • lol she's saying again and again: "nice"...it's sounds funny compared to her rich advices

  • Fantastic. Great advices for all of us, Ana.

  • poor guy, probably about to piss his pants..

  • that guy is incredibly nervous. That's the one thing about taking lessons from someone who is a lot more talented than you: you always seem a lot worse than you are due to the obvious gap in ability.

  • man she IS a great player and still improving. she did have some trouble explaining some stuff but we all do. and the jim greeninger guy? arent you the guy who invented smoothwound classical strings because you have bad technique?

  • I studied for many years with Andres Segovia. He knew each piece and understood just what was needed for any given section. Ana simply does not have enough years to give such a class. She is a very good player and with time may be a great player.

    Jim Greeninger

  • oh please who is she quidding???

    Marcelo

  • She is a great and maybe brilliant player but too young to give master classes....she should wait some years..

  • i kinda feel bad for the guy, hes getting ripped up

  • Part of the problem is that guy doesnt have as nice a guitar

  • At least they could tune guitars at the same pitch... :-)

  • Por qué se empeñan en querer saber más que ella, o en criticarla y no tratan de recibir algo? En los comentarios de más abajo se discute su pedagogia desde un lugar de malinterpretación.

    Cuando le dice al alumno que no mueva la mano NO dice que no use los colores, ella se refiere al rebote inconciente y descontrolado que sin querer afecta el sonido del acorde.

    La verdad que la gente siempre es "licenciada en todo"...Si saben tanto por que no le van a dar clases a ella...

  • I wouldn't be able to concentrate with her in my vicinity. ^^

  • Pretty disappointed in her manner of speaking, she sounds as though she lacks confidence!

  • What piece are they playing?

  • sarabande by js bach bwv997.

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  • I'm not in particular an authority on classical guitar. But I'd say that Ana's words sound more like a lesson in style, and she is teaching her style. This is okay if you want to sound like Ana Vidovic, but if you want to have an individual voice, she is not giving a good master class.

    And I think John Williams is a much better musician than Andres Segovia, even if Segovia may be a better guitarist.

  • john williams is 10000 times better than segovia. segovia jus had many politics with composers like the legendary agustin barrios;but on the other hand barrios is better than segovia. as well john williams is fantastic and more better than this segovia.

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  • I've given many, man. Be specific and discuss... but don't get personal, that's just being an asshole. if you said that to me in person I'd *probably* beat the shit out of you.

  • I don't think she's teaching style, but I can see why you think that. She's not doing the best job of getting her meaning across... but maybe the fact that she's not speaking in her native tongue has something to do with that?

    The lessons she's trying to teach apply pretty universally to intermediate musicians of all disciplines: consistency of tone throughout a phrase, being conscious of how your music is "read" by the audience, using subtle dynamics to help the flow of a phrase, etc.

  • 1:31 "make sure your right hand stays in the same place" (more or less what she said). That is an element of style. When I play bach, I play phrases closer to the bridge, and in some cases very close to the left hand. This is how many good classical musicians treat binary form music like Baroque.

    3:50 she also suggests a slow arpeggiation of the opening chord, and this is also an element of style since it is not notated the speed at which the chord is arpeggiated.

  • Listening to the whole lesson, she's not saying that you shouldn't adjust your hand position to color the sound, just that you should keep it consistent within a phrase. (the first time she says it, she mis-speaks and says "within the piece", but goes on to clarify).

    Also even though she suggests that arpeggiation of the opening chord, the real lesson is why she suggests it. She explains that it's important that the audience can clearly "read" the piece (or something like that.. paraphrasing).

  • And who are you?.Does you travel the world teaching masterclass? She spokes about uncontrolled movements of the hands, NOT COLORS. Have you study Carlevaro method?

  • Continuing from my last message, one might argue "well there are certain ways things should be done with regards to Bach" but with regards to playing classical music in general the assumed goal is to improve the interpretation. If this piece were a keyboard piece, Trevor Pinnock might give it a flourished arpeggio, and would definitely allow the piece much more rubato.

  • Anyway, I don't personally like her style. Her right hand technique reminds me of one of my own personal flaws, of inducing too much vertical vibration which will limit your dynamic range and cause subtle fret noise on the strings. It doesn't sound like her strokes are as horizontal as they could be

  • he keeps shifting positions.

  • I think im gonna take some time to watch this. Nice she is doing things like this.

    Hum she's using some big folkloric ear rings almost spanish or even eastern style..well hey classical music is also folkloric.

    The student there seems to forget that the power of the notes comes from the wrist in the right hand maybe thats why his base notes are a litle Shy !

    First time I see her face she seems to have great history in her phisionomy enough to move or to see diferent landscapes in her playing

  • Ahh dear 3:58 he completely ignores her advice...

  • My guitar professor studied with Segvoia and said he wasn't a good teacher.

  • the master of my teacher studied with segovia I talked with him some months ago and he said segovia was a good master, another student of segovia the master Bonaguri in an interview said " segovia always repeat us don't try to be a second segovia but a first yourself",and I read on italian forum other students of segovia who speak well of him, so I think is about the how you understand the learning.

  • for example my master once said me "you're playing the notes but there is nothing more,try to play it in your personal way" he said it with a little bit of anger , other students said me that he was not a good teacher, but I understood that he was saying it because I needed to hear that.

  • Segovia made the nails and the tecnhique used till 1980-90 a standard, what Barrios did?? good composer but nothing else.

    How Segovia dissed Barrios?? please answer me, because he didn't play Barrios works?? If he didn't like Barrios he hadn't to play Barrios.

    Barrios was dissed not by segovia but first of all by the south-america guitarists, just read some critics of Barrios concert.

    If funny how you wrote "and he also wanted everyone to play like him" false, I can tell you many student of

  • lol this is very funny ,so let me see you are the open mind guitarist , but than why you need to call me segovia bitch are you ?? no more ideas??

  • @luteguitar If you read Barrios biography, It tells you that Segovia could have had Barrios concertize all over Europe to get the exposure he needed but for some reason Segovia did not make it happen. Call it what you will.

  • Segovia who said in interview "segovia was always saying to us, don't try to be a second segovia but a first yourself" if you want I can show you the interview, and my master teacher was a student of segovia and he said me the same thing.

    Segovia tried when he wasn't important to take the Catedral by Barrios, Barrios had to ask for the manuscript by a friend, and this is very funny because he could write it down if he wanted,but we know he was strange, he left his son,wife,mother for 12 years.

  • His technique was perfect in 1920-30 , for example I'm sure in 2030 people will laugh at people like John Williams, Ana Vidovic and David Russel.

  • How ?? you believe what segovia said about tarrega but not what he said about la catedral?? he never took la catedral , now Have I believe in Barrios who left his wife, his son and mother for 12 years just because "mom I need money for the wedding ,just some concerts and I will ocme back", or the barrios who called brother the friend who had to send la catedral, and some years later he just disappear and the friend died ,and he didn't know where barrios was??

  • what's this crap about leaving his son and wife? Why does that have at all to do with anything?

    Simple Barrios said he gave la catedral to segovia, segovia (we have to remeber he wasn't famous, barrios was a more known guitarist than him at this time) said he never took la catedral, now have I to believe to someone like Barrios ,or segovia?? I believe in Segovia, and this doesn't make me not open mind, I just listened many version and I chose for segovia's and not barrios.

  • You said Tarrega was a better player, did you listen to a record of Tarrega?? if yes, where?? because it must be very very old.

  • Segovia changed fingerings because he understood that every strings of the guitar has a different color, but obviously for yu isn't important, if the sheet music say "con grazia" and to play E-E-E you will play it on the first string with your metallic sound and not on the B string or G.

    Actually no I don't play with his curved position, but obviously you think people in 20-30 were al stupids, because they thought he was the greatest master.

  • First of all bream like many people think wasn't a segovia student, he just took some lessons, but never like "master an student", and you are saying that JW is better han segovia?? I may accept bream like "better in soul" but JW is robotic, his master is the metronome, he doens't put in the music nothing.

  • yes I though the same about JW bitches.

  • ana is almost too nice. the guy is so terrible- segovia would have not even wasted his time trying to teach him..... then again, who knows, she could be more strict and demanding in ther 60's!

  • I agree. I was in a master class when I was in college not sure I was good enough to get anything out of it. A person has to be at an advanced level. Ana has one style of teaching Segovia had another. I personal like Segovia's style. If I was someone like segovia or ana I wouldn't waste my time with going over the basics.

  • Anyone know what the music is?

  • j s bach- sarabande from the second lute suite, bwv997

  • thank you

  • BTW, my goodness she is beautiful. Every time I see her play I am smitten.

  • look how much she says "you know" LoL very cute i really like her

  • Ditto! my friend..

  • Wonderful! It's good to see that she is personable and willing to teach in addition to being a great player. I didn't realize her English was that good.

  • yep, her english is great. croatian schools :)

  • no it's not that she lives in USA for quite a long time now

  • well, first of all, my comment was a joke. secondly, i guarantee you that her english was top notch long before she ever went to the states.

  • I agree - I'll be damned if I'm gonna take guitar lessons from a 28 yo chick who can't speak English well and looks like she is making it up on the fly!

    Waste of money!

    Segovia had dodgy English, but at least he had years of experience and knew what the hell he was talking about!

  • No, no. Shes good but shes a little to repetative.

  • haha!  good one

  • Are you kidding? You MUST be kidding, right?

  • This "chick"'s technique is light years beyond Segovia's.  He opened many doors, true, but let's face facts: things have progressed beyond the standard he set.

  • the technique maybe but not the knowledge , segovia understood ALL of the guitar, Ana right now just understand how to play well it.

  • Fair enough. One can go deeper and deeper into nuance and interpretation the older and more experienced one gets. However, Segovia could be a pompous ass at times.

  • Good point

  • what the title of this song?

  • it's Sarabande from Lute Suite BMV 997

  • jaja que va a poner atencion si la mina es ma rica jajaj

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