Your opinion about Kitharologus by R. Iznaola please.

Classical Guitar technique: studies, scales, arpeggios, theory
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Re: Your opinion about Kitharologus by R. Iznaola please.

Post by guit-box » Mon Feb 27, 2017 1:57 pm

Dirck Nagy wrote: Iznaola's tone changed dramatically during the 90s. The first time i saw him, it was very bright. It became quite full and round by about 1997, more in line with what the mainstream perceives as an "expressive" sound.
I would have seen him play in the early 1990s. A group of us guitar majors went together and I recall one of the grad students hated his playing because it was bright and at times brittle with tone thAt often broke up. Our teacher was more from the Segovia school and so many of us at that time felt his tone was unacceptable. In retrospect, I've come to appreciate that a brighter tone can facility faster playing and a clearer articulation were a dark tone can muddy the separation of fast notes. I don't remember the program, but it definitely had virtuosity in it, and Iznaola got the job done even if the tone was not what I cared for at the time.
An eyewitness will often only see what he already believes to be true.

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Re: Your opinion about Kitharologus by R. Iznaola please.

Post by lagartija » Mon Feb 27, 2017 6:22 pm

Dirck Nagy wrote:
guit-box wrote:
Dirck Nagy wrote:...(But to Iznaola's credit, some very very good players have been part of his studio. No GFA winners to the best of my knowledge, but that isnt everything!)
True, I don't doubt it, I'm just not that familiar with him and his students. I've attended one master class and performance. You make a good point, can you name some of his students who are very very good players?
Masa Ito
Jonathan Leathwood
Scott Sanchez
I second Scott Sanchez. He is a very clean player with a very nice tone. His concert playing is expressive and his preparation immaculate.
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Classical Guitar forever!

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Re: Your opinion about Kitharologus by R. Iznaola please.

Post by Andrei Puhach » Wed Nov 29, 2017 4:28 am

I'm looking for an opinion from experienced guitarists and teachers: why there is so much focus on rest-stroke in Kitharologus? Most right hand exercises have different stroke variations, but some notes are still required to be played with a rest-stroke (marked with a dash). For example, levels 3 and 4 are full of such exercises (did not check higher levels yet).
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Re: Your opinion about Kitharologus by R. Iznaola please.

Post by dtoh » Mon Dec 04, 2017 2:10 am

I'm neither very experienced as a guitarist or a teacher but have been using Kitharologus pretty diligently for a few years. IMHO, in addition to the need to actually be competent at rest strokes, I think since the rest stroke involves different movements of the fingers that practicing it helps to develop greater independence, agility and dexterity in the RH. Seems to in my case any way. YMMV and others with more expertise and experience might want to chime in.

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Re: Your opinion about Kitharologus by R. Iznaola please.

Post by Todd Tipton » Tue Dec 05, 2017 3:12 am

The book is like anything else. It isn't so much what exercises you do, but HOW you do them. Some teachers and students are more accustomed to musical exercises. They may find the work a bit harsh. Others really take well to abstract exercises. Here is a book that will never be finished.

No matter what a book claims to do or be, it is my opinion that it is what worked for the teacher that wrote it, perhaps it is what worked with their students, or with themselves as students. Like many other books, I found some really nice exercises that I found to be useful. I did not find following the strict routine outline to be useful. I don't have that kind of time, and I think there are more beneficial ways to spend that time. However, what I DID find VERY useful was the idea of routines in general. I loved the idea behind the routines. Organized practice. Some exercises do this. Some do that. Others do different things. Everyday, I need a little of this, a little of that, and some of that. And, I think it is very beneficial to not have the same routines, not unlike mixing it up when you go to the gym. Iznaola really got be thinking about that in a very important way. As a result, I think my practice time (and my practice log) is far more organised.

I think taking a close look at the book is worth the time for a serious student. You may find new exercises that you find useful. And whether you really work much out of the book or not, it may significantly change the way you think about organizing your practice with Berg, Shearer, Yates, whatever. Whether it was Iznaola's intent or not, the most valuable thing I got from the book was better organisation. And ironically, that usually means far less time in the practice chair than what Kitharologus might imply.
Dr. Todd Tipton, classical guitarist
Cincinnati, OH, USA (available via Skype)

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