Israeli guitarist extraordinaire,, recently sat down to share some of his thoughts, philosophies, and experience through an interview for Six String Journal readers. From his thoughts on practicing and recording to his influences, this is a fascinating glimpse into the world of a true artist. Tal is available for lessons via skype and can be reached at Personal When did you start playing and why? Or, what drew you to the guitar initially? There was always music in the house as I grew up. My father was a big rock fan, he used to play amateur bass and sing, and when I was 9, he took me to a concert of the legendary band Deep Purple. ![]() Heitor Villa-Lobos 5 Preludes.pdf - Google Drive. How to Play Villa Lobos Etude #1. (without getting a migraine). Learn the right hand pattern below. Don't even think about proceeding until you can do this. It left a huge impression on me. That is when I started taking guitar lessons. Meet Peaking. If you are running this program into a powerlifting meet, take week 9 completely off. Assistance Exercises. If you feel you need to add assistance work to this program, I suggest only adding 1-2 addition exercises each day during weeks 1-4. Every kid wants to be a rock star. I, too, was counting on becoming one. I also played a lot of jazz music as a kid until one day a friend said he had a free ticket to a classical guitar concert. The performer was Aniello Desiderio. That concert completely blew my mind. The next day I started taking classical guitar lessons and since then, it has become an inseparable part of me. What repertoire do you enjoy playing the most? I enjoy playing a variety of styles, but if I have to choose one, I go for Bach. We have to feel extremely lucky to have Bach as part of our repertoire. Unfortunately most of the great composers did not write for the guitar, or it is not possible to make descent transcriptions to their music, but the greatest one of all, Johann Sebastian Bach, is very playable and that is a blessing. What guitar or guitars do you perform on? Over my career, I have played and owned many guitars: Paco Santiago Marin, Daniel Friederich, Simon Marty, Jose Romanillos, Andreas Kirmse, and Andrea Tacchi. Since last year I am playing a beautiful Andrea Tacchi made of Birdseye maple back and sides and a gorgeous piece of cedar top. The quest after the perfect guitar is a journey of a lifetime. As a matter of fact, there is no perfect guitar, but the ongoing search always fills me with enthusiasm. I have always played Savarez strings. I use a mix of them: 1 st string nylon, 2 nd and 3 rd carbon. All trebles I use normal tension, while the bases are high tension. I really like the balance this combination makes. Which guitarists/musicians have had the most influence on you? Wow, I could count so many names, but I’ll try to keep it short. Very naturally some of my teachers have had a great influence on me, Marco Tamayo, Carlo Marchione, Ricardo Gallen, Joaquin Clerch and Costas Cotsiolis and my composition teacher, Adam Stratyevsky. All of them are amazing musicians and have influenced me greatly in different ways. From the non-guitarists, I think about two very special musicians to me. The violinist Leonidas Kavakos and the pianist Grigory Sokolov. Both make you completely forget that they are playing an instrument, they become music, and that should be the goal of all of us. My great friend, Ariel Mann who is one of the most diverse musicians I have ever met. We grew up together in Israel, and since we were kids, were pushing each-other and explored music day and night. Today he is living in California and is composing music for Walt Disney. I could think about at least 200 more names but I think we better stop here. Pipeline toolbox talks. Being influenced by others is a most important thing. It helps you build up your own character, and if you are smart, you can take all this influence and make something original out of it. This ´something’ is you! What recording/s are you most proud of? To be honest, I am never really happy about my recordings. I always think to myself, “Oh, if I had another chance I would do this or that better.” This is just my nature. I feel that the fantasy in my head is always better than the outcome. I prefer live concerts. What I am trying to say is, when you make a recording, you have to accept that in the eyes of your listeners, this is who you are – for good! You can’t change that. I love changing constantly my interpretation and that makes it difficult to live in peace with recordings. Technique and Performance How much do you practice? And, do you structure your practice in any particular way? I rarely practice more than 1.5 hours a day. I believe that when a guitarist has explored the instrument enough to understand its anatomy and the relation between body-fingers-guitar, namely developed a good technique, he should not over practice. In fact, over practicing can harm one’s development and eliminate the joy of making music. Music is a mirror of the soul of the artist, and should express feelings.
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