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La Guitarra - A Comprehensive Study Of Classical Guitar Technique And Guide To Performing, by Pepe Romero
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Tuscany Publications presents a revised and expanded edition of Pepe Romero's Guitar Style and Technique (1982), which had been out of print for some time. New features include sections on tremolo, flamenco, concert performance, additional finger gymnastics and a Romero photo album. It contains all of the music from the earlier version and several new pieces, all newly engraved (including Recuerdos de la Alhambra with Pepe's fingering).
- Sales Rank: #237187 in Books
- Published on: 2012-09-15
- Binding: Sheet music
- 144 pages
Review
"Tuscany Publications has debuted a revised and expanded edition of Pepe Romero's Guitar Style and Technique which had previously been out of print. New features include sections on tremolo, flamenco, concert performance, additional finger gymnastics and a Romero photo album. It contains all of the music from the earlier version as well as several new pieces." --Music Inc. Magazine, January 2013
Most helpful customer reviews
8 of 8 people found the following review helpful.
Table of contents and description of each chapter
By Picky customer
I should not get credit for this, but the person who wrote it: There is a nice recent post in the forums of delcamp classical guitar website, which has detailed table of contents of this book, and description of each chapter in detail. To find it, copy/paste this in Google: Pepe Romero "La Guitarra" guitar method - TABLE OF CONTENTS
I bought this book because I like Pepe Romero very much. The book is okay, it has short instructions on some techniques, and some notes to practice. I guess I would say it may be good to have it in your library if you are a serious classical guitar student, you may look at some chapters and learn some stuff; but this is not a unique or extraordinary book as I expected. I think you should be intermediate-level player to benefit most from this book. What I should say, this is NOT a method book and is not arranged in a structured way like method books.
Find above post on delcamp website, you'll have all details about this book.
5 of 6 people found the following review helpful.
Better have your ligado technique down stone cold...
By Julie Culleton
My name is Christian Culleton (Chicago, IL) and I'm posting here on my wife's account.
I was very fortunate to study with Pepe Romero for three day's worth of master classes in 1998 at the Internacional Festival de la Guitarra in Cordoba, Spain. I was incredibly nervous to play for a concert performer of his stature, but he was remarkably warm, humor-filled and deeply interested as a teacher. He channels and exudes everything his father Celedonio taught him. His mood is utterly all about loving yourself, loving your guitar, loving your audience, loving your music, and how all of those things intertwine at every moment. But you gotta have chops to bring about all that synergy.
The warm-exercises in this book are worth the price alone, but I issue this caveat: these exercises are NOT for beginners, and even intermediate guitarists may find the warm-ups difficult. If you don't have a firm grasp of the mechanisms involved with performing ligados, do not buy this book because you'll probably injure yourself. If you struggle with string-crossing, do not buy this book. If you have not developed the fretting finger flexibility to shift adjacent fingers transversally, do not buy this book. If you don't think purely mechanical exercises will seriously help your technique (Exercise Nos. 1 and 2 are not for sissies), don't buy this book. If you can't be bothered to internalize some simple physics concepts about arpeggios, the thumb, slurs, tremolo, etc., do not buy this book.
During his master classes, Pepe covered several (but not all) of the exercises that are presented in the book. HOWEVER, what he does NOT include in this book is his narrative about how to connect with the guitar and approach these exercises. You could think of them as pre-exercises to those given in the book. It is much easier to explain the concepts by just talking about them, describing it here would be too laborious. Someone else here mentioned John W. Duarte, and I'm a huge fan of Duarte's pedagogical works. To learn fretting-hand touch, I recommend studying the book The Guitarist's Hands, written by Duarte and Luiz Zea.
Also in the master classes, Pepe applied speed bursts to a couple of the exercises, and he does not address that in the book relative to the warm-up exercises.
Like at least another poster here, I work out of several technique books concurrently. As long as I'm improving, that's what counts. Some people vilify Ricardo Iznaola's Kitharologus, but it has been my technique bible for many years. Using Kitharologus as a benchmark, I would say that if you have thoroughly completed Level 2 in that book, you'd be ready to begin Pepe's book, but it WON'T be easy. I cannot over-stress how important it is to possess ligado technique that is physiologically sound.
For me, effective ligados are about developing symbiosis in the stretching of the flexor AND extensor muscles of the fretting hand, in order to find their respective mid-ranges for economy of motion and optimal performance (Kitharologus, Level 1, Ex. No. 19); learning the difference in attitude of the fingers, hand and arm when performing the apoyando and tirando pull-off WITHOUT performing a hammer-on (Kitharologus, Level 1, Ex. No. 18); then lastly combining a combination of hammer-ons and pull-offs while working within a four fret area on each string (Kitharologus, Level 1, Ex. No. 20). In all three of these exercises, the picking hand DOES NOT PLAY. When initially studying Level 1 in Kitharologus, there are 20 exercises and you play them in order. So the, last three exercises introduce the guitarist to fretting hand ligado technique only, no picking hand is involved. In Pepe's book, the first two Gymnastic Exercises (Pepe's words in the book) BEGIN with fretting hand-ONLY ligados, and they are not for the faint of heart.
To me, the hammer-on is best executed by thinking and feeling extension through the finger from the metacarpo-phalangeal joint (yes, I know this sounds oxymoronic), while the pull-off, particularly the apoyando pull-off (the finger pulling off comes to rest on the next adjacent string, a fretting finger rest stroke) is triggered from the proximal-interphalangeal joint. When you repeat these two distinct movements over and over again, as in a same-string trill, the motion of the finger becomes orbital, with a seamless shift of energy between the two strokes. It's very important to learn how to empty the fingers of energy immediately after they've performed their tasks, so that they are ready for subsequent tasks.
I'm still waiting for the DVD to be released that is to accompany this book and will most certainly purchase it. In the meantime, Greg Shirer, Pepe's son-in-law, currently has three videos up on YouTube that go through some (but not all) of the exercises in the book. He gives a sublimely effective exercise that you can perform away from the guitar, most likely taught to him by Pepe.
1 of 1 people found the following review helpful.
Similar to but different than other books on classical guitar technique.
By Fred Kremer
There are a great many books on the technique of playing the classical guitar. Some of them are exceptional in delivering the technique, some not so much. I own and use several of them. This book never fails to open my understanding not only of technique but how we strive to play a seemingly simple instrument that is so capable of complexities of tone. Playing the classical guitar is about your musicality, the sum total of what you bring to the listener. From the smallest and slightest movement of your finger tip to the rasqueado the coordination of intent, technique, thought and emotion requires not just physical technique but mental understanding and preparation.
Some of what is explained here is available in other pedagogies. At least two of the very capable authors and guitarists of other popular pedagogies learned from either Pepe or Celdonio or both. But, what is different is the gestalt, the dual mode of form and detail. The style of writing crosses and re-crosses the boundary between direction and the meaning for seeking that direction. It is at times sparse and at other times pivoting on adjectives. Here are two examples: “Without releasing the formation of the right-hand position take the hand away from the strings by simply lifting the forearm…” and “Music is sound organized by time. Both time and silence are infinite…sound is the alteration of silence: rhythm is the alteration of time. Sound requires, satisfies and fulfills silence and vice-versa.”
Pepe’s style of writing is as much about meaning as it is about direction. When I am stuck, or repeating the motions but for some, usually simple, reason not making the thing work well I often find myself turning to reviewing the words written by Pepe and that triggers movement that creates the result I knew was lurking in me somewhere.
If you are an advanced beginner or further up the ladder of proficiency this book is a treasure. If you simply want pedagogy any ol’ method may do, but if you want to be reminded that you are working so hard because you love music and especially making music with the classical guitar then this book is a teacher in absentia. It is a useful addition to both my teacher and my books.
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