Lily Afshar | Guitar Control https://guitarcontrol.com Mon, 22 Nov 2021 07:12:36 +0000 en-US hourly 1 https://wordpress.org/?v=6.5.4 https://guitarcontrol.com/wp-content/uploads/2020/11/GC_Image_rev-100x100.png Lily Afshar | Guitar Control https://guitarcontrol.com 32 32 Classical Guitar Secrets Available NOW! https://guitarcontrol.com/classical-guitar-secrets/classical-guitar-secrets-available-in-less-than-5-hours/ https://guitarcontrol.com/classical-guitar-secrets/classical-guitar-secrets-available-in-less-than-5-hours/#comments Wed, 15 Jun 2011 14:08:39 +0000 http://www.classicalguitarsecrets.com/blog/?p=26 Classical Guitar Secrets DVDs now on sale!

CLICK HERE TO LEARN MORE!

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How To Play Recuerdos De La Alhambra | Spanish Classic https://guitarcontrol.com/classical-guitar-secrets/recuerdos-de-la-alhambra/ https://guitarcontrol.com/classical-guitar-secrets/recuerdos-de-la-alhambra/#comments Fri, 10 Jun 2011 12:20:05 +0000 http://www.classicalguitarsecrets.com/blog/?p=18
Classical Guitar Secrets will be released on Wednesday! It starts with easy pieces and progresses to master pieces and everything else in between. This is probably the most challenging piece of the bunch, but wow is it cool… Check it out.
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Villano by Gaspar Sanz | How to Play on Classical Guitar https://guitarcontrol.com/classical-guitar-secrets/villano/ https://guitarcontrol.com/classical-guitar-secrets/villano/#comments Mon, 06 Jun 2011 14:42:04 +0000 http://www.classicalguitarsecrets.com/blog/?p=15

Here’s a cool piece you’ll learn in Classical Guitar Secrets.
It’s not too difficult… Check it out:

Villano by Gaspar Sanz.

In this piece there are several sections that you
need to damp the base notes, the open strings.

For example, when there’s an A ringing, we’re
talking about the second line and it’s the second
line after the double bar. You have an A in the
bass and then a D. Well, when you play the D,
we have to get rid of the A.

And how do we do that? There are two techniques
for damping.

One is that after you play the D, you put your
thumb back on the fifth string and this will
stop the A string from ringing. Otherwise, it
gets muddy and it’s undefinable what the base is.

Another technique which is more advanced is this,
that as soon as — first you play the A and when
you want to play the D, you push your finger,
your thumb, between the two strings and stop
the A string at the same time playing the D,
like this.

In this case, though, we can use the first
technique. Why?

Because our third note is also an A. So it would
be very convenient to put our P back on the fifth
string. So we have… And that prepares our thumb
for that note. So basically this is what we have.

Again.

Now, anytime you see an open string ringing in
the base, for example, you might see an E and an A.
As soon as you play the A you have to stop the E,
otherwise it gets very muddy.

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How To Play Bouree by Bach on Classical Guitar https://guitarcontrol.com/classical-guitar-secrets/bouree/ https://guitarcontrol.com/classical-guitar-secrets/bouree/#comments Thu, 02 Jun 2011 18:42:06 +0000 http://www.classicalguitarsecrets.com/blog/?p=13 Here’s Lily playing this classical tune by Bach. One of many cool pieces
Lily will teach you in Classical Guitar Secrets.

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Classical Guitar Secrets from Lily Afshar on Video https://guitarcontrol.com/classical-guitar-secrets/lily-teaching-classical-guitar/ https://guitarcontrol.com/classical-guitar-secrets/lily-teaching-classical-guitar/#comments Wed, 01 Jun 2011 07:09:58 +0000 http://www.classicalguitarsecrets.com/blog/?p=9 Another preview of Lily Afshar’s soon to be released DVD course:

“Classical Guitar Secrets”.

This time I want to show you a sample
of her teaching style.

Next time I’ll show you more great
performances and playing from Lily,
and pieces that you’ll learn inside
the course.

Keep checking back here on the blog and
in your emails.

Post a comment! GO!

The best way to hold your hand is to have a straight
line here on your wrist. For example, notice that I
don’t deviate my wrist. This isn’t good because
muscles don’t work well at a corner and this causes
a lot of tension for people who hold their hands this
way. You want it to be completely straight like this.

In order to decide how much arch you should have in
your right hand, make a fist like this, put it on the
guitar and then put your fingers on the first four strings.
This will determine the arch on your right hand.

You don’t want to have too much arch or too little.
We are always in the middle. And in classical guitar,
the word mid-range is very important for the right hand
because everything is done in the middle. Not this way;
not that way, but in the middle.

Another thing that you need to know is about tilt.
How much to be this way or that way. The right hand in
classical guitar is really important. We want it to work
very efficiently and the best right hand is the one that
doesn’t move very much. You can play really fast, very
rapidly, and when you watch, you can’t tell what’s going
on because it’s working so fast.

How do we get fast and accurate and clean on the classical
guitar? We use the planting or the preparation technique.
Let me explain what that means. That means you have to put
your finger on the string before you pluck. And once the
finger is there, of course you’re not going to miss it
and you’re going to get the best tone because you put
it in the right place between flesh and nail on the string.

Let me show you how I would plant with the fingers I and M,
index and middle. For example, here’s the open first string.
I put I there on the string and quickly I bring M out and
put it, plant it, on the string. So it’s like this…
I, M; I, M. So instead of going this way with long, big
movements, I am using very small movements. Later on, this
flat sound goes away and you will be able to play this way.
But the finger still will move very minimally.

Let me now teach you the left hand that goes with this exercise.
Do this very slowly at first. Open G, we prepare M, then I put
one down. I’ve prepared I automatically and I put two down.
I’ve prepared M. Now I put three down. I’ve prepared I.
Now I put four down. Notice my M is ready. Now I’m going to
prepare my left hand.

From where four is, which is located on the note B, fourth fret,
I’m going to come to the fifth fret with my first finger and
continue again, one, two, three, four. Extreme crossing of
the right hand is important because, how do we go, for example,
from a fifth string to the second string? We can’t just get our
finger to get there, but we have to move our arm or this way or
this way to go back and forth between the strings. For example,
play… And then come down to the second string and go back.

We all have a muscle here that we can maneuver on. For example,
you’ll feel it here. You can go back and forth on this muscle
or you can sometimes pull back, if you need to, to go from one
string to the other. Sometimes we even use our wrist to do
some follow — to go from the first string to the sixth string,
depending on the passage of a piece.

Basically, there are three forms of string crossing. This can be —
once you learn the fingering for this scale you can put that
second finger anywhere on the fifth string and follow that
fingering and you can play the scale automatically.

Because we start on a note C, this is a C major scale.
The fingering is two-four; one-two-four; one-three.
Now, this has brought us to the note B, which in the
scale of C major is the 7th degree. From B we need to
go to a C. So as I’m putting my fourth finger here and
finishing the scale, this will be a one-octave scale
if I do this.

Now, I want to play a two octave scale. I want to go here,
to this other C. So because of that, I shift here to the
second finger again, just like that. Again, I’m with two
on the note C, just like I was here in the beginning.
So I have two-four; one-two-four; one-three, again,
I have two-four. In order to maintain the next one-two-four
pattern, I will squeeze one fret forward. I will come here
to this fifth fret.

Normally, my hand will cover four frets, but by squeezing
my hand together, I come here to the fifth fret. So now I
do one-two-four; one-three and then I add a last four in
order to play the C. The whole thing will be really smooth.
Watch the right hand now. So, just remember that.

I have 18 different rhythms that you can practice these
scales with and get really good at them.

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Welcome to Classical Guitar Secrets https://guitarcontrol.com/classical-guitar-secrets/welcome-to-classical-guitar-secrets/ https://guitarcontrol.com/classical-guitar-secrets/welcome-to-classical-guitar-secrets/#comments Mon, 23 May 2011 17:30:03 +0000 http://www.classicalguitarsecrets.com/blog/?p=6

Yes, another Guitar Control blog previewing our latest DVD course:

“Classical Guitar Secrets”.


We have a fantastic instructor – Lily Afshar. Yes, our first female instructor and actually she is the first woman in the world to receive a Doctorate in Guitar Performance.

She has a ton of killer technical secrets as well as amazing pieces to teach you. Everything will be tabbed out as well 🙂

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