(줄리어드음대에서 클래식기타를 가르치는
그리스-기타리스트-안티고니고니의 홈페이지에
질문과 대답코너가 있더군요.)
출처............http://www.antigonigoni.com





"Hello to everybody!
Before even thanking you for sending in such interesting and challenging questions I have to apologize for having not reply to you any earlier!
IT has been an absolutely insane Spring and believe me, typing in the green room or in the airplanes is not my strong point!
So I ask for your patience! Your questions will be answered but I can never exactly say when!

Be well
Antgoni Goni



Dear Ms Goni!
{……} 2. Now this is the "technical" question: In "La sueno en la floresta" by Barrios, you are playing such a beautiful, constant and smooth tremolo, I just asked myself: How does she do that? I practice and practice it, but there is always a stress on the a-finger (so it doesn't sound dam-dam-dam but DA-dam-dam, just to say it in easier words ;-) . It works when playing slowly, but when I play faster it doesn't sound good. I know it's a very general question (one could probably write a book about it) but: Do you have some practicing tips on tremolo? How did you practice? Did you have the same problem that I mentioned?
{….}
Keep on playing such great music!! I wish you all the best
Markus Nickmann, Germany

P.S.: I have just thought about another question (that might also be considered as personal): Do you use a special nail care? Or do you just have the nails you need? I have problems with my nails and in many different books there are many different solutions. Any tips on how to make them more stabile?


Dear Markus,
I would like to answer first the "easy question" about nail care.
I do have strong and good nails but the last few years that my touring career has become very busy, I start using the Savarez silk paper for reinforcement. I find it is the only artificial help that doesn't alter the sound at all and that lasts for at least a week at a time.
Some people use ping-pong balls. I find they work very well on the thumbnail and if you are extremely careful on the index, maybe the middle finger. BUT most likely your sound would be affected at least a little bit. It will become duller and less clear.
Hot oil nail baths before going to bed are also supposed to be good.
Also, by filing your nails a tiny little bit everyday you make them stronger and more resistant.

Your second or rather first question about the "tremolo" technique is a bit more complicated to answer, especially over e-mail.
I have to admit that tremolo was one of the right hand techniques that came very easy to me. Nevertheless, I practiced it very slowly, loud and ponticello for resistance. Back then (I was 12) I simply followed the instructions of my teacher without understanding entirely what was going on. Now I understand that this routine built strength, independence and control as well as smoothness.
I believe that a good tremolo basically depends on:
· Strong independent RH fingers (especially m and a),
· quick return on the string as well as light attack,

and for ultimate legato :

· good RH-LH co-ordination,
· fast last second shifts.

At the time that I was practicing tremolo for the first time I was also playing the Segovia scales for three hours every day, insisting on m,a fingerings. I really think it helped a great deal.
I also encourage my students to work
· on shifting accents,
· on monitoring the RH movement and making sure it looks and feels smooth without excess movement,
· on listening very closing and don't let anything pass unnoticed
· as well as on practicing dynamics in tremolo. The ultimate control is to be able to crescendo and decrescendo at will, without losing its smoothness

At the end of the day though, you will have to find what is happening with your tremolo, since you are the one sitting and checking it all the time. It does come after all down to our own selves to find our way. Recipes don't exist and solutions are as many as people. We can only share ideas and personal experiences.

Good luck to you and keep in touch

Antigoni Goni


Hello!
{…..}
I wanted to ask you about your experience with Julian Bream. In my mind, Bream ranks as the best guitarist. I wonder what is your take on him? What was the most memorable thing you learned from him? He is my favorite male guitarist, and you are my favorite female guitarist. Finally, I must say "Please come to Portland!"

Best wishes!
Said Odeh

Dear Said,

Julian Bream was, is and will always be one of the most important influences and great inspirations in my life. His artistry, his contribution to the instrument, the way he conducted his career.
Meeting him, playing for him, been awarded his prize (at the Royal Academy) by him, were moments that I will never forget.
Among the most important lessons I learned were:
1) The importance of the base line not only in Bach (he was teaching me the PFA) but in everything, He made a point in saying that this is the hardest voice to bring out in the guitar simply because of the instrument itself.
2) Timing in music, meaning the way you place every single note within its rhythmical value bringing thus a piece of music alive or simply killing it. This timing that is by very definition different for every performer, is also what identifies each performer's musical signature.

This is all for now.
Sincerely
Antigoni Goni


My question is pretty common but I was wondering if you practice Segovia's scale system and do you or have you ever followed the Maestros 2 hour scale practice recommendation. If so, what are the benefits in your opinion? My guitar player friends all laugh when I tell them I am doing this but I am seeing great results I never had before.Segovia was a genius. John Williams recently told me to do this also! What are your thoughts? Also, do you use a metronome? Thanks!
-John

Dear John,
My answer is yes! I did practice the Segovia scales meticulously, with all finger combinations and an old fashion loud metronome beating, going from slow to really fast.


I did this work for a whole summer back when I was 14, for three hours every day. I will never forget it.
The benefits????
Well where do I start???

Strong and even sound
Legato playing
Hand co-ordination
Excellent shifts
Articulation
Strength and stamina
Speed
Never dealt with hand injuries

So……keep working

Antigoni

Antigoni,
My name is Jason Rodriguez. I am a guitar student in Brandon, FL. I have a question about learning new pieces of music. Do you recommend playing through the music first to get an idea of the piece, or do you recommend slowing playing through the piece in sections in order to internalize the notes via muscle memory? Which approach (or is there another approach) is more beneficial? Thanks for your help.
Jason

Dear Jason,
This is indeed an interesting question that most likely has more than one answer to it. I can only share with you my way but at the end it is you that will determine the most efficient way for yourself.

I strongly believe that it is important to have a good idea of the form, shape and sound of a composition before start working on it therefore being able to get, as much info as you can right at the very beginning is essential. This you can achieve both by studying the piece without the instrument as well as going through it, even in sections, with the guitar.
Please always keep in mind that by deciding the fingerings on a piece you are simultaneously putting the ground of your interpretation.

Best of luck to you



For Mirco, Jean and Matt Congsrove and all the rest of you that are interested to know What instrument I play on!
I own and play on two guitars:
My 1989 Jose Romanillos that I have recorded all my CD,s on and a
1999 Olivier Fanton D' Anton that I have had for the last two years.

Natalie asked: "What kind of strings do you use?"!
On my Fanton d' Anton I usually put Savarez Alliance blue and on my Romanillios a combination od Savarez, Augustine RED and D'Addario hard tension!  
Dear Ms. Goni,
My name is William (Bill) Hicok. I am 60. 3 years ago I discovered classical guitar. 2 years ago I started lessons. (………………)
Do you plan a vol 2 of Barrios' music? When?
Would you consider a concert in Norfolk, VA? ( ……….).
Sincerely,
Bill Hicok

Dear Bill,
Thank you for your kind letter and your interest.
Regarding your question for the Barrios: Naxos has plans to record the complete works of Barrios' music. If I am not mistaken vol.2 must be already out!
As far as performing in Norfolk, I have no immediate plans but I would love to include it in my future touring! Everything will be announced on my site!
Thank you and my best wishes to you!

If I may, I would like to ask how you pronounce your first name. My guitar teacher has one version, and I a different one. Let's see if my degree in linguistics is any help here! Best regards,
Cliff Rechel
Kelowna, B.C., Canada

Dear Cliff,
I have to adlit that my name has troubled a lot of audience members as well as radio and TV station producers! You may know that Antigoni was Oedipus' daughter in Sophocles' tragedies.
In English the right pronounciation is actually with the accent on the second sylable! Nevertheless that is not the correct way that the name is pronounced in Greek! The right GREEK sound, is quite different:
Adigóni
The accent is on the third sylable, there is no "n" sound after the A and the "g" is a soft throaty sound more similar to the french "r"…..
So start practicing ……(just kiding)!
All the best

Dear Ms Goni!
So I would like to ask you my most important question ;-)
WIll you come to Germany for a recital or even a masterclass in the near future? It would be great to hear you someday!!!!!!
Markus Nickmann

Dear Marcus
I will be coming to Germany twice this Summer. Koblenz workshop the first week of June will be the longest visit where I will both teach and perform! So this will be a good chanse to meet live.
All the best
Antigoni Goni

Dear Antigoni,
I just wanted to ask you:
What was the best advice you ever recieved from your best teacher?
Thanks very much for your time!
Sincerely,
Michael Maloney

Dear Michael, Although there is notr a single day that goes by without thinking of something that my teachers said I have to admit that:
there is not ONE best advice
I don't have ONE best teacher.
I was fortunate enough to study from the very beginning with real artists that tried to give me everything that they learn through their life in music and guitar! For this I am eternally grateful.



Dear Ms. Goni
I am a guitar student who has pain in the left wrist.
I want to ask how to strengthen my left wrist to prevent carpal tunnel syndrome or further damage. Can you suggest some exercise to help my problem?
I am really worry about my future because guitar is my life.
Please help!
Alex

Dear Alex,
Just like this without seeing your hand position I cannot give you any exercises, simply because if you experience pain then you must be doing something wrong physically. Exercises will only make it worst. What I would recommend is to carefully check your hand position and see whetehr your hand is overextending away from the board or is twisted on the left side or whatever else; Check videos of famous guitarists with solid techniques and notice what they have in common on their LH techinique / position! Put a mirror on your stand and try to monitor and fix your position!
Good luck
Antigoni Goni