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Hi, Welcome to my project. For my whole project, I would like to record several different types of classes, such as individual class, group class, and master class. After recording, I will summaries the note about what did the teacher say in this class and what I can learn from this class. This is Weekly Update 6.
Photo of Sharon Isbin
This week I would like to share a masterclass by Sharon Isbin, who born August 7, 1956, and is a multiple Grammy Award-winning American classical guitarist and the founding director of the guitar department at the Juilliard School. Sharon Isbin was born in Minneapolis, Minnesota, the daughter of Katherine Isbin and Herbert S. Isbin, a nuclear scientist and professor at the University of Minnesota and author of Introductory Nuclear Reactor Theory (1963). She began her guitar studies at age nine with Aldo Minella in Varese, Italy, where her father had been hired as a consultant. She later studied with Jeffrey Van, Sophocles Papas, Andrés Segovia, Oscar Ghiglia, Alirio Díaz, and for ten years with the noted keyboard artist and Bach scholar Rosalyn Tureck. Isbin collaborated with Tureck in preparing and recording landmark first performance editions of the Bach lute suites for guitar. She began practicing Transcendental Meditation at age 17. She received a B.A. cum laude from Yale University and a Master of Music from the Yale School of Music. In this class, the student played Prelude from BWV 995 by Johann Sebastian Bach. The Suite in G Minor, BWV 995, was transcribed for lute by composer Johann Sebastian Bach between the spring of 1727 and the winter of 1731 from his own Cello Suite No. 5, BWV 1011. It is in six movements: Präludium – Tres Viste, Allemande, Courante, Sarabande, Gavotte I – Gavotte II En Rondeaux, and Gigue.
Isbin started class on the last two measures, she said we need to stop the open string when we play a different chord. For example, this student didn’t stop the string and make the sound overlapping and ringing. Isbin gave a way to practice: play two single basses and change the hand angle to make it has no gap, then, play with staccato. From Presto, the student played E and F on the second string and jumped A to the first bar. In this fingering, it makes F to short. Isbin said she could stay the same fingering but should make F longer and jump quickly. In measure 29, the student played 16th notes to staccato. Because this piece is written for cello when cello play 16th notes is very legato. There are two ways to improve: 1. Play in the same sting and make a slur here. 2. Play in the two string but play softly in the first two notes to make it sound like a slur. In measure 33, it starts with a troll, we need to play this troll very strong to give an emphasis here. In measure 35, Isbin discussed where we need to put the slur, between the first two notes or the second two notes? As a result, she put the slur between the first two notes because it is not breaking the phrase. In the next several measures, Isbin said we should make the slur on the strong beat instead of weak beat to make the phrase more consistent. The last point is when we play the melody between two strings, we need to avoid voice crossing which means stop the string after we played. Due to the time limit, Isbin cannot go through the whole piece, but she gave us some ideas to think about this piece. Overall, it is a useful masterclass!
Here is the score of BWV 995 Prelude, please open the score when you are reading my post.
Next week is the last weekly update, I am looking for some interesting tips to share with you guys, thanks for following me. Tack care, be safe, and see you next week!
Bach-Lute-Suite-BWV-995.pdfPage updated
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