Older (much older) questions:
- Dear Antigoni, I understand Naxos intend to produce the complete works of Agustin Barrios. Vol. 1 was played by you, it seems Enno oorhoorst played volume 2. Do you yourself have any plans for more recordings by this composer? Both volumes so far are so very beautiful, and given me much pleasure..
I am sorry I missed your concert when you came to Cardiff UK. Hope to see you one day in concert!
My warmest wishes, Mark (UK)
- Dear Mark,
thank you for your e-mail and your words of appreciation. I enjoyed recording Barrios’ music since from a very early age I considered him to be one of my very favorite composers.
Since I cannot tell what Naxos’ plans are regarding the completion of the project (there should be a 3 volume also), I can only tell you that since I have not been asked yet, I have no plans of recording any more of his music.
With my best regards
Antigoni Goni
Antigoni
- Dear Mark,
- I am a guitar builder out here on the West Coast and during the last year have had the pleasure of listening to your first Cd. I found your playing to be strong and very well articulated. I decided then I would to place a guitar in your hands so that you may see and hear what I am making.
I've been building guitars for thirty years and have known Michael Lorimer for most of those years as he has collected several Angellas and uses them extensively as his concert instruments.
Ed Bridge has recently sold two of my guitars and has kindly offered to bring the latest to you so that you may see and evaluate my instruments.
I hope you have the time to evaluate the guitar and am looking forward to your comments.
Thank you for your time.
R Angella
Dear MR. Angella
It is always my pleasure to try and experience new instruments even though I am very happy with my guitars and I stay quite loyal to them.
As I am sure you would understand, It is only a matter of finding the time when I am on tour. I hope that the chance will arise soon.
With my very best regards
Antigoni
Dear Antigoni, When I was a student at Peabody my teachers emphasized visualization as an
important tool for learning music. My teacher told me that a significant
portion of my practicing should be spent without the guitar thinking
through the left hand and right hand movements in order to iron out memory
gaps and as Shearer would say, "avoid confusion and error". Do you
visualize a lot and was this something you've been taught? Also, is this
something that you think successful guitarists do daily? I thought the
topic was kind of a mystery because it's not in the method books and
people don't really talk about it as an element of practice. Some talk
about how much time they spend on scales/arpeggios but I've
never heard anyone boast about how long they visualized on a given day.
Sincerely,
Charlie
Dear Charlie
memorization is as important as scales and arpeggios. It is a skill you can develop in the manner that your teachers told you . Every international concert artist spent time on it and everybody has different techniques. For instance, when I prepare for a concert, visualization in my daily practice is essential. When I followed a class by David Russel (many years back at the Royal Academy), he explained how he used to memorize his music, during his train commute to London during his studies. He also was the first to to talk to me about playing the whole piece, left hand only right hand only (something that years later I heard Manuel Barrueco encouraging!). Leo Brouwer used to encourage his master class students to write the entire piece by memory on a blank piece of music paper. So…if you haven’t started yet memorizing actively NOW is the time. I guarantee it will give you an amazing self confidence on stage and a security you couldn’t dream of ever before!
Good luck
Antigoni Goni
Dear Ms. Goni,
I was just wondering how important competitions were in your concert career? Obviously, GFA is a major factor in your success but If you had to start building a concert career again how would you do it? And, how would you use the success in a competition to benefit your career in terms of jobs and/or concert booking?
I know....this is a very complex question that may require years to answer but I truly hope you can help me out with some insight.
Best wishes,
Isaac Bustos
Dear Issaac,
Your questions are very good and articulate and it will take a long answer of mine to exhaust them. Since they are also most interviewers favorite questions, Could I therefore suggest that you read through some of my interviews? The answers and my views on this particular point are there!
With my best regards
Antigoni Goni
Dearest Antigoni
My name is Martin, and i live in Jönköping Sweden. Currently I am trying to smooth out the "Koyunbaba" guitar piece. I bought the cd that you have recorded with Koyunbaba . I think you play that piece of music tremendously well. I listen to it when i practise for myself.
I was wondering what guitars you are using?..what luthier?..
Have i nice weekend
Martin from sweden.
Dear Martin
At the very moment I play on a spruce top Olivier Fanton D’ Anton. All my recording though are made on a 1998 Jose Romanillos.
Best regards and good luck with your Domeniconi
Antigoni Goni
A great idea, these questions on the website! However, I'll be brief.
As I have never (unfortunately) seen you perform live, I don't know if you include any of your own compositions in your repertoire. I'm sure you must have several, so when will we see a record of "Antigoni plays Antigoni"?
Are you interested in pieces by little-known composers? (Not myself! But my teacher, Gretschen Voitel, for example, has some really pretty stuff she's written).
Finally, when are we going to see you perform here in Spain? Please, please!
Many thanks for hours of enjoyable listening!
Best regards,
Martin Smyth
Madrid, Spain
Dear Martin,
Maybe this will come as a surprise to you but I am not composing my own music so as far as I can tell there will never be a CD with Antigoni plays Goni.
Nevertheless I would be very interested in receiving music of your teacher. You can find my mail address on the site.
All the best
Antigoni Goni
Dear Ms. Goni, I see that most of the questions on your Web site are posted by those far more familiar with the classical guitar than I, so forgive my questions if they sound somewhat undiscerning.
Can you recommend a book or Web site that could give me background on the classical guitar and the learning process? Specifically, I am wondering at what age most professional guitarists began to play, and by what age would it be too late to start serious study if one has hopes of achieving a high level of proficiency? Also, are there any kinds of activities that could be potentially damaging or harmful to one's playing, such as certain work with one's hands, like hours of typing?
Thank you for your help, and for your wonderful music!
Ken
Dear Ken,
It is never late to enrich your life with music. A high level of proficiency needs years and determination and discipline and focus but above all needs passion and love. Good luck to you and enjoy your new adventure.
Antigoni Goni
Dear antigoni:
i have some technique question ask you,i hope u can help me:
do you used rest stroke to play faster scales??because my teacher study with abel carlevaro at long time ago,he never used rest stroke,but i think play rest stroke better for me,i'm feel confusion
thx david
Dear David,
No matter what school a teacher follows, your job as a student is not only to be perceptive but also critical with an open and flexible mind. Your responsibility towards your self is to be aware what your body dictates! There are no rules in fast scale playing but I would agree that I also find that playing scales with a light rest stroke can be faster. Nevertheless, free stroke is a stroke a use regularly for fast scale passages. It really depends on the context, fingering, positions etc.
I suggest that you get hold of two very good method books: Scott Tenant’s: pumping Nylon and Ricardo Iznaola’s: Kitharologus.
Good luck
Antigoni Goni
HI Antigoni Any plans for UK concerts?
Joe
Dear Joe,
Since my move to Brussels, UK all of a sudden is a hope and a skip. There are plans for UK concerts but as nothing is still confirmed I would prefer to have you check the tur section of my site for all the updates!
All the best
Antigoni 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