29. Roll chords (but not all the chords) for interest. Practice rolling chords at different speeds. In the recording I have played this with various “rolling speeds” so you can hear the effect.

Example 11

Lagrima Example 3.jpg

30. Look up the composer who’s piece you are playing. Why was this piece written? Was it a commission or was it in response to something that happened in his/her life?

31. Exaggerate dynamics. Especially for classical guitarists. The dynamic range on a classical guitar is pretty small compared to other instruments. A guitar’s fff is more like a mf on a piano. Make your ff’s really loud and make your pp’s really soft. You can also use tonal contrast to create the illusion of volume changes. Ponticello sounds (playing near the bridge and/or with more nail) appear to be louder than dolce sounds (playing over the soundboard).

32. Listen to a lot of different recordings of the piece you are working on. Take what you like and ignore what you don’t like.

33. It’s ok to play a piece differently than other people. That’s the beauty of music: a piece can be interpreted a variety of different ways.

34. Think of the sheet music as the skeleton of the piece. It is the performers job to fill in everything else.

35. The guitar is a colorful instrument. Use those colors!! For example, you have ponticello (near the bridge) and dolce (over the sound hole) and everything in between. Use those colors! Here are a couple examples. In the first example (example 12) I play this chord a number of times moving from ponticello to dolce.

Example 12

dolce and ponticello example 2.jpg

In addition to dolce and ponticello you also have dynamics and articulations (like staccato) to further add to the color of the instrument. In the next example (example 13) I play the passage twice: first using ponticello and staccato and the second time I use dolce and legato.

Example 13

dolce and ponticello example 1.jpg