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In this episode of The Classical Guitar Corner Podcast, we’ll talk about what makes a guitar piece difficult.
One of the biggest pitfalls when learning classical guitar is working on repertoire that is too difficult for you. If a piece is too difficult it can cause frustration, a sense of failure, and overwhelm. And more often than not you will blame yourself for not being up to the challenge, when the issue is rather the difficulty.
What makes a guitar piece difficult, then, and how can we grade these pieces into a progressive order of difficulty?
No easy answers
This question has been asked many times by students around the world who want to make sure that they are working on the right repertoire at the right time but unfortunately it is not a question that is easily answered. As we will discuss, there are many different facets that go into a piece that can bring challenges. Some are obvious, such as length and speed, but others are more subtle and harder to identify like left hand independence and transitions.
In the end you will likely need the guidance of an experienced educator to get the answers you are looking for. But we can delve into the various aspects that make this problem so complicated.
Musical Elements
Key centers, accidentals, and Harmony
Certain key centers (i.e. C Major or B minor etc.) carry with them an inherent difficulty because of the amount of sharps and flats that are used. C Major has no sharps or flats. Therefore, it will present the least amount of difficulty when it comes to reading the music. As we delve into the flat keys, however, we start to come across hurdles of familiarity (or rather a lack of familiarity). One key is not objectively more difficult than another to read. However, certain keys are seldom used in the classical guitar repertory and so we never build up a reading fluency.
Flat Keys
A big reason that we don’t use too many flat keys on the classical guitar (when I say flat I am referring to keys like F Major, Bb Major, Eb Major, d minor, g minor etc.) is that they increasingly rule out the use of open strings. F major has one flat (Bb). This means as guitarists we will not be able to make good use of the open second string. As the flats increase we rule out more strings (the order is Bb, Eb, Ab, Db for the first four).
Even if the key signature is more favorable then we might stumble on a large number of accidentals or dense harmonies in the piece. Once again this comes down to how familiar we are with reading music on the guitar.
Range of Music/Fingerboard Knowledge
Similar to key center, our fingerboard knowledge will impact how difficult a piece is to learn, comprehend, and memorize. If we had a heatmap of the fingerboard representing how much time we spend in each position, surely the lower strings up in eighth position would be the coldest. Therefore, a piece with a substantial amount of playing and reading in this fretboard nether region would make a piece more difficult.
Rhythms
Rhythmic complexity will dramatically impact the difficulty of a piece of music. It can come in the form of syncopations, odd time signatures, layered rhythms, or rhythms that are simply difficult to parse. Whatever the case, the rhythmic components can fundamentally change how easy it is to read and play a piece of music.
Counterpoint
On a musical level, having two or more distinct lines to consider will impact not only the comprehension but also memorization, and musicality. Of course having multiple musical lines to take care of brings with it technical difficulties too, but we will deal with that a little later.
Idiosyncratic writing
One of the bigger aspects affecting difficulty will be the style in which the music is written. Composers who play guitar already will have a far greater understanding of what type of music is more approachable to play on a technical level. Certain flourishes and effects which might sounds difficult can in fact be very achievable on the instrument due to a particular idiomatic type of playing.
Composers who do not play our wonderfully complex instrument, however, often write music in a way that is far more challenging to realize, albeit in a refreshingly unique musical language. Good examples of this might be Antonio Jose, Joaquin Rodrigo, Elliot Carter, or William Walton. Wonderful music, difficult to play!
Stylistic Knowledge/Experience
Moving on from how a composer writes, we can also factor in the style and genre within which the composer lives. It is one thing to play the music of Dowland by simply reading the notation. But, it is an entirely different experience to play his music with a stylistically informed interpretation. This may sound academic or even elitist, but to me it is as if an actor portrayed a character with the wrong accent.
I am looking at you, Sean Connery…
Technical Aspects
Technical considerations are perhaps a little more obvious when it comes to grading a piece of music, but there are still some sneaky culprits in the list.
Right hand figurations
Whether it be complex arpeggios, right hand balance to bring out voices, string crossing or string leaps, many right hand movements can contribute to the overall level of difficulty. As you progress in your classical guitar studies the right hand develops more finesse. Thus, we start to listen not only for tone quality but also a variety of tones and dynamics within a single hand movement.
Left hand shifts, stretches, and transitions
Repertoire might require any number of left hand acrobatics to realize the music. These can add up to a great challenge in terms of choreography. Shifts and stretches are usually isolated challenges but transitions can really ask a lot from the player. Transition from one location to another on the fingerboard can be done in a variety of ways resulting in a variety of musical outcomes. It is one of those things that we can work on as guitarists for a long time. It is also something that advanced guitarists do with deceptive ease.
Left hand finger independence
Talking of transitions and counterpoint, the requisite underlying technical aspect is finger independence. One of the great joys/challenges of the classical guitar is being able to hold down one note while others move. However, to do so requires perfect synchronization with the right hand and maintaining good legato through proper transitions.
Synchronization between the hands
It is possible to work on each of these aspects in isolation, but in the end they will have to synchronize with the other hand. This synchronization is perhaps a “meta-” aspect on this list but it still contributes to the overall difficulty.
Speed (tempo) compounds the above requirements
Perhaps the most obvious element that will impact difficulty is the speed. However, be sure not to assume that short durations (16th notes or 32nd notes) equate to fast movements. They might take place within a slow tempo. Inversely a fast tempo may have long durations. Whatever the case, playing with fast movements on the guitar is tricky. This will undoubtedly raise the level of difficulty.
The true impact of speed is not the speed itself but rather how it compound the difficulty of everything else. Synchronization, shifts, transitions—they all become more difficult by an increase in speed.
Articulation, tonal dynamic control, ornaments
Another set of element that will compound the difficulty of a piece. Play a scale, easy. Add in crescendo and this becomes more challenging. But adding crescendo, staccato, and an ornament at the end? Well, you get the idea.
Extended Techniques, new/unfamiliar techniques
Any new techniques that are required by a piece are going to slow you down. In addition to learning the music you will also have to dedicate time to developing a new technique. Not a bad thing in itself but it can be troublesome if there is already a lot of new challenges presented by a piece in addition to a new technique.
Extended techniques are seldom used and therefore will take some dedicated work within your practice regime.
Miscellaneous Factors
Length of the Piece
A longer piece will obviously mean more material to cover, however, there are some other challenges that length can bring to the fore:
1.Memorization – more to play means more to memorize
2.Practice Approach – more material to learn might require a more developed set of practice skills to manage time and focus
3.Technical Stamina – Simply focusing and playing for a longer period of time is a challenge
4. Relaxation/Tension – Longer piece, especially faster ones with lots of notes, can result in an accumulation of tension unless you take steps to monitor your relaxation
Ensemble Aspects
Ensemble pieces will have all of the aforementioned challenges but additionally you need to consider the challenge of playing the parts together. Rhythm will play a big factor as will balance, and synchronization.
Your Own Personal Challenges
Finally, there might be some difficulties that arise from something that is particular to your situation. Perhaps you have a missing finger, perhaps you have no experience in a style… the list is endless but one piece that is “easy” for one is not necessarily easy for you.
Phew! That’s a long list.
I think it demonstrated why it is quite a complex matter to grade music and place it in a curriculum. The CGC Academy has worked so well for so many because of the pieces that were chosen and also the order in which materials are presented (theory, technique, musicianship, repertoire, sight reading, style etc.).
An experienced educator and performer will be able to curate your own personal journey too. This can be a wonderful experience but it can take some searching to find someone who really understands the learning path, takes an interest in your journey, and has performance experience themselves.
The list above is by no means exhaustive, I welcome your own additions as to what brings difficulty to a piece and how we might grade them in order.
Take care,
Simon
Finally an explanation for why keys (Eb) of sheet music for so many pop songs are difficult. The chords are tough and few open strings in the melodies. But then you realize that they’re really playing in C, with a capo to bring the tune into a better range for the vocalist.
I really enjoyed this podcast — although I have to say that I have enjoyed mostly all of the podcasts. One thought that came to mind as I listened and walked the dog: sometimes (for me, at least) a piece is difficult for temperamental reasons. By that I mean: it has been and generally still is very difficult for me to play a very extroverted wildly extravagant piece of music — maybe in the Spanish tradition — even if that piece on the paper is rather “easy” or “intermediate”. That’s because I haven’t learned to stretch my personality in certain directions — like maybe I guess if you are an actor certain roles might come more easily and others not, based on what parts of your personality (hidden or unhidden) that you own. And when I was at summer school and had the opportunity to play in Ben Verdery’s ensemble, Ben made a comment (among several) that really stuck with me: he said something to the effect that classical guitar players often have trouble strumming. Duh! The lights came on with that one. I realized that I temperamentally shied away from pieces that require that sort of extroverted exuberance, and for that reason they were “hard.” Anyway, I think this is a great topic — so thanks for highlighting it.
My, oh my, I got more than I bargained for with this incredibly detailed and well-organized podcast. I had a specific reason for listening to it related to specific difficulty that I’m having learning the last piece of added repertoire, Simple Mambo, in Grade 2. All other aspects of the grade level have been going along quite well… and then, and then my nemesis appears. The podcast certainly has given me insight that I’m sure will help me to iron out the bumps that I’m currently experiencing and I’ll probably listen to it more than once. Thanks Simon… back to the Latin rhythm, grrrrrr.
I remember years ago, when I took piano lessons in the 50’s, there was one piece, an arrangement of the Barcarolle from Tales of Hoffman, that I had so many problems with. I don’t think it was all that technically difficult (it was in the John Thompson book appropriate for me) but for some reason I just couldn’t get it. I came to hate it, but my parents would make me play it over and over again. I guess eventually I got it down good enough to satisfy parents and teacher and moved on, but it just goes to show sometimes we can have a mental/emotional block on some work that makes it difficult for one of us.
Hi, I have a question, although I do know the answer !
I do not read Music Notation, using Tabs, being a little easier at 80, I know it sound silly ! Even then it is a strain!
In my 20s I used to sing with guitar accompany, self taught.
Now since a Tracheotomy the best next thing is the Classical Guitar ?
That is my reason, now over to You !
Appreciate your comments, Thanks Max.
I learn something new in listening to all the podcasts. This one, however, has been especially valuable for students AND teachers. I listened to it while on a 5-mile walk, and planned to listen again and take notes. What a surprise to come home and find notes already written below the podcast. Thanks a million times over.
To Max, above: You may want to consider joining the academy. Reading music is not as difficult as you may think when you study it correctly. The curriculum at Classical Guitar Corner Academy is so well organized, that reading music comes easily. And, many of the students are in your age group.
Best,
Donna
Thank you Simon for offering a clear insight into this important subject. It seems as if every piece has some sticky bit to it that must be overcome in order to have a smooth performance which feels satisfying. It’s part of the learning process certainly and often may be a new or newish aspect of this but it’s comforting to realize that there really is a lot to think about with every piece choice and the reasons for having difficulty are real and not due to lack of diligence of whatever self-criticism one musters. Thank you, very helpful to hear with such thoughtful detail.
Bonnie
Simon, you were my lunch companion today. As you explained the various aspects of assessing a piece of music I found myself saying, “yes, of course.” You laid it out so clearly and I could relate because I started at the first level and now am working on grade 5 material. I definitely feel the thumb screws being turned ever so slightly as I climb the ladder but as I practice the pain recedes and I am up one more rung. I can’t thank you enough for how you have organized the lessons. I always knew you put in a lot of work but now appreciate it that much more. JR
Very useful insights from a great teacher. Thank you Simon!
Great subject and nicely done. As a grade 1 student I have been wondering how the learning curve looks between grades 1 and 8- linear, flat, S, exponential…?
It sounds like the answer is that it depends on all of these factors, plus the structure of the curriculum. Thanks for CGCA’s graded, thoughtful approach.