Kritzer Studio Opening and Special Performance

Posted on January 25, 2012 by

I’d like to invite you to a special Kritzer Studio Gathering on Friday, February 17th at 7:00 p.m. Come see my new studio and hear some exciting news regarding the release of my new Method for Classical Guitar. This is the fruition of over 30 years of teaching and 5 years of intense writing and research. Also, you’ll be the first to hear some exciting news about next season! (There is very limited space so if you’d like to attend please R.S.V.P. by going to Contact and letting me know how many people.)

I’d like to offer a short program of music for classical guitar as well as classically arranged popular songs by my first teacher and brother, Jack Kritzer. It seems fitting to have Jack (my big brother) a self-taught guitarist, here at this special event as he was my inspiration for learning to play the guitar. This will be the first time we’ll be sharing the stage together!
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The Chunking Theory of Learning by Tom Page

Posted on January 16, 2012 by

The following article was submitted by my student Tom Page. It’s a great article and offers some very interesting concepts regarding practice and learning. Great job Tom, thanks!

The chunking theory of learning is based on the concepts that:
• Performance consists of known patterns (chunks) inherent in the task you are performing
• Practice consists of acquiring the necessary patterns (chunks) that you build out of tasks already mastered.

High levels of performance are made possible by the magic of chunking. The time required to process a larger chunk is shorter than the sum of the times to process all the component chunks that comprise it. Hence, acquiring skill consists of building up increasingly larger-scale chunks, such that tasks of increasing complexity can be performed much more rapidly and fluidly than all of the underlying component skills required would imply. Continue reading →

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Range of Motion for the Right Hand

Posted on January 10, 2012 by

Often players, knowingly or not, limit the range of motion when playing the classical guitar. The ‘Minimum Movement’ movement has propagated this idea. The idea being if you can stay close to the string you’ll be able to player faster, that less movement means less exertion. But this couldn’t be further from the truth. A proper range of motion, being bio mechanically correct, allows for a relaxed movement and better tone production.

The following video is an excerpt of a lesson with student Nigel Stadick, working on Prelude from J.S. Bach’s 1st Cello Suite.

I’m quoting here from my Phase I – Free Stroke

Prevalent in my early studies was the concept of ‘minimum motion’. The theory went like this; the more my finger moves the farther it is from the string which slows my response time to get to the next note. A shorter motion keeps the finger poised to play. This may sound good in theory but it’s mechanically unsound. If a finger is stopped from Continue reading →

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Playing for Segovia

Posted on November 2, 2011 by

While studying with Michael Lorimer in a special year-long master class off the coast of Wilmington, North Carolina in 1980 I was given the opportunity to play for my teacher’s teacher, Andres Segovia.

Maestro Segovia was to be awarded the Albert Schweitzer award for music, coincidentally, at the University of North Carolina in Wilmington, where our year long master class with Michael Lorimer was held. Having heard that Segovia hated beards I shaved mine off the night before and arrived only assured that I, along with the other students, would get to meet him.

Michael and Jude met with the Maestro first as we all nervously awaited our introductions.

Jude and Michael with Segovia

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La Folia Form

Posted on October 25, 2011 by

By Charlie Schultz, student

The name La Folia means “folly” or “madness”. It refers to a dance in 3/4 time that originated in the late 15th century. It was originally a quick paced noisy dance in which the dancers carried men, dressed as women, on their shoulders. There were many different basic themes and there was not one single fundamental melody that dominated the rest for these so called ‘early’ Folia. These Folias became very popular in Spain and Italy.

Composer Jean-Baptiste Lully

In the late 1600’s, the rhythm and melody were adapted into a kind of solemn passacaglia (Jean-Baptiste Lully, “Air des Hautbois”, 1672, see below) and it gained more popularity, particularly in higher society. This is known as the “later Folia”. It has been transcribed for virtually every instrument and has been used by more than 150 composers since then. Continue reading →

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Europe Summer 2011

Posted on October 7, 2011 by

Here are a couple of slide shows from my recent European performances. It was a dreamlike tour; a week in Bavaria where I was reunited with soprano Janet Chvatal with a cavalcade of performers, (another guitarist, singers and orchestra) in the Neuschwanstein Castle. Neuschwanstein Castle Performance 2011 Slideshow

Neuschwanstein Castle

Then it was a beautiful week on the Adriatic in Rimini, Italy. My ‘Guitar Vacazione’ included a week-long masterclass that concluded with a wonderful performance in the picturesque town of San Filippo. Then back to Bavaria for a week’s vacation with my wife Teresa, (and a few more private performances). European Summer 2011 Slideshow

Hope you enjoy! Please leave your comments below!

Scott

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Technique Workshop

Posted on October 6, 2011 by

Saturday, January 14th to February 18th, 2-4 pm

The serious classical guitarist who wishes to study, play, and ultimately perform, will find the need for a strong technical foundation. A strong technical foundation can be achieved when our hands are working with optimal strength and coordination, which is best achieved by adhering to bio-mechanical principles.

'I' in the flexed position, 'M' extended position. Illustration by David Kritzer

The benefits of playing with a good technique should be obvious: strong scales and arpeggios provide a basis for establishing strength and coordination, or what we call the primary skills. Another benefit of good technique results in the ability to perform our repertoire with fewer mistakes. Yet another advantage is longevity. While poor technique will cause more errors and require more effort than necessary, equally inhibiting can be the effect of the wear and tear resulting from improper technique, often shortening the careers of even the most talented of players. Continue reading →

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Student News – Paul Ketcham

Posted on October 5, 2011 by

I remember clearly my decision to pursue the study of classical guitar. Following a concert of the (original) Oregon Guitar Quartet, contacted Scott Kritzer, one of it’s members, and told him I wanted to study guitar, and that I was a beginner. To my delight, he took me on. That was 1988! During my 17 years of study I have married and started a family of my own. My love of the study and practice of classical guitar has persisted through all of these life changes. Continue reading →

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Kritzer Studio Guitar Quartet

Posted on October 3, 2011 by

KSGQ

The Kritzer Studio Guitar Quartet will start it’s monthly rehearsals on Wednesday, October 26th at 7:00 pm at the Division Street Studio. We’ll be doing the same pieces as last year (if you participated last year keep the same parts), which include the Telemann Quartet in D, the second movement from the Vivaldi Concerto RV 532 and the Maple Leaf Rag by Scott Joplin. New students who’d like to join in are welcome — it’s always nice to have more than one person on a part!

CGI Quartet

Telemann Quartet in D performed by CGI Guitar Ensemble

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Kritzer Studio 2012 Student Recital

Posted on October 1, 2011 by

Nothing helps shape our practice than an upcoming performance so let’s start talking about your involvement in this spring’s Kritzer Studio Student Recital. What piece(s) would you like to perform? Perhaps you want to brush up an old set of pieces or learn something new. Now’s the time to make the plan! Once we determine your music we’ll form a long range practice plan to bring your playing up to a new level by this spring!

Tom and Patrick Receive Last Minute Performance Notes

The date of the performance has not been set but I am looking at May 2012.

Please post your thoughts below….

Scott

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