Famous Russian guitarist. Seven-string guitar in Russia
1. Brief excursion V world history guitar performance.
2. Penetration of the guitar into Russia (late 17th century).
3. The first “School of playing the six- and seven-string guitar” by I. Geld.
4. A.O. Sihra and seven-string guitar.
5. Leading Russian guitarists of the 19th century: M.T.Vysotsky, S.N.Aksyonov, N.N.Lebedev.
6. The first guitar masters - I.A. Batov, I.G. Krasnoshchekov.
7. Six-string guitarists of the 19th century - M.D. Sokolovsky, N.P. Makarov.
8. Publishing activities of V.A. Rusanov and A.M. Afromeev.
9. Andres Segovia and his concerts in Russia.
10. Guitar at the All-Union review competition in 1939.
11. Performing activities of A.M. Ivanov-Kramsky.
12. Guitarists of the 50-70s of the XX century: L. Andronov, B. Khlopovsky, S. Orekhov.
13. Guitar in the system of music education.
14. Guitar art of the 70-90s of the XX century: N. Komolyatov, A. Frauchi, V. Tervo, A. Zimakov.
15. Guitar in jazz.
The path of development of the guitar in Russia was long and difficult. The final appearance of the guitar in the world as we know it occurred only in the 18th century. Before this, there were harbingers of the guitar - the Greek cithara, lyre, lute, Spanish viol. The classical six-string guitar has had and still has its famous performers, composers, and masters. Mauro Giuliani and Fernando Carulli, Matteo Carcassi and Fernando Sor, Francisco Tárrega and M. Llobet, Maria Luisa Anido and Andres Segovia - each of them left a noticeable mark on the art of guitar.
In Russia, the guitar was not widespread until the 18th century. With the arrival of M. Giuliani and F. Sora, her popularity increased noticeably. However, let us recall that the guitar was the first to be brought to Russia Italian composers Giuseppe Sarti and Carlo Cannobio, who served at the court of Catherine II; Later they were joined by French musicians.
Ignaz Geld is originally from the Czech Republic. Fate brought him to Russia in 1787. Lived in Moscow, St. Petersburg. He played six- and seven-string guitars. Taught playing lessons. In 1798, two schools of guitar playing came out: one for the six-string, the other, a little earlier, for the seven-string. He wrote and published many works for guitar, voice and guitar. Died in Brest-Litovsk.
One of the brightest promoters of the seven-string guitar and the founder Russian school The guitarist and composer A.O. Sihra (1773-1850) began playing it. Some researchers associate the appearance of the seven-string guitar in Russia with this musician.
Andrey Osipovich Sihra - born in Vilna. From 1801 he began to live in Moscow, where he gave lessons and performed in various concerts. In 1813 he moved to St. Petersburg, where he published “Collection of a number of plays, which contains mostly Russian songs with variations and dances.” Organized the release of a guitar magazine. He trained a galaxy of Russian guitarists, including: S.N. Aksenov, V.I. Morkov, V.S. Sarenko, V.I. Svintsov, F.M. Zimmerman and others. Author huge amount plays, adaptations of Russian folk songs. At the insistence of his student V. Morkov, A. O. Sihra wrote “Theoretical and Practical School for the Seven-String Guitar” and dedicated it to all guitar lovers. The first edition was 1832, the second was 1840. He was buried at the Smolensk cemetery in St. Petersburg.
If A.O. Sihra lived and worked mainly in the northern capital, then M.T. Vysotsky was devoted to Moscow with all his soul.
Mikhail Timofeevich Vysotsky was born in 1791 on the estate of the poet M.M. Kheraskov. Here he received his first guitar lessons from S.N. Aksenov. From 1813 he lived in Moscow, where he became a widely known performer, teacher and composer.
What sounds! Motionless I listen
To sweet sounds I;
I forget eternity, heaven, earth,
Yourself.
(M. Lermontov)
Among the students: A.A.Vetrov, P.F.Beloshein, M.A.Stakhovich and others. Author of many pieces for guitar, mainly fantasies and variations on folk themes ("The Spinner", "Troika", "Near the River , near the bridge”, “A Cossack was driving across the Danube”...). Shortly before his death, he wrote and published “A Practical School for the Seven-String Guitar in 2 Parts” (1836). He died in 1837 in deep poverty.
Semyon Nikolaevich Aksenov (1784-1853) - student of A.O. Sikhry, was born in Ryazan. Released " New magazine for seven-string guitar", in which he published his own fantasies and variations ("Among the Flat Valley"). Thanks to Aksyonov's efforts, A.O. Sihra's "Exercise" was published. It was considered the best guitar virtuoso in Moscow (along with M.T. Vysotsky). Republished the school by I. Gelda. He introduced harmonics. It is not known whether S.N. Aksenov had students, except for the case of several lessons for Vysotsky. Basically, his work activity was associated with service in various departments.
Nikolai Nikolaevich Lebedev is one of the best Siberian guitarists. Years of life 1838-1897. Eyewitnesses compared his playing with the playing of M.T. Vysotsky: the same miraculous talent as an improviser, sincerity and sincerity of performance, love for Russian song. Biographical information- are scarce. It is known that N.N. Lebedev was an officer. He could take guitar lessons from his father, an amateur guitarist. He worked as a clerk at various mines. Occasionally he gave concerts that amazed everyone present with his masterful use of the instrument.
The performing art of guitar playing would not progress without first-class instruments. In Russia, their own masters appeared soon after widespread interest in this instrument arose. The contemporaries of Ivan Andreevich Batov (1767-1839) called Russian Stradivarius, who made about a hundred excellent instruments during his life - violins, cellos, balalaikas. Ten guitars came out of the hands of the outstanding master, which sounded in the hands of I.E. Khandoshkin, S.N. Aksenov, M.T. Vysotsky.
No less famous master Ivan Grigorievich Krasnoshchekov also appeared; The entire musical Moscow played on his guitars. The performers appreciated Krasnoshchekov's instruments for their warm and gentle sound, for their grace and beauty of decoration. One of the guitars (played by the famous gypsy Tanya, who admired A.S. Pushkin with her playing and singing) is kept in the museum musical culture named after Glinka (Moscow).
In addition to the guitars of Batov and Krasnoshchekov, the guitars of the Arhuzen brothers (Fyodor Ivanovich, Robert Ivanovich), F.S. Paserbsky, M.V. Eroshkin were famous in Moscow and St. Petersburg. Their instruments were not inferior in strength and beauty of tone to guitars Western masters. Of the Russian six-string guitarists, the most famous were N.P. Makarov (1810-1890) and M.D. Sokolovsky (1818-1883).
Nikolai Petrovich Makarov is a unique personality: a lexicographer who published the Complete Russian-French Dictionary (1866), the German-Russian Dictionary (1874), and the Encyclopedia of the Mind, or a Dictionary of Selected Thoughts (1878); writer who wrote several novels and many articles; a brilliant virtuoso performer on the six-string guitar. Organized an international competition for the best instrument and best essay for guitar (Brussels, 1856). In 1874 he published "A Few Rules of Higher Education" guitar playing", which were of great value for musicians until the advent of the modern school. "Makarov, as a guitarist-musician, earned himself an honorable place among its immortal composers; […] he also did a lot to improve the design of the guitar (lengthening the neck to the 24th fret - two octaves, strengthening the neck with a screw). Makarov discovered the extraordinary guitar master Scherzer […]. Thanks to Makarov's financial support, Mertz wrote many compositions for guitar. He could be rightfully proud of his love for the guitar […]".
Mark Danilovich Sokolovsky was born near Zhitomir. He mastered the guitar early in the schools of Giuliani, Legnani, and Mertz. Gave several successful concerts in Zhitomir, Vilna, Kyiv. In 1847 he performed for the first time in Moscow and attracted the attention of the musical community. After a number of concerts in Moscow, St. Petersburg, Warsaw, he went on a European tour (1864-1868): London, Paris, Vienna, Berlin. Everywhere - an enthusiastic welcome. In 1877, his last concert took place (in St. Petersburg, chapel hall). He was buried in Vilna. His programs included works by Paganini, Chopin, Giuliani, Carulli, and Mertz.
Guitar performance in Russia has experienced a number of ups and downs associated with political and economic events in the country and abroad. New interest to the guitar sometimes arose thanks to the energetic activities of publishers, theorists, and teachers. Thus, at the beginning of the 20th century, playing guitar received support thanks to the popularizing talent of V.A. Rusanov (1866-1918), who published the magazines “Guitar” and “Music of the Guitarist” with the publication of his own historical and theoretical articles; The first part of his school was published.
Tyumen guitarist, teacher and publisher M. Afromeev (1868-1920) made a great contribution to the development of guitar performance through his publishing activities. In 1898-1918, he literally flooded Russian music stores with collections of guitar plays, self-instructions, and schools for both six- and seven-string guitar. For a number of years he published the magazine "Guitarist".
IN Soviet time Interest in the guitar increased significantly as a result of Andres Segovia's tour in the USSR. “My memory with great pleasure recalls in my soul four trips to the Soviet Union and all the friends I left there.” The concerts of 1926, 1927, 1930 and 1936 revealed to listeners such sound capabilities of the guitar, such a richness of timbres that they began to draw analogies with an orchestra. The secret of the influence of Segovia's guitar was a wonderful fusion of incomparable skill and delicate taste. Following the famous Spaniard’s tour in the USSR, 7 albums of works from the guitarist’s repertoire were published, and the Soviet guitarist P.S. Agafoshin released “The School of Playing the Six-String Guitar,” which has now gone through four editions. Guitar classes were also opened in a number of music educational institutions, where the work of teachers such as P.S. Agafoshin, P.I. Isakov, V.I. Yashnev, M.M. Gelis and others yielded results. In 1939, at the All-Union Competition of Folk Instrument Performers, the laureates were: A. Ivanov-Kramskoy (first prize) and V. Belilnikov (13-year-old boy received second prize (!)). Another participant - K. Smaga - received a diploma. A. Ivanov-Kramskoy (a student of P. S. Agafoshin) performed the following program at the competition: F. Sor “Variations on a Theme of Mozart”, I. Bach “Prelude”, F. Tarrega “Memories of the Alhambra”, F. Tarrega “Moorish dance". From the program of V. Belilnikov (class of V.I. Yashnev) it was possible to find out only one piece - F. Sor “Variations on a Theme of Mozart”. K. Smaga performed “Prelude” by J. S. Bach, “Memory of the Alhambra” by F. Tarrega and several other pieces. However, even the listed essays give an idea of the degree of professional skill of the contestants of that time.
Alexander Mikhailovich Ivanov-Kramskoy (1912-1973) studied at the Children's Music School to play the violin, and School of Music them. October revolution Graduated from P.S. Agafoshin's guitar class. Then for some time he took a conducting course with K.S. Saradzhev at the Moscow Conservatory. He gave many concerts around the country, played on the radio and on television.
The performance of the Honored Artist of the RSFSR (1959) A.M. Ivanov-Kramsky is devoid of cheap effects and is characterized by a certain restraint. However, the guitarist has his own personality, individual sound production techniques and his own repertoire, which includes the musician’s own compositions. Masterfully accompanied famous vocalists - I.S. Kozlovsky, N. Obukhova, G. Vinogradov, V. Ivanova, I. Skobtsov, instrumentalists - L. Kogan, E. Grach, A. Korneev... A. M. Ivanov-Kramskoy - author large quantity works for guitar: two concertos, “Tarantella”, “Improvisation”, a cycle of preludes, dance pieces, arrangements of folk songs and romances, etudes. Wrote and published a school of guitar playing (reprinted several times). For many years, A.M. Ivanov-Kramskoy taught at the music school at the Moscow Conservatory (over 20 graduates, including N. Ivanova-Kramskaya, E. Larichev, D. Nazarmatov, etc.). He died in Minsk on the way to his next concert.
Along with A.M. Ivanov-Kramsky, in the 50-60s of the 20th century, the talent of L.F. Andronov, B.P. Khlopovsky, S.D. Orekhov was revealed. Different destinies, different education, but they were united by the war and post-war hard times.
Lev Filippovich Andronov was born in 1926 in Leningrad. Studied at music studio from V.I. Yashnev, then graduated from the Children's Music School in the guitar class of P.I. Isakov and in the accordion class of P.I. Smirnov. Early he began to give concerts solo and in duets with V.F. Vavilov (in 1957 the duet became a laureate of the All-Union and International Youth Festivals). In 1977, he graduated from the Leningrad State Conservatory as an external student in the class of Professor A.B. Shalov. He recorded several records, including “Concerto for Guitar and Chamber Orchestra” by B. Asafiev. Had creative connections with many famous guitarists peace; was repeatedly invited to tour abroad, but due to the fault of USSR officials, did not receive permission. Due to several heart attacks, he died before reaching the age of 60.
Boris Pavlovich Khlopovsky (1938-1988) after graduating from the Music College named after. Gnesinykh (1966) worked as a teacher at his native school and the Moscow State Institute of Culture, in the folk instrument orchestra of the All-Union Radio and Television, performed in solo concerts with balalaika player V. Mineev, domrist V. Yakovlev. In 1972 at I All-Russian competition performers on folk instruments, received the 2nd prize and the title of laureate (in the program: Villa-Lobos “Five Preludes”, Ivanov-Kramskoy “Concerto No. 2”, Vysotsky “Spinner”, Tarrega “Dreams”, Narimanidze “Rondo”). His son Vladimir continued family traditions, graduated from the music school at the Moscow Conservatory, then from the State Musical Pedagogical Institute named after. Gnessins; in 1986 he became a diploma winner at the III All-Russian competition of performers on folk instruments. Another son, Pavel, is also a professional guitarist.
Sergei Dmitrievich Orekhov (1935-1998) - according to many Moscow guitarists, comparable to M.T. Vysotsky. He studied at a circus school, took guitar lessons from Moscow guitarist V.M. Kuznetsov. I worked a lot and painstakingly on my own. He worked in gypsy groups, performing with Raisa Zhemchuzhnaya. Created a duet of seven-string guitars with Alexey Perfilyev. He toured the whole country with concerts, visited Bulgaria, Yugoslavia, Czechoslovakia, France, and Poland. He had “an amazing virtuosic technique […], that is, lightness, flight with depth and grace of sound,” “a free, relaxed manner of playing, improvisation coming from the depths of the Russian guitar school.” S.D. Orekhov is the author of famous concert arrangements of Russian songs and romances - “Here is the postal troika rushing”, “Weeping willows are slumbering”, “Quiet everything is quiet”, etc. He recorded a number of gramophone records.
For many years, great assistance in the spread of guitar art in the country was provided by the All-Union Recording Company "Melodiya", which annually releases large editions recordings of Soviet and foreign performers. In the 50-60s alone, she released 26 discs: A. Segovia - 4, Maria-Louise Anido - 2, M. Zelenka - 1, A. Ivanov-Kramskoy - 10, E. Larichev - 3, L. Andronov - 1, B. Okunev - 2, etc. Later they were supplemented by recordings by N. Komolyatov, A. Frautschi, Paco de Lucia... Since the 90s of the 20th century, large-circulation CDs of Russian musicians, both older and younger, began to appear.
Analyzing the state of guitar performance in Russia in the 60-70s of the 20th century, it should be noted that there was a serious lag in the professional training of guitarists, in contrast to balalaika players, domrists, and accordion players. The root cause of this lag (weak technical equipment and “amateurism” in the music-making of musicians at competitions was especially evident) was seen in the late entry of the guitar into the system of music education.
Despite the fact that guitar classes arose in the very first years of Soviet power (starting from 1918), the attitude towards the instrument in government bodies, incl. and in the field of culture, it was controversial. The guitar was considered a cult instrument of the bourgeois environment, against which the struggle was waged by Komsomol organizations. Learning to play the guitar in musical institutions It happened sporadically, on an amateur basis, which again belittled the assessment of the instrument by professional musical circles. The breakthrough came only when concert life The country included guitarists who graduated from universities, in particular the Ural State Conservatory. One of the first graduates to receive diplomas higher education, became M.A. Prokopenko, Ya.G. Pukhalsky, K.M. Smaga (Kiev Conservatory), A.V. Mineev, V.M. Derun (Ural Conservatory). Guitar classes have opened at the GMPI named after. Gnesins, at the conservatories of Leningrad, Gorky, Saratov...
Among the guitarists of the new generation (70-90s of the XX century), performers appeared who raised guitar music to academic heights. These are N.A. Komolyatov, A.K. Frauchi, V.V. Tervo, A.V. Zimakov.
Nikolai Andreevich Komolyatov was born in 1942 in Saransk. In 1968 he graduated from the music school at the Moscow Conservatory (class of N.A. Ivanova-Kramskaya), and in 1975, in absentia, from the Ural State Conservatory (class of A.V. Mineev). Constantly gives concerts; Recorded records and CDs. He was the first to play E. Denisov’s sonata for flute and guitar (with A.V. Korneev). Interpreter and promoter of new original music for guitar (I. Rekhin - five-part suite, three-part sonata; P. Panin - two concerts, miniatures, etc.). Since 1980, together with A.K. Frauchi, he opened a guitar class at the GMPI named after. Gnesins. Currently - Honored Artist of the Russian Federation, professor. Dozens of guitarists graduated from his class, including many laureates, such as A. Zimakov. Each All-Russian and international competition of performers on folk instruments is represented by two or three students of N.A. Komolyatov (see booklets for competitions).
In the 70s, Moscow guitarist Alexander Kamilovich Frauchi (1954) revealed his talent. After studying at the music school at the Moscow Conservatory (class of N.A. Ivanova-Kramskaya), A.K. Frauchi continued his education at the correspondence department of the Ural Conservatory (class of A.V. Mineev and V.M. Derun), while simultaneously working as a soloist of the Moscow Conservatory regional philharmonic society. In 1979, at the II All-Russian competition of performers on folk instruments, he won second prize, and in 1986 he successfully completed the international competition in Havana, receiving first prize and a special prize. Moreover, the Soviet musician’s performance at the competition created a sensation with his skill, temperament, and intelligent interpretation of the works (at the same competition, another Soviet guitarist, Vladimir Tervo, won the 3rd prize, he also caused a lively response in the guitar audience). After the Cuban competition, A. Frautschi participated in the Five Stars festival in Paris, and since then he has been touring every year with concerts in all countries of the globe.
A. Frautschi combines intensive concert activities with teaching work at the State Musical Pedagogical Institute named after. Gnesins. Among his students are laureates of all-Russian and international competitions - A. Bardina, V. Dotsenko, A. Rengach, V. Kuznetsov, V. Mityakov... Today A.K. Frauchi is the chairman of the Russian Guitar Players Association. His credo is to separate the guitar from folk instruments, because the guitar, according to him, has its own culture, history, repertoire, international distribution, school, and in the civilized world it exists separately, like a piano or violin. In this, in his opinion, lies the future of guitar performance in Russia. A.K. Frauchi - Honored Artist of the Russian Federation, professor.
Vladimir Vladimirovich Tervo (1957) graduated from the Music College named after. Gnessins (class of V.A. Erzunov) and Moscow state institute culture (class of A.Ya.Alexandrov). The winner of three competitions - All-Russian (1986, III prize), international (Havana, 1986 III prize; Barcelona, 1989, III prize) - did not stop there: he entered the Ural Conservatory and graduated brilliantly in 1992 in the class of Associate Professor V.M. .Deruna.
Alexey Viktorovich Zimakov is a Siberian, born in (1971) and raised in Tomsk. He received his first guitar lessons from his father. In 1988 he graduated from the Tomsk Music College, and in 1993 - GMPI named after. Gnessins (class of N.A. Komolyatov). Exceptionally virtuoso, plays the most complex works. He was the first guitarist to be awarded first prize at the All-Russian competition of performers on folk instruments (Gorky, 1990). In addition, he won first prizes at two international competitions (1990, Poland; 1991, USA). Lives and works in Tomsk (teacher at his native school). Constantly tours in Russia and throughout foreign countries. In his repertoire he sticks to classical works.
The competitions of the 90s of the 20th century and the victories of Russian guitarists at them confirm that the professional guitar school has noticeably grown, strengthened and has prospects for further development.
The guitar has shown itself worthy in one more direction - in jazz music playing. Already at the early stage of the emergence of jazz in America, the guitar took a leading (if not leading) place among others. jazz instruments, especially in the blues genre. In this regard, a number of professional jazz guitarists came forward - Big Bill Bronzy, John Lee Hooker, Charlie Christian, and later Wills Montgomery, Charlie Byrd, Joe Pass. Among the European guitarists in the 20th century, Django Reinhard, Rudolf Daszek and others were notable.
In Russia, interest in jazz guitar arose thanks to studies conducted in different cities country jazz festivals (Moscow, Leningrad, Tallinn, Tbilisi). Among the first performers are N. Gromin, A. Kuznetsov; later - A. Ryabov, S. Kashirin and others.
Alexey Alekseevich Kuznetsov (1941) graduated from the October Revolution Music College, class of domra. I became interested in the guitar not without the influence of my father, A.A. Kuznetsov Sr., who played the guitar for many years in the State Jazz of the USSR, then in pop music. symphony orchestra under the direction of Y. Silantiev, in the B. Tikhonov quartet. A.A. Kuznetsov Jr. also worked for about 13 years in the pop symphony orchestra under the direction of Y. Silantiev, then in the State Symphony Orchestra of Cinematography. As a jazz guitarist, he proved himself at Moscow jazz festivals in solo and various ensembles (the duet of guitarists Nikolai Gromin - Alexey Kuznetsov became especially popular). A lot is recorded on gramophone records. He is known as an ensemble player and soloist in such groups as the Leonid Chizhik trio, the ensembles of Igor Bril and Georgy Garanyan. Since the 90s, he has been working as a consultant at the Accord music salon, where he gives master classes on jazz guitar and performs at concerts in the “Masters of Jazz” and “Guitar in Jazz” series. People's Artist of the Russian Federation (2001).
Andrey Ryabov (1962) - graduate of the Leningrad Music College named after. Mussorgsky in jazz guitar class (1983). He received public recognition in a duet with Estonian guitarist Tiit Pauls (the album "Jazz Tete-a Tete" was released). Then he played in the quartet of pianist A. Kondakov, in the ensemble of D. Goloshchekin. In the early 90s he moved to the USA, where he concerts with famous American jazz musicians Attima Zoller and Jack Wilkins. He created his own trio and is currently considered one of the best jazz guitarists.
Since jazz guitar received due recognition in Russia relatively recently, it appeared in the music education system in the last quarter of the 20th century (and in universities even later). Advances in technology on acoustic and electrified guitars, the use of electronics, the inclusion of elements of flamenco, classical style, the development of teaching methods, exchange of experience with foreign musicians- all this gives reason to consider the guitar one of the most promising instruments in this genre of music.
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Sometimes, while watching the performance of a band or enjoying a favorite composition, we pay attention only to the front singer and completely forget about other musicians, namely guitarists. And they play an equally important role in the creativity of groups. The best guitarists in the world have long become legendary. This article will focus on them.
Blues 20-30s
The best guitarists in the world in these types of music are quite famous. Next, we will try to highlight the brightest musicians from the huge number of worthy ones. If we're talking about about the blues of the 20-30s of the last century, the most virtuoso musician is without a doubt Robert Johnson. Some people seriously believed that in exchange for his skill, he made a deal with the Devil. However, most consider this story to be just a romantic fiction. But both agree that Johnson’s genius cannot be ignored. It was thanks to his work that first the blues and then rock and roll became what they are now.
The best guitarists in the world of the next decades
When it comes to jazz, the guitar has always been considered an accompanying instrument. It was. However, a revolution awaited the blues. One of the first musicians to make this breakthrough is Blind Blake. The playing of this master of improvisation and his technique are still considered by many to be a reference. However, time passed, and new heroes appeared on the scenes. The most jazzy of all bluesmen is B.B. King. His signature branding and vibrato made him the king of the blues. Subsequently, his work in one way or another touched everyone who picked up an electric guitar.
Rock'n'roll
The piercing sadness of blues compositions is clearly reflected by the saying: “The blues is when a good person feels bad.” However, people are not always sad. Perhaps the very first musician who managed to convey his good mood with the help of a guitar was Chuck Berry. This kind of music was later called rock and roll. Musicians still actively use his guitar moves and ideas today. Berry's ironic story songs made him a rock and roll poet.
The best rock guitarists in the world
Rock is the successor to blues and rock and roll. Many people consider one of the founders of this trend Jimi Hendrix. Almost no publication in the field of rock music history can do without mentioning him. - the best guitarist in the world according to Time. When his father gave him a guitar for $5 as a gift, he hardly thought that this determined not only his son’s future, but also the future of music in general. Many guitarists consider Hendrix their mentor and teacher. His simply virtuoso guitar technique was not an end in itself. She was only a means through which the musician conveyed his emotions. His perception of the world turned into unique melodies. Jimmy put some kind of cosmic meaning into literally every note. Many still consider his playing not just skill, but the secret of a magician.
Hard rock and metal
The following decades can be considered the era of hard rock and metal music. Many of the best guitarists in the world played in these directions. You can choose for a long time, but we will focus on those musicians whose names have actually become synonymous with these styles. One of them is This man had no choice but to become the best. When Richie's father bought a guitar, he said that if he didn't learn to play, it would be broken on his head. Blackmore Jr. had to learn. And how. This guitarist has gone down in history forever. His playing style and riffs have become standard and classic. Many aspiring guitarists try to copy Blackmore's style.
Another icon is “teacher to the stars” Joe Satriani. Many of recognized masters We learned to play from him. Satriani is considered the teacher of such gurus as Steve Vai, Alex Skolnik, Charlie Hunter, David Bryson, Larry LaLonde, and many others. Joe's acting is simply flawless. His virtuosic techniques, various tricks and unexpected harmonies aroused delight not only among listeners, but also among his colleagues.
Bassists
Low-frequency sound has long been considered masculine music. That's why big interest calling the best bass players in the world. The magazine, according to a survey of its readers, recognized the musician as such The group Who by John Entwistle. Paul McCartney and James Jamerson are also considered masters of brutal bass notes.
Lead guitar
The best solo guitarists in the world are a whole list of virtuosos and recognized gurus. Ritchie Blackmore, discussed above, is considered one of the remarkable masters of guitar soloing. He reached the top in this area after Deep Purple, when he created the Rainbow team. The musician's solos became slower and more thoughtful. There was so much philosophy and meaning in them that it is very difficult to find a second such master. Kirk Hammett can also be called one of the best lead guitarists.
Modern virtuosi
Today, one of the most brilliant and brilliant guitar masters is John Petrucci. He plays progressive metal. His music is unusually complex technically and compositionally. The virtuosity of a musician sometimes makes one wonder whether there are limits to human capabilities? Judging by the master's game, they simply do not exist. Some of the gurus whom the musician considered his idols today consider it an honor to play alongside him.
Joe Pass, considered a great improviser, once said that the electric guitar was not invented long enough for people to fully understand all its capabilities as a musical instrument. These words are still relevant today. Each subsequent generation of musicians discovers new possibilities of this instrument.
The ways of development of guitar art in Russia are peculiar and original. Being a five-string guitar, the guitar was brought to Russia Italian musicians in the 18th century, but did not become widespread, remaining an exotic decoration. Later, at the beginning of the 19th century, the Russian public became acquainted with the “Spanish” six-string guitar, which by that time had become quite popular in Europe. It was presented in Russia by famous foreign guitarists M. Giuliani, F. Sor and others.
Victory in the Patriotic War of 1812 greatly accelerated the growth national identity, caused a rise in patriotic feelings and sentiments in all layers of society. Interest in the historical past of the Motherland is rapidly growing, folk art, in particular to folk songs. Urban romance is gaining wide popularity. Based on everyday folklore, it represents a unique layer of Russian musical culture with characteristic structure and melosom, with expressive means unique to it.
Academician B. Asafiev wrote about this in his work “ Musical form as a process”: “There was no psychological realism with its analysis of personal mental life, the romantics had not yet gone on a rampage, putting forward a culture of feeling, and the masses were already eager to hear “simple speech” and heartfelt and exciting melody; for the dominance of nepotism, sensitivity, the cult of “simple morals” of simple-minded people and “homeliness”, tenderness for nature, quiet contemplation was approaching. The intonations corresponding to all this evoked in the music a romantic melody, sincere, heartfelt; both the words and the melody, which for the most part did not lay claim to long-term development, were surrounded by a single intonation system - “sounding from heart to heart”1.
Appeared in last decade The 18th century seven-string guitar, with its harmonic structure and timbre coloring, turned out to be very close to the nature of Russian folk song and the genre of urban romance that arose on its basis. Its use to accompany the voice made it possible to most subtly reveal the lyricism of intimate experiences that constitute the main theme of urban romance. The best works of this genre, created by A. Alyabyev, A. Varlamov, Titov and other talented composers, were included in the golden fund of Russian music.
Russian musicians, realizing the great possibilities inherent in the seven-string guitar, are beginning to create a solo repertoire for it. First, they rearrange for her excerpts from popular operas and other works by Russian and foreign composers. Then they create variation cycles, quite complex in texture and concert in character, based on folk melodies. (As a striking example, let us cite A. Sihra’s variation cycle on the theme of the Russian song “Among the Flat Valley.”) In addition to the variations, miniatures are created, graceful and melodic, touching the soul of a simple Russian person. Attempts are also being made to create a large form, in particular a sonata, a concerto for guitar and orchestra.
Russian guitar virtuoso and composer Andrei Osipovich Sihra (1773-1850)
The extraordinary popularity of the seven-string guitar attracted talented musicians to it. An outstanding role in the creation of the national guitar school belongs to Andrei Osipovich Sikhra. A remarkable virtuoso guitarist, a talented composer, he is undoubtedly the founder of the Russian school of playing the seven-string guitar.
A. Sihra was born in 1773 in Vilna (now Vilnius) in the family of a music teacher. In his youth he performed in concerts as a harpist and played the six-string guitar. Then he became interested in the seven-string guitar, to which he dedicated his entire life. In 1801, the musician moved to Moscow, where he began to create a repertoire for the seven-string guitar and study with his first students.
Sihra, a talented musician, a friendly and charming person, soon became the idol of numerous students and fans.
After Napoleon was expelled from Russia, Sihra moved to St. Petersburg, which he did not leave until the end of his life (he died in 1850). Here he, already a mature musician and teacher, creates his own school of playing the seven-string guitar...
A. Sihra was not only a talented, but also a highly educated musician. He was highly appreciated by M. Glinka, A. Dargomyzhsky, A. Varlamov, A. Dubuk, D. Field and many other figures national culture. Famous singer O. Petrov studied guitar with Sihra. The Biographical Dictionary of the Russian Historical Society called Sikhra “the patriarch of Russian guitarists.” Of his students, the most famous are S. Aksenov, N. Alexandrov, V. Morkov, V. Sarenko, V. Svintsov.
If Sihra was recognized as the head of the St. Petersburg school of seven-string guitar with its characteristic strict “academic” style, then the founder of the Moscow school is rightfully considered Mikhail Timofeevich Vysotsky, whose life and work is another page in the history of Russian guitar art.
Of Vysotsky's students, the most famous were P. Belosein, A. Vetrov, I. Lyakhov, M. Stakhovich and others.
The era of Sihra and Vysotsky is the “golden age” of the Russian seven-string guitar. Its widespread use contributed to the democratization of the art of music.
Variation cycles of Russian guitarists-composers were created on the basis of Russian folk songs. This unique layer of Russian musical culture is an important source for the study of folklore.
The Russian seven-string guitar, sounded in the hands of talented musicians, inspired poets and writers to create beautiful lines of poetry.
A. Pushkin called the guitar “sweet-voiced.” Words full of lyricism dedicated to this instrument can also be found in M. Lermontov, A. Fet, I. Bunin, A. Grigoriev, L. Tolstoy, A. Ostrovsky, M. Gorky.
The guitar is depicted in many paintings by Russian and Western European artists: V. Tropinin, V. Perov, I. Repin, An. Watteau, B. Murillo, Fr. Khalsa, P. Picasso and others.
In the middle of the 19th century, interest in the guitar declined not only in Russia, but also in Europe. However, at the end of the 19th and beginning of the 20th centuries, the seven-string guitar began to reassert itself. This was largely facilitated by the activities of enthusiastic musicians who tried to restore the traditions of Sihra and Vysotsky. The most famous of them were A. Soloviev and V. Rusanov.
Outstanding Russian guitarist and teacher Alexander Petrovich Solovyov (1856-1911)
Alexander Petrovich Solovyov (1856-1911) - a prominent performer and teacher. He raised many gifted students, such as V. Rusanov, V. Uspensky, V. Yuryev, V. Berezkin and others; created the School (published in 1896), which was the best at that time.
Valerian Alekseevich Rusanov (1866-1918) is a famous historiographer and promoter of the Russian seven-string guitar. He organized the publication of the all-Russian magazine “Guitarist” (1904-1906).
In the period after the Great October Socialist Revolution, M. Ivanov, V. Yuryev, V. Sazonov, R. Meleshko did a lot to popularize the seven-string guitar. They created schools and tutorials for this instrument, original compositions, adaptations and transcriptions, and compiled numerous collections. M, Ivanov wrote the book “Russian seven-string guitar”. These musicians constantly performed as soloists and accompanists in concerts and recorded on gramophone records.
IN post-war years A new generation of seven-string guitar performers has grown up, which worthily continues the rich traditions of the national performing school. Among them: V. Vavilov, B. Okunev, B. Kim, S. Orekhov, A. Agibalov. The repertoire of the seven-string guitar was replenished during this time with works by composers N. Chaikin, B. Strannolyubsky, N. Narimanidze, N. Rechmensky, G. Kamaldinov, L. Birnov and others.
Nowadays there is a growing interest in the Russian seven-string guitar in the world. Let us express our hope that in further history New glorious pages will be written on this beautiful original musical instrument.
From the history of the seven-string guitar. XVIII-XIX centuries
Nowadays, it is almost impossible to imagine a Russian folk song without a seven-string guitar. However, it gained popularity, displacing the balalaika from the everyday life of the urban population, relatively recently - in the 19th century. Since then, every person gifted musical abilities along with the love for folk songs and Russian culture, pays tribute to this wonderful musical instrument, although, of course, today the six-string guitar is much more in demand and popular both among pop professionals and among music lovers.
Russian musicians and seven-string guitar
The guitar was the favorite instrument of many famous Russian musicians. A. Alyabyev, A. Varlamov, A. Zhilin, I. Khandoshkin and many other figures of Russian musical culture of the 18th-19th centuries gave preference to the Russian seven-string guitar. In this article we will talk about only some of them: G. A. Rachinsky, A. E. Varlamov, A. A. Alyabyev, P. A. Bulakhov, O. A. Petrov.
Gavrila Andreevich Rachinsky
Gavrila Andreevich Rachinsky (1777-1843) was born in the city of Novgorod-Seversky, in Ukraine. A wonderful violinist and composer, he was very fond of the seven-string guitar, often played it in concerts, and composed variations and plays. For many years, Rachinsky's life was connected with Moscow. In 1795-1797 he studied at the gymnasium at Moscow University, and then quite long time worked there as a music teacher. From 1823 to 1840 G. Rachinsky was again in Moscow. It was during this period that he repeatedly toured St. Petersburg and other cities of Russia, which brought him fame as an outstanding artist.
It is characteristic that back in 1817, in Moskovskie Vedomosti (Nos. 24 and 27), G. Rachinsky notified about subscriptions to the publication of his twenty works for violin and seven-string guitar. Among the ten guitar compositions, two variation cycles on the themes of Russian folk songs “I walked through the flowers” and “Young Young One” were mentioned, as well as five polonaises, a waltz, a march and a fantasy. But for reasons unknown to us, they were not published.
A man of versatile culture, a “Voltairean,” as they said then, G. Rachinsky was close to Moscow literary circles, in which his name was very popular. At various literary evenings, he often played variations on themes of Russian and Ukrainian folk songs. On one of these evenings, dedicated to memory poet and playwright N. N. Nikolev (his poems formed the basis of such popular songs, like “Soar higher, rush”, “In the evening the blush dawns”), G. Rachinsky performed his works on both the violin and guitar. Those gathered in the house of the pupil of the poet I. Maslov, a big fan of the seven-string guitar and the author of compositions for it, were delighted with the skill of the musician. “That evening,” noted the magazine “Son of the Fatherland” (1817, No. 9), “the violin in Rachinsky’s hands and the guitar itself became animated under his fingers and made him wonder.”
It is known that the remarkable musician created fantasies for the seven-string guitar “That evening I was at the postal yard” and “On the banks of the Desna”.
Russian composer Alexander Egorovich Varlamov (1801-1848), author of various popular romances and songs, which are considered folk by many
The creator of many popular romances, Alexander Egorovich Varlamov (1801-1848), was an excellent guitarist. His musical talent showed up early: on his own, the boy learned to play the piano, violin, cello, and guitar. At the age of ten, his father sent him to St. Petersburg, where he was enrolled in the staff of the Court singing choir young singers. Noticing the boy’s excellent abilities, the director of the choir, the outstanding Russian composer D. Bortnyansky, began to supervise his studies. According to A. Varlamov himself, it is D. Bortnyansky that he owes the beautiful vocal school and subtle knowledge of vocal art. Having completed his musical education, A. Varlamov served for four years as a teacher of choristers in the church at the Russian embassy in The Hague. Here he already performs not only as a singer, but also as a guitarist. On February 19, 1851, the St. Petersburg newspaper “Northern Bee” wrote in the article “Memories of A.E. Varlamov”: “At another concert (in Brussels), to please the artist giving the concert, (he) played the Rode Variations on the guitar. The purity and fluency of playing a melodic instrument, unknown to many listeners at that time, aroused loud applause; the next day an expression of general gratitude for the pleasure given to the public was published in the French Brussels newspapers.” His performance in The Hague was not the only one; later, in Russia, he often performed as a guitarist in concerts and in the home circle.
In 1823, Varlamov returned to his homeland. He earns his living by giving lessons in various educational institutions and private homes. At this time, the composer composed a lot, often performed his romances in concerts and among friends, but did not publish them. Since 1832, having received the position of conductor and “composer of music” of the Moscow imperial theaters, he settled in Moscow. Here Varlamov finds recognition and support in the Moscow artistic community. His talent was appreciated by the famous tragedian P. S. Mochalov, himself a singer and songwriter; poet and actor N. G. Tsygankov, to whose words A. Varlamov wrote a number of his romances; M. S. Shchepkin, A. N. Verstovsky and other figures of Russian culture.
A collection of the composer's romances, published in Moscow in 1833, brought him great fame. His songs spread with extraordinary speed and were sung by representatives of all classes. A. Varlamov’s romance “The Red Sarafan” became especially famous, which sounded, according to composer N. Titov, “both in the nobleman’s living room and in the peasant’s smoking hut.”
A. Varlamov wrote about 150 romances, most based on the words of Russian poets, some based on folk and his own texts. It is characteristic that the texture of the accompaniment of many of his romances is purely “guitar”, for this instrument was especially loved by him. A. Varlamov composed not only romances, but also theater and ballet music.
The last years of the composer's life are connected with St. Petersburg. Here he worked on a collection of folk songs, “Russian Singer,” which remained unfinished. In 1848, A. Varlamov died suddenly. In the Museum of Musical Culture named after. Glinka's manuscript of Varlamov's composition for voice accompanied by a seven-string guitar is kept in Moscow.
Russian composer Alexander Alexandrovich Alyabyev (1787-1851), author of the famous song “The Nightingale” based on verses by Anton Delvig
The multi-talented composer Alexander Aleksandrovich Alyabyev (1787-1851) also wrote for the guitar. Many of his vocal lyric creations were far ahead of their era. He enriched Russian music with new content and reflected in it the best, progressive aspirations. Advanced man of his time, participant Patriotic War 1812, he introduced into Russian vocal lyrics motives inherent in the civil poetics of the Decembrists, motives of patriotism, love of freedom, thoughts about the plight of the people, sympathy for the oppressed. Many of his works have become phenomena of lasting value.
Among his friends are the future Decembrists A. Bestuzhev-Marlinsky, P. Mukhanov, F. Glinka; writers A. Griboyedov, V. Dal, V. Odoevsky, famous partisan poet D. Davydov; composers A. Verstovsky and M. Vielgorsky.
Alyabyev's creative heritage is great: 6 operas, 20 vaudevilles, many works for orchestra and chamber ensembles, piano pieces, choral works, over 150 romances. Being an excellent connoisseur of the seven-string guitar, he masterfully arranged works by A. Sihra and S. Aksenov for it and the orchestra. They were first performed by concert guitarist V. Svintsov in 18271. In turn, the guitarists made brilliant arrangements of Alyabyev’s romances.
P. A. Bulakhov. V. I. Radivilov
Pyotr Aleksandrovich Bulakhov (c. 1793-1835), the father of the author of many popular romances P. P. Bulakhov, also played the seven-string guitar. He lived in Moscow and was a wonderful singer. Playing the guitar well, he often accompanied himself in concerts.
Interesting arrangements for guitar and orchestra belong to V. I. Radivilov, famous violinist and a balalaika player. So, on April 2, 1836, in a duet with P. Delvig, a student of M. Vysotsky, he played his composition for violin and guitar with orchestra. In the same concert, Delvig performed variations on the theme of the Russian song “I’ll tell you, mother, my head hurts” on a seven-string guitar.
Mikhail Ivanovich Glinka
The founder of Russian music was also interested in the guitar. classical music Mikhail Ivanovich Glinka. His acquaintance with Spanish folklore during a trip to Spain in 1845 was largely thanks to Spanish guitarists. The tunes of F. Castillo and especially F. Murciano, whom M. Glinka called “an amazing guitarist,” served him as material for creating such wonderful works, like “A Night in Madrid” and “Aragonese Jota”.
M. Glinka not only knew the guitar and many guitarists well, but also played it himself. The famous composer and pianist A. Dubuk recalled: “Mikhail Ivanovich Glinka often listened to the playing of O. A (the famous opera singer O. A. Petrov, a student of Sihra), it happened that he himself took the guitar and picked out chords on it”2.
Russian Opera singer and guitarist Osip Afanasyevich Petrov (1807-1878). Portrait by Konstantin Makovsky (1870)
It is interesting that the outstanding singer Osip Afanasyevich Petrov (1807-1878) was an outstanding guitarist who studied with A. Sihra. The undoubted recognition of his achievements is evidenced by the fact that A. Sihra placed his arrangement of the Haberbir etude in his School. O. Petrov learned to play the guitar back in early childhood. Interesting facts about this, as well as about the existence of the guitar in the Russian provinces, are given by V. Yastrebov: “It should be assumed that Petrov learned to play the guitar while still in the cellar... The guitar then enjoyed the general love of the urban population and only around 1830 gave way to the harmonica. Some guitarists reached remarkable perfection and became famous in several provinces; Kladovshchikov, who brought wine from the Don to Elizavetgrad, also belonged to such famous players; he himself became acquainted with this art in Moscow from some local virtuoso (from M. Vysotsky - A. Sh., L. M.), and from him... Petrov learned and learned so well that there was no better guitarist in the whole city : “His fingers ran along the strings as if they were alive, in the words of one Elizavetgrad acquaintance, Osip Afanasyevich.”3
Of course, his uncle's cellar was not the place for a gifted young man. Chance brings him together with a visiting theater troupe, which he joins in 1826. On October 10, 1830, Petrov made his stage debut Mariinsky Theater In Petersburg. Hard work and talent soon made O. A. Petrov one of best performers opera parts.
The great singer loved the guitar until the end of his life. In St. Petersburg, he became a student of A. Sihra, having the most serious intentions regarding the guitar. He had friendly relations with V. Morkov, V. Sarenko and other guitarists.
Seven string guitar provided big influence on the formation of Russian romance lyrics. Accompanied by a guitar, romances were sung both in a high-society salon, and in the modest home of a craftsman, and sometimes in a peasant hut!
The seven-string guitar also had a certain influence on Russian piano music; this can be seen especially clearly in the work of A. Dubuc, who, impressed by the playing of M. Vysotsky, began to actively develop folklore material.
Late XVIII—mid XIX centuries- the heyday of the art of playing the seven-string guitar, a unique cultural layer of enduring value.
Notes
1 See: Ladies' magazine. 1827. No. 7. P. 18.
2 Guitarist. 1904. No. 5. P. 4.
3 Yastrebov V. Osip Afanasyevich Petrov/Russian antiquity. 1882. T. XXXVI.
Shared observations - Sergei Tyncu
Of course, there are many more of them (breeds and hybrids). But if we talk about the basic ones, or rather the first ones that came to mind, that is, the ones most often encountered by the author, then here they are, such as those described below. One could easily put several names under each of the points, but I would not want to thereby give anyone a reason to be offended if the person himself sees and presents himself somewhat differently than the author. Therefore, we will leave the names for private conversations.
Teacher Wise
These seemingly humble ministers of the church of guitar excellence are perhaps the strictest judges of almost all guitarists. If only you knew, their tired eyes have seen so much in this life and their strong fingers have run everywhere. The wise teachers who give private lessons know and can do everything, so against their background any guitarist feels naked and imperfect. They look like successful people. Stable income, no bosses, no need to go on tours and concerts, a loyal army of loyal fans from among students, good opportunities to sell musical equipment to the kneeling flock. But often (not always, however) for many people there is so much boredom in their speeches and their music... that such a teacher in your mind is no longer wise at all, but (cloudy? muddy? boring?)...
Cheerful huckster
They love music very much and would like to work somewhere near guitars all their lives. And they succeeded. Flexible schedule, good income, relaxed fiddling around with tools. I am my own boss. From the outside it looks like an illustration to the picture “life is good.” However, you should never idealize the existence of, for example, an elite prostitute... or a guitar dealer. There are downsides everywhere. All these guys have bad karma. They sell different instruments- both good and bad. If we talk about the latter, then, using their sociability and good erudition to the fullest, they have to lie a lot and manipulate facts, presenting outright nonsense as truth, praising this or that log.
Pop eagle
These guys can play really well and for the most part got some decent music. education. As a rule, they lack one particular style and for themselves they prefer to create a fusion with elements of everything in the world. In other scenarios, they could have become guitar stars of the first magnitude, but... “Institute exams session” there is a traditional story that it is impossible to live on such music, so you need to get a job with Russian pop stars, where they pay normally, and the content of the work itself does not cause no difficulties in terms of professional skills. Of course, there are not enough rich (and most importantly non-greedy) pop stars for everyone, so someone has to pull the strap of a hired worker in domestic rock projects. Of course, during the first years of working in our show business, they think that it’s all temporary, that they will someday go into real music, will record an album and devote themselves to art, breaking out of the vicious circle of “barge haulers on the Volga”. As a rule, none of this is realized, and if the album eventually appears, then the number of its listeners is so small that “you can’t kindle a fire of joy with this wood.”
Fashion blogger
Narrow-profile specialist
Infinitely in love with a particular style - jazz, blues, reggae, flamenco, metal, etc. This person can be either a professional working in some kind of music project or an educational institution, or simply a frantic enthusiast who happily dives to such depths that just to understand them will require appropriate special training. It is impossible not to respect such passionate people, even though they are not always understandable and are not always needed by others. But, of course, sometimes you can envy them - they found their passion, surrendered to it and became happy.
Hungry drug addict
This person receives inspiration and a good mood at the time of purchasing a new guitar or amplifier. Dedicated to shopping most of free time. This person always monitors domestic and Western flea markets. He is aware of all prices. He buys the most interesting guitars. The only problem with these tools is that after some time they cease to please and the body begins to ask for a new dose. Accordingly, such people are always concerned about business. They need to have time to sell the old and buy new. Perpetual motion, Paganini would say about them. Very often, Hungry Addicts turn out to be hucksters. But not always, since in order to be successful in business, you need to focus on purchasing tools that are popular on the market, and not on your personal taste, which increasingly rare models are able to please.
Family Prisoner
This person can always be recognized by his slightly haunted, sad look. The problem is that he never has enough. Money to buy the instruments of your dreams, time to play according to your wishes, talent to reach high level skills, bottles of beer for a good mood. He seems to be trying his best and trying to snatch both money and time, but family, work... and as a result, the relationship with the guitar, despite all the love for it, is not in the first place, which upsets them extremely. Sometimes such people manage to carve out an evening or two a week for rehearsals in the company of equally tortured prisoners of city life. Sometimes they even perform in public somewhere. But this is always so little that their hearts do not have time to fill with happiness.
Unyielding Maniac
As a rule, this is an elderly person with traces of sleepless nights and excess alcohol. He is covered with tattoos and hair, dressed like a real rock musician - you won’t confuse him with anyone. Once upon a time he decided that music was the main thing in his life. And since then he has directed all his strength, means and thoughts only to music. He saves on everything, he doesn’t have a decent job, he doesn’t have a family. But there are constant rehearsals and attempts to climb somewhere to the top. And success seems to be constantly wandering around, and a sea of acquaintances have already become real musicians, and you keep storming and storming your first height. There is no way to become a real pro, have regular concerts, go on tours and make a living from music. But you don’t give up and until you grow old you bang your head against doors that are closed to you. To admit to yourself that being a musician is not your thing, or that you can’t make music that is interesting to people - you have neither the strength nor desires for such confessions - you consider them weakness and betrayal. Your friends have long been accustomed to the fact that you do not go to bars with them, because instead of a few glasses of beer you can buy new strings, time at the rehearsal facility and other necessary things for a bright future, in the coming of which no one but you believes.
Successful pro
Successful pros are distinguished by two factors. Firstly, he plays music that he himself likes and to the creation of which he himself had a hand in. And, secondly, he is always full of creative plans. He constantly lives in the future, some projects and ideas, of which he has a wagon and a small cart. He has no problems with finances to buy the necessary equipment, he has no problems with concerts. All major life questions solved and that’s why he’s all about creativity. He approaches instruments as paints with which he wants to express certain moments in his art.
A high-spirited manager
These people do not work in music, but they managed to arrange everything in such a way that it is possible to pay enough attention to music. They don't climb to the top of Olympus. They're just having fun. They have a good source of income, they have time and money, they have associates, they have the opportunity to rehearse in pleasant conditions and occasionally perform, again not for the sake of money and fame, but simply for themselves and some of their friends. As a rule, they play quite well and not every viewer can distinguish them from professionals. But it’s no coincidence that a high-spirited manager is a manager – he has a good idea of what life is professional musician, the struggle for a place in the sun and other things. That's why he doesn't rush there. He’s already happy with everything – he organized everything perfectly. And eat some fish and get into a Bentley.
Tavern labukh
Music for such people is just a job. And not my favorite one. Your whole life you've been playing the same other people's songs in front of a drinking, guzzling crowd. Few people, when starting to learn guitar, dream of eventually getting into a tavern full-time and playing “shizgara” until they are gray-haired. However, not everyone has a choice in the end. This is not to say that playing covers in pubs is a completely tragic fate. Not at all, especially if after this musical work you can drink half of the fee there. This even has its own romance. Very often tavern people have some interesting past. But they almost never have a future. If only similar work is not something temporary, episodic, due to youth, etc. There is a sea of sad irony in all this - many musicians dream of getting into a tavern in order to have some kind of income, and many dream of breaking out of it.
Brave young lady
Most people on planet Earth are firmly convinced that football and guitars are not at all feminine activities. However, despite this point of view that smacks of chauvinism, there are many girls who personal example trying to prove their right to football and guitar. We can say that these are brave young ladies because they have to fight social stereotypes. It cannot be said that the use female hands in guitarism this is such a hopeless idea. There is a demand for women in show business. Firstly, this women's groups of all calibers - from tavern to pop projects at the federal level, and, secondly, even if the group is not entirely female, the presence of a pretty girl on stage is always an element of attractiveness. Jeff Beck realized this a long time ago. In general, there have always been girls trying to play the guitar, although there have never been many of them. Well, maybe one in five hundred men with guitars.
Session monster
Passionate guys who have a huge fleet of guitars and gadgets. These "call men" can play almost any style, mixing different techniques like a clever bartender drinks in cocktails. Usually, such guys have very little time, since they are busy in dozens of different projects, and when they are not busy, they devote themselves to studying something new and unusual for themselves. Not all of these professionals are pleasant to listen to. It often happens that due to universality, some artistic value of their game suffers. But when you come across a truly gifted musician, you can really enjoy his varied playing.
Optimistic “student”
This is a temporary state of a person who is all in the future. Both his successes and his failures are all yet to come. In the meantime, he is learning to play, creating bands, trying to compose his first material, joyfully trying out new guitars and gaining fresh knowledge about the big rock and roll showbiz. Of course, such a person is full of optimism, because if you don’t believe in success and a bright future, then why even get down to business. Of course, as statistics show, 99% of such optimists will not achieve anything musically interesting or significant. But there will be positive memories of how you and your friends once upon a time made a group and tried to build a project.
Comes from childhood
Once upon a time, in their youth, they were serious about guitar playing. And then they grew up and started some kind of adult life. But music remained in their lives. And the guitar is still at home, having moved into the category of men’s hobbies somewhere next to “drinking beer” and “watching football” on Fridays after work. That is, without excessive fanaticism. Occasionally and purely for the soul. You can call it a habit. Of course, they continue to follow the guitar world, communicate with fellow guitar hobbyists, and even attend some guitar concerts, or even master classes. But there is no passion in this. You can call it pensioner guitarism. Very often, the guitar hobby simply covers some kind of emptiness in life and the fear of being left alone with everyday life. The guitar in this case acts as a life preserver and close friend, which a person turns to not so often, but is quite effective in terms of a beneficial effect on state of mind. Let's be honest, a lot of people's lives are pretty boring; the guitar in this case is a way to escape and brighten up this boredom. Why not?
And then recently I was overcome by a question: do we have any worthy guitarists in our country now? Quite quickly, in my search, I came across a man named Sergei Golovin. I listened and realized that this was our Andy James, Vinnie Moore, our Satriani, ours and Vai all rolled into one. I'm joking, of course, but as a joke... you know it yourself. Is it true. The dude plays at the highest level.
Sergey Golovin was born in 1988, lives and works in Moscow. Recorded two albums. He has a background in music school, if I'm not mistaken, in classical guitar. He plays just great. The excellent work with sound immediately catches the ear. has its own recognizable style games. This is clarity in the execution of notes, speed, excellent technique, harmony in music, melody, attention to sound as a whole. In a word: wonderful.
You know, just a few years ago, this simply did not exist. These guys, born in the 80s, are now simply breaking the mold with their level of play. It's just space. If, I emphasize, we take into account that in Russia there is generally a problem with the electric guitar, then Sergei is just a breath of clean air. Well done! Just a great guy!
High-class professional guitarist.
I carefully watched YouTube videos and listened to two full-length albums by Sergei Golovin. The impressions are only positive. I am close to his approach to music, his melody.
Having become interested in the personality of S. Golovin, I watched several hours of video with him. All this can be found on YouTube. These are interviews, recordings from concerts. Sergei turned out to be an absolutely open, simple, pleasant person to talk to. Nowadays this is simply very rare. I would even say that Sergei is modest. I made a very positive impression simply as a person, as a person. No star strike. No inflated conceit. I say absolutely without irony: as long as there are people like Sergei Golovin in Russia, all is not lost.
Of course, such an already established master as S. Golovin can give advice himself, but I, as a connoisseur and connoisseur of electric guitar music, familiar with the playing of a huge number of guitar virtuosos, would risk advising Sergei to continue to improve further for the joy of all of us. And I just wish him creative and personal success!
Let's watch some videos of our Russian guitar virtuoso - Sergei Golovin. Here is a video clip of interesting fragments from Golovin’s compositions. Very tasty, check it out.
Here's "TwoGether", very cool, check it out.
Here's a very cool lyrical piece called "Don't Forget" from the album "Sense Of Reality" (2012).
Well, one more thing - louder and more assertive. Very, very good.
In my opinion, Sergei Golovin may well reach the world level of fame with such a level of play and attitude to sound. With his talent, he can easily be invited to any Russian famous performer as lead guitar. I don’t presume to give him advice, but it seems to me that he needs to leave Russia somewhere abroad, where famous music labels are interested in the electric guitar, and make his way there to global triumph.
In the case of Sergei Golovin, everything came together. This is Sergei’s talent and the musical education he received and other factors. Just imagine: in Russia every year thousands of people enroll in music schools to learn guitar. They study and graduate. AND? And where are all these guitarists? Sergei has talent. He has something to say in music. He can express his emotions and feelings through the strings of an electric guitar. One can only guess how much work is needed to master the instrument as S. Golovin does.
