What a great privilege to tell the story of Koyunbaba as a Turkish. I respect to you so much sir. this is an unprecedented chance to watch this lesson first from you then Miss Julia.
Molto Grazie, Maestro Carlo for sharing! 🙏 It's a pleasure to finally see and hear you on this platform. Best regards from the San Francisco Bay Area, California, USA 🇺🇸
I’m from Turkey and I can deeply feel the geography in this song. It is unbelievable, really, how music can depict so much and the musician as the magician who brings out the wormhole so we can be transported to places. Thank you Carlo baba! 🙂🙏🏼♥️
Man.. this guy is a load and so is his piece. That being said if you can survive watching these vids with that very very patient chick right there, you will get a lifetime of learning. I’ve heard this piece decades ago, but it’s so nice to be lead through the details. Thank you. Italians huh
Carlo Domeniconi is one of my favorite composers. I LOVE this piece!! I hope one day there will be instructions for Fantasia Di Luci E Tenebre and Variations On Anatolian Folksong!!! Thank you for sharing this!!
One of the most if not the most interesting piece of guitar ever written. As a guitarist I'm more into hard rock, shred, nu or heavy metal but Koyunbaba is something else. At least Master Domeniconi dared to explore very exotic territories which is about the notes and not the sound (as we do with electric guitar, pedals and stuff). Brilliant in every way.
At 7:35, you can hear that "tick tock" of the percussive sound of the string hitting the frets. It is something LiJie does in hers as well and many others don't do. I really like it because it adds just more texture and structure to the tempo too. Some criticize that version as being dry, but it's probably my favorite because it is so close to the music as written and yet has personality in the sound. This is the favorite thing in her performance to me. I'm glad to hear you have it as well. I struggle with this and I haven't been able to make it a part of my version of this piece. I hope to master it some day.
For me, the third movement contains the emotional climax of the entire piece. It frustrates me so much when people just play the Presto.. For me, I don't hear the sound of a firework, but definitely an explosion. I call it the sound of a heart being ripped in two. I have a hard time playing it without shedding a tear. I love it when he says "it's not fast, it's slow". I spent probably two years figuring out how to play it clearly and with sufficient intensity and getting all that delicious bitterness. I wish I could do it consistently. Heck, some days, I wish I could play it at all without it breaking my own heart.
So happy to see you making this video to share with us. This piece is the most powerful thing I have ever learned and when I play it, it runs through my veins. Before this, all I have had from you directly to learn from has been your performances of the piece with your variations. I am overjoyed to learn more about your vision of the music here.
When I play this I get visualizations in my mind. I hear sheep and I hear echoes. When I learned A Rose in the Garden, it is just completely repeated, so it was a very good exercise in thinking about *why* I want to repeat and what the function is in the piece. Contrast that to something like HVL Etude #1, where I think the only purpose of the repetition is to warm up the fingers and muscles... Haha In my mind, in Koyunbaba, the repetitions are a device to shift between the protagonist awake, listening to sheep milling about and asleep, dreaming of another time, both of joy and of some indeterminate tragedy. I love experimenting with this by adding some harmonics as well since they can add a dreamy feel. I think that as the piece progresses, the dream turns dark and he relives some tragedy and when he wakes up, it sticks with him, like when you wake up from an intense dream and it hangs about your mind, bothering you even though it was just a dream poking into reality.
Maestro mi sono trasferito da poco più di un anno nella sua città natale, e nonostante il mio peregrinare e chiedere in giro non ho mai trovato la sua casa natale. Mi piacerebbe conoscere il luogo in cui è nato, i posti che ha respirato prima di andar via dall'Italia, vorrei poter dire ai miei figli "qui è nato il miglior chitarrista del mondo" ogni volta che passiamo in macchina di lì. Sarebbe un regalo bellissimo, così come lo è stato ascoltare per la prima volta la sua voce. <3
This is wonderful. Even I learn a lot and I am a Ukulele-player. My wish is that the master would write a short piece like this for Ukulele (Re-entrant or lineair).
The first time i heard this masterpiece i could imagine what scene each movement described which without any exception would be the same for anyone. This show how powerful and well composed rhis piece is.
Hallo Carlo, in meinem vorherigen Leben habe ich das Stück geliebt und alle anderen deiner Stücke auch! (bevor ich ms hatte) Schön, wieder eine Stunde mit dir zu erleben! 😊👍🏼
My favorite too. For me, I see it as an ABAB poetic structure. First and third are the idyllic, beautiful pieces that lead into tragedy. Second and fourth are the releases of the built up intensity, leading right back to the calm and tranquility of the beginning of the first, albeit slightly tainted with whatever it was that the subject of the piece was experiencing that tortured him so beautifully for these fifteen minutes or so.