Father's Day Classical Music Recital 2026

 

https://www.youtube.com/live/a6UFBhVOXuc

See program here

https://files.ecatholic.com/38276/documents/2026/6/2026.06.21%20Laremont.pdf?t=1781545343000

THE PERFORMANCE/SET LIST

This performance aka set list dedicated to music from the classical time period is called  Classical Repertory (1720-1830) and is one of eight set lists that I'm currently using for most of my live performances. These are the other seven lists that I also use as well: Renaissance Repertory (c.XVI), Baroque Repertory (c. XVII-XVIII), Modern Spanish Repertory (c.XIX-XX), Light Flamenco, LatinAmerican Repertory, Miscellaneous Repertory and Easy Flamenco Repertory. Over the years, I've been constantly expanding the music I perform and I've found it very useful to organize everything into structured performance lists. Also, all of the pieces of music are easily accessible thanks to the use of an electronic device such as a tablet. I address  this novelty

in detail here 

https://christianlaremont.blogspot.com/2022/01/digital-sheet-music-or-paper-sheet-music.html

L. COHEN - HALLELUJAH FOR SOLO GUITAR

This is another arrangement for solo guitar, but this time the music is by Leonard Cohen (1934-2016). He was a multitalented Canadian artist (poet, novelist and song-writer). He's an inductee to the Rock and Roll's Hall of Fame (2008) and won a Grammy Lifetime Achievement Award in 2010. The song Hallelujah took approximately five years to write and was completed in 1984. It won it's global recognition thanks to covers by John Cale, K.D. Lang (the 2010 Vancouver Olympics opening ceremony performance has 3.8M views on YouTube), and Jeff Buckley's interpretation is considered to be the definitive version of Hallelujah. The time signature is 6/8 and is in the key of C and briefly tonicizes the relative minor right before the chorus.

CHROMATIC SCALES

Here is the seventh of a series of technique exercises I've dedicated to the classic guitar here on my blog. It principally focuses on the left hand (LH), however I'll include suggested RH (right hand) fingerings as well. On this occasion, I'll feature the LH playing chromatic scales in a vertical direction (up and down the neck) as opposed to horizontal chromatic scales played across the strings, and all the examples can be practiced exclusively with the LH. There are many excellent examples of chromatic scales executed horizontally in Kitharologus, published in 2009 by R. Iznaola ,https://christianlaremont.blogspot.com/2020/04/kitharologus-path-to-virtuosity.html

As in previous posts dedicated to the LH, we must always remember to make sure the thumb is always opposite finger 2 (especially when shifting positions), keep finger 1 as close to the fret as possible, and always keep the other fingers (2,3, and 4) hovering above the notes that are going to be played. Just as important: leave LH fingers down whenever possible, avoid excessive pressure which can lead to fatigue, and your attitude should be as if you're preparing an important piece of music for live performance and not practicing some random technical warm-up exercise. All of these things will have as a result greater focus on dexterity, elasticity and versatility of the fingers of the LH. The examples presented here will all be on the first (E) string, but should be practiced on all six. Different tempos (i.e. speeding up and slowing down) and dynamics (i. e. p to f ) should also be employed.

B. MARLEY - THE REDEMPTION SONG FOR SOLO GUITAR

This is my arrangement of Bob Marley's Redemption Song for solo fingerstyle guitar. It's the final track  from his twelfth and last album Uprising (1980) recorded with the Wailers. It's an acoustic ballad in the key of G major tonicizing the relative minor (E) in the chorus. It has been covered by numerous artist (Manfred Mann's Earth Band, Stevie Wonder, Joe Strummer of The Clash and there are other versions for diverse small ensembles as well. The voice (cantus firmus) is independent from the accompaniment forming polyrthythm/counterpoint that always propels the music forward.

RHETORIC AND MUSIC

This post will discuss the close relationship between Rhetoric (the art of persuasive verbal communication) and Music. Understanding these two disciplines can help music performers to improve their awareness in musical composition and performance practices that date back to medieval times (Boethius c.480-524 AD, Guido de Arezzo c. 991/992-1033, Ars Nova) and the Renaissance, while providing insight to expressive and persuasive parameters involved with musical interpretation. It is noteworthy to point out that musical works often mimicked the structural outline of classical orations. Also, it’s important to bear into account that instrumentalists were encouraged to imitate speech in performance.

Of course, the art of Rhetoric dates back to the time of Classical Greece. It is well known Plato’s ( c. 428–423 BC - 348/347 BC) theories on the ability of music to have an impact on our emotions and behavior. Aristotle’s (384–322 BC) concept of ethos (the characteristic spirit of a culture, era or community), pathos (the use of emotion to persuade an audience) and logos (a rhetorical device that uses logic, facts and evidence to persuade an audience appealing to their sense of rationality) have all had an influence on musical expression.

RH EXERCISE : THE TREMOLO TECHNIQUE

The Tremolo Technique is one the most basic classic guitar techniques for the RH, yet it's arguably the most difficult to perfect. Under normal circumstances, the p -cello- plays the bass strings (E,A,D), the i -viola- plays the G, the m -violin 2- plays the B, and the a -violin 1- play the E. I consider the fingers of the RH equivalent to a well balanced string quartet.

Wether the tremolo be played on a single string or on various strings, there should be at least three things to look out for. Namely, no arm movement, no interruption in tempo, and evenness in sound coupled with correct accenting.

Guitar Recital: Musical Meditations

I will be preforming the first of a total of four recitals at the cathedral of St. Mary of the Assumption in San Francisco, CA starting on 06-09-2024. You can live-stream the event here https://youtube.com/live/TNiJaGaomTM?feature=share

04/08/24 Concert https://youtube.com/live/bxLwhDQMWOA?feature=share

THE INFLUENCE OF THE VIOLIN ON THE GUITAR

 

This is the third post dedicated to the Art of Performance/Interpretation, but this time from the point of view of the violin, which has influenced the classic guitar in many different ways. Performance, left hand (LH) technique, and music notation are the points of interest that will be briefly covered.

Johann Leopold Mozart (1719-1787) born in Augsberg, Germany first published this didactic work in 1756, just after the birth of his son W. A. Mozart (1756-1789). The Treatise on the Fundamental Principals of Violin Playing appeared a few years after the Treatise on Playing Traverse Flute by J. J. Quantz (1752), and Ph. Em. Bach's The True Art of Playing Keyboard Instruments (1753). What caught my attention the most in Leopold's Violinschule, was that it was written more for the teacher than the student, and most importantly it can be used as a guide for "good artistic performance in general.' 

TO AMPLIFY OR NOT TO AMPLIFY

 

Amplified Acoustic Guitar

Or put in other words the title of this post could read, "To be or not to be." A quote taken from Shakespeare's play Hamlet (1599-1601). "To amplify my instrument or not" during live performance is a very important question that should be re-examined under today's technological advances in PA amplification, and the constant demand for "live music". Choosing to amplify your acoustic instrument can give the musician more possibilities of playing live in large or somewhat noisy venues.

Your instrument and the use and placement of the 4099 DPA Core super-cardioid condenser mic are the main factors that will allow you to reproduce during live performance the maximum sound quality at the highest possible volume depending on the circumstances. Eliminating feedback while achieving an accurate and natural sound is the main objective, and we must take into consideration that each venue has its own sound idiosyncrasies (indoor/outdoor, temperature, humidity level, number of guests, etc.).

TWIN PEAKS THEME FOR GUITAR

Angelo Badalamenti was born was born in Brooklyn, NY in 1937, and recently passed away on Dec. 22, 2022 in NJ. He is principally known for his unique music film/TV scores, namely the Twin Peaks TV series written in 1990 in collaboration with the director David Lynch. This theme received a Grammy Award and has become an international success. You can read more about the composer here A. Badalamenti Official Website

The Twin Peaks theme was originally composed for piano in the key of F/Dm. This is a transcription for guitar in the key of G/Em with a drop D tuning on the sixth string. The reason for this transposition is to take advantage of the open strings and make the piece playable for guitarist with an intermediate level.

Pacific Edge Voices: Journey to Peace

"Tree of Life" -Olga Kovtun

I recently played with PEVhttps://pacificedgevoices.org/who-we-are two Christmas concerts in S. Francisco and in Berkeley, CA. They were both dedicated to Ukrainian scholar and composer Hanna Havrylets who died tragically this year at the outset of the Russian invasion.

Here's the roster of musicians led by Ash Walker and program:

ESSAY ON THE TRUE ART OF PLAYING KEYBOARD INSTRUMENTS By Carl Philipp Emanuel Bach (1714-1788)

This is the second post dedicated to the Art of Interpretation/Performance, but this time from the perspective of the  keyboard which has a lot of similarities with the classic guitar. I previously posted Casals and the Art of Interpretation http://christianlaremont.blogspot.com/2015/05/casals-and-art-of-interpretation.html on May, 15, 2015. This treatise was written by C.P.E. BACH and was translated and edited by W. J. Mitchell under the editorial Norton & Co., 1949.

The Essay's main goal, according to Mitchell, is to raise "the art of performance, through teaching and practice to its perfection." Even though this was J.S. Bach's second son only extended theoretical work,the translator and editor states, "The most notable feature of this book is the attention given to artistic accompaniment, and it differs from all previous manuals on thorough bass."

Mitchell points out, "C.P.E. Bach was a musician's musician... His work is a compendium of the entire practice of music in the times of Frederick the Great (1740-1786)." Also noteworthy is the fact that, "This treatise is indispensable for every well informed musician..., pianist, singer or conductor." It's very impressive the list of accomplished musicians who have benefitted greatly from this mid eighteenth manual: Hayden, Mozart, Beethoven, Clementi, Czerny, etc.

Digital Sheet Music or Paper Sheet Music?

It's been almost 700 years since the invention of the printing press (1439) in Mainz, Germany, and we've come a long way in how we read and write books and documents of all different types. 

This post revolves around the possible transition to paperless, environment friendly music scores. Which one is better? A hard or a soft copy of my entire performance/music library?

For daily practice I use traditional sheet music. However, I've recently transitioned to a Microsoft Surface Pro 13" computer which comes along with me to all my musical events. This is where I now keep my solo guitar repertory (pdf files) which are organized in different folders: Standard Rep., Weddings, Funerals, etc. And thanks to my Microsoft Surface pen, I can write whatever might be necessary (fingerings, notes, chords, etc.) directly on the score.

In the past, having a gig was like preparing for a trip where you would have to first pack, then unpack once the performance was over. It was very time consuming to find specific scores for specific occasions and then have to return them back to the paper sheet music collection. 

Corporate Dinner Gig @ Chimney Rock Winery

Last night I had the pleasure to play for a selected group of people who work at the Chimney Rock Winery located in the heart of the Napa Valley Chimney Rock Winery Chimney Rock produces hand-crafted Cabernet Sauvignon and Bordeaux-varietal blends from its estate vineyards in the Stag Leap District. Many thanks to Kelsie Earnest for booking me through GigSalad, and writing a five star review.  https://www.gigsalad.com/christian_laremont_san_francisco/review/291782

HARMONIC ANALYSIS: Canción from Canción y Danza No.1 A. R. Pipó

The Andante Cantabile, written in 1958, is generally a tonal piece. However the French influence, particularly C. Debussy, is present in this work through the use of the Dorian mode (B natural), modal mixture (cadence on D and not Dm in m.17) and colorful fournote chords throughout the piece.

||: A :|| B A' || The musical form of the Dance is a two part binary form where the sections are equivalent and equal in length. The harmonic content is sectional except in the B section (m.17) where we get an unexpected surprise with a cadence on D and not Dm. This foreshadows the arrival of the next and final movement the Allegro in D.

||: A :|| This section starts and ends on the tonic chord of Dm. Pipó introduces various chords from the Dorian mode ( F - G - Am, m.3-4) mixed with standard tonal chords ( E/G dim.- A dom.7th, m. 7).

The B section is used as a contrast to the previous section. The first four bars are resolved modally (IV - VII) on Dm. The next 4 bars end on an unexpected D major chord preceded by F and C (m.15-16).

The A' section is a slightly varied form of A with grace notes in m. 20-21. 

Danza from Canción y Danza No.1 - Allegro Arranged for Two Guitars

Andalusian born Antonio Ruiz-Pipó (1934-1997), virtuoso pianist and composer wrote Canción y Danza No.1 in 1958. More information on his background can be found here https://www.boosey.com/pages/cr/composer/composer_main?composerid=19939&ttype=BIOGRAPHY.

The work is a two mvt. piece and starts with a Andante cantible in D minor which is yuxtaposed to a contrasting Allegro in D major, both with a 6/8 time signature. This post includes my arrangement of the Allegro for two guitars.

The Importance of Good Posture for Musicians

This post is aimed at musicians with the important goal of increasing and/or improving both sound quality (tone) and sound quantity (volume). In order to achieve this, I will demonstrate how good posture has a direct impact on the hard to obtain "good tone production" during practice at home and live performance.

The image above shows a front and side view of the spinal column where we can see a vertical series of approximately thirty three small bones (vertebrae), which are separated by a vertical disc. It is divided into five different areas: cervical, thoracic, lumbar, sacrum and the tailbone. Our attention will focus on the first three upper parts. 

The anatomy of the spine shows the natural S-shaped curve (see side view). This curve that starts from top to bottom offsets the weight of gravity from the upper body. The spine is not designed to be straight nor C-shaped since it has to withstand weight from the rest of the body. This curve in the vertebral column allows our bodies to function properly helping our posture, balance, stability and flexibility while creating support for the arms, neck and head when in a sitting position during practice and performance.

Bad posture, whether sitting or standing, implies an “overuse' of the muscles when playing an instrument and does not help us support our bodies properly. This can have many negative short and long term effects such as aches/pain, and restricted movement of the arms which can result in physical fatigue and/or injuries.

KITHAROLOGUS: THE PATH TO VIRTUOSITY a technical workout manual for all guitarist

Kitharologus, published in 2009 by R. Iznaola, is in my opinion one of the most thorough and complete te chnical manuals around today. It should be considered as a continuation of the traditional "School of the Spanish Guitar" that has its roots in the Renaissance thanks to the Spanish vihuelists (L. de Milán, L. de Narváez, A. Mudurra, E. de Valderrábano, M. de Fuenllana, etc.). This work is continued by F. Sor (1778-1839), F. Tárrega (1852-1909), Regino Sainz de la Maza (1896-1981) to whom this book is dedicated, and E. Pujol. Iznaola and Domingo Carbajal are contemporaries who both studied with Regino at The Real Conservatory of Music in Madrid, Spain.

Important issues are addressed in the book such as time-management of practice routines, recommended practice plans and the presentation of a "complete training regimen that can be used as a regular routine for technical maintenance."There are nine sequential levels of proficiency, from preparatory to advanced with specific metronome indications for both right and left-hand training.

Exercise 38, Arpeggio Technique (cont.) from Level III found on page 38, will be under scrutiny in this post. According to Iznaola, in reference to this right hand exercise, "Indeed, ... this presents a peculiar approach to right-hand training in which positional framing and shifting and stroke type use, are combined in what may seem to some as highly unusual ways." This suggests, we as serious musicians, should endeavor to do exercises in "different" ways in order to improve our general playing ability and technique.

Professional Studio Recording

Finally, my first professional studio recording of the following six tracks:

1. Hommage- M. de Falla
2. Sonatina "Allegretto" - F. M. Torroba
3. Conde Carlos - L. de Narváez
4. The Entertainer - S. Joplin
5. Venezuelan Waltz No. 1 - A. Lauro
6. Choro J.T. Guimareas

They were recorded at Soundwire Studios located at Soundwire Studios, Suite 8D School St Plaza, Fairfax, CA 94930 and was recorded and mixed on Feb. 6, 2020 in only three hours. You will notice a few mistakes that were mostly due to a lack of recording and postproduction time.You can listen to these tracks https://soundcloud.com/search?q=christian%20laremont