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An Organised System of Guitar Playing (OSGP)

by René Dohmen

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You are playing guitar for years, but
• certain difficulties you don’t get solved;
• you are unsure about some elements of your guitar playing;
• feel you’re not going forward anymore.

That hinders the quality of your playing as well as the pleasure in it.

The three starting points
• Music and technique are inextricably linked. By improving
your understanding in both parts, you can reduce or even
dissolve difficulties!

• If you really want to improve your guitar playing, play from naturalness.

• A good technique is not just being able to perform many motion
variations (a widespread misunderstanding!) but concerns
especially what precedes it: control of the fundamental locomotion.

Naturalness → Fundamental locomotion → Technique → Music

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BIO

René Dohmen (1958) – a short biography

After my conservatory studies I attended several master classes, including an
immensely important master class technique with Michael Teuchert in Germany.

I had the privilege that my learning route was largely influenced and guided by
very
professional and masterful musicians. Most of them (this turned out
to be very important) were no guitarists!
For me the guitar playing of
John Williams was the immediate reason to study
classical guitar. In addition, I would like to mention: violinist Mark Lubotsky,
cellist Heinrich Schiff, conductor
Jos Kamp (student of the legendary musician
Janos Starker)
and the wonderful violinist Tibor Berkovits.

As a concert guitarist I worked amongst others with distinctive cellists
Jos Kamp (artistic leader Ensemble88) and Barbara Grunthal (BBC Philharmonic
Orchestra) 
with whom I performed the Dutch premiere of compositions by
Biberian, 
Dodgson, de Falla, Lucký and Rak. Moreover I worked with the Irish
singer-songwriter phenomenon Darren Byrne.

As a guitarist/composer I participated in several theatre performances
and film documentaries. For the opening theatre performance of the new
Sittard Theatre Hall I composed and played the music. Shortly after,
I wrote and performed the music for a play based on texts by Pablo Neruda.
The play received the first prize of the Belgian theatres.

For personal reasons, I ended my concert career prematurely.

* * * * * * * *

OSGP – AN EXAMPLE

Claire Anderson (Canada) – From the phalanges or the fingertips?
I play almost everything tirando, but I bend my fingers too much and
play from the phalanges. That causes much tension in the thumb and
ring finger which affects the other fingers. What to do?

René Dohmen
Don’t attack from the phalanges, but – with completely relaxed
fingers – from the fingertip.

Rode vingertop

On the left you see a (widespread) misleading
illustration. The illustration gives the impression

that the phalanx is the starting point of the attack.

However: fingertip is the starting point,
the phalanx/phalanges follows/follow
(without a starting action on their own).

 

 

* * * * * * * *

CONTACT
dohmen.r@gmail.com

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