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Player’s Corner

Avoid Bellucci Guitars – Mangore.com

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This post has been taken from our old blog, read user submitted comments at the bottom!

I will state it for the record, this is not a pleasant post.  I speak my mind clearly.  Some call it name calling.  Renato is a liar.  Why would I say anything different?  He’s a crook.  Again, why would I say anything different?  It is clear he does not know how to build a guitar or what actually makes a “good” classical guitar.   Again, why would I say anything different?   This is based on my own experience, with him and his awful work.  Not hearsay.  Personal and professional experience. I am a known expert in this small world of classical guitar.  I have restored, finished and repaired over 125 classical guitars of exquisite quality and provenance.  I do not count Renato Bellucci’s work in this count (they are not of any quality whatsoever).  I have put thousands upon thousands of guitars in players’ hands.  This ability is predicated upon my knowledge, experience and the integrity of the man that I am and the highly regarded reputation of my gallery.   I know of what I speak.  You’ve been told, you’ve been warned!  Again and again, people do not heed my warnings.  I am tired of it, of him, and his ridiculous work.  Read on, but again, the language is not pleasant.

Bellucci Guitars

In the past, I have done work on Bellucci Guitars – yes, the wholly crooked seller and purveyor of low end, Walmart quality classical guitars down in Paraguay.

No, Rich, tell me how you really feel? OK, since you ask.

Renato calls me in April of 2011 begging me to take down a 2 page review and photographs of one of his guitars, numbered in the 600’s mind you, where I detailed the problems, the fixes, the photographs, and so on. I was on vacation at the time, told him this, but he continued to plead with me, taking time away from my family.

The guitars that I’ve inspected of his, the work that was done, what can I say…It was horrible. But you’re thinking that’s a one off problem. Say nay. I’ve inspected over 30 of his instruments. I have repaired 9 of them. I think I know of that which I speak. Well, I tell him to offer an unconditional money back guarantee, at least to his North American clients and I will take the pages down. After hemming and hawing, he in fact posts a suitable refund policy. I told him to keep it consistent or I’m throwing the pages back up. A month later, I get an email from a client who tells me his refund policy has reverted to his old ways. I said, okie dokie, and put the pages back up after verifying his refund policy.

Listen, I don’t have anything to gain by hammering this liar. If anything, it is probably hurtful to me. So why do it? They are really that bad, they can be a bit expensive costing anywhere from $2200USD to $8000USD (why would you spend this kind of money with anyone of a questionable reputation), and he really hurts people with the time and energy they spend on hoping for a great guitar and then being massively disappointed. You are not going to get a good instrument. It does not matter if Ana or Sharon or any other player is trying one of these instruments. Did they switch guitars? Are they now playing a Bellucci? Seriously?

Please avoid his guitars. They are too inexpensive to be of any quality, yet they are expensive enough that the throwing away of your hard earned money is going to hurt you. He DOES NOT know how to build a guitar. His men do not know how to build a guitar. He uses green woods, not suitable for building. He over finishes them. The woods cannot breathe. He uses incorrect frets (honestly, I can’t tell you how many times I’ve found mandolin frets on his classical guitars). He doesn’t understand neck angles, set angles, heck, he doesn’t even get how to setup a guitar, nuts, saddle, whatever. Come on…SERIOUSLY. How many friggin’ guitars do you have to build to get it? 700 guitars later (maybe more) should do it, but no…it does not.

Look on his site at the Finish Section. And I quote, “You’ll read a lot of nonsense regarding the type of finish that best sutes a classical guitar…..It is essential that you know that the type of finish will not make any difference whatsoever on the type of sound your guitar will produce. All finishes elevate the pitch of the instrument a little (most people will not notice the difference). The finish was first introduced to bring out the grain in the woods and offer some type of protection against the elements. The most luxurious type of finish today is Polyurethane. It is also the most laborious. It requires a lot of space, air compressors, protective gear to apply and luthiers willing to do a lot of sanding and clean up work. This is the main reason why most European and US builders will try to convince guitar buyers that French polish is better, bla bla… It is not ! It is easy to apply and requires little or no infrastructure and practically no space to work and, since most US and European workshops are small, it fits Northern hemisphere builders to perfection. French polish offers very little or no protection at all.

OK, so first of all, French Polish is easy to apply? Bluntly, I do not need to say another thing. Mother of the Gods, this is as uninformed as it gets. Ah, but 15 coats of thick Home Depot quality Water Based Polyurethane is the way to go? Seriously? hehehehe….moron. Clearly it is better to choke the woods, inside and outside, attempting to cover up your incompetence and your green woods with Polyurethane, rather than use a tried and true method of finishing.  But, your guitar will be nice and shiny!!!  Very poor judgment with an attempt to justify with incorrect and inexperienced knowledge.  Here’s the truth.  French Polishing is a very difficult and time consuming process, one that can take years to master, truly master.  Renato does not have that kind of time or experience and neither do his employees.  He has no interest in betterment of any kind.  Only in stealing your hard earned money.

French Polish offers little to no protection?? Renato, you’re not supposed to play jacks and marbles on your guitar.  I suppose that allowing the wood to resonate with an ancient method used through the centuries on fine instruments all over the world is pointless when you are attempting to hide your own incompetence in building, wood selection and or finishing.

Better yet, if you dare to complain or not like the guitar he sent you, his compelling and excellent level of customer service is to call you an insulting, inconsiderate liar and to block your emails as a spammer.

Update for November 2014 – I couldn’t take it anymore.  I posted photos of a finish repair, setup, headstock peeling, back peeling, nut and saddle adjustments, and that ridiculous violin tie block.  You can see the sheen of the finish, it’s so thick, and the peeling of the back, cracking etc.  Horrible…see photos below.

OH, and those positive reviews he posts. Please. A good friend of mine took a chance on one of his guitar, unknowingly. Steve wrote back to complain numerous times. Renato then proceeded to change the words of this email to a positive spin. Steve was amused. I was not.

Bottom line is you’ve been warned. Buy from a reputable dealer or builder. Yes, it probably costs more, but at least you’ll have a gorgeous guitar with recourse attached to it. Now, I won’t post the pages again regarding the repairs on Bellucci, but I’ll send them to you if you ask. I also stopped working on them, as they were a colossal pain in the ass. Scraping tons of finish off of them, prepping them properly, and still with their problems because the woods seemed to be harvested the day he started building the damn things. I will not repair them. No one else in their right mind would repair them and quite frankly, you shouldn’t be buying one of these things.  See photos below for a typical example.

By the way, I write this simply because I still get emails requesting refinishing and repairs of these god awful guitars (if you can call them that). I will NOT work on them any longer, so please don’t write.

I also get HATE mail because of the unhappiness of people regarding their Bellucci (mangore.com) They write to complain to me because Renato insults them and I get the emails as a venting point? Well, I guess it’s understandable. You have no recourse. He’s in Paraguay for the love of the gods!!! I feel bad for the waste of time and money and the emotional energy spent by people trying to negotiate with Renato. He will disregard you after a certain point, especially if you decided to talk back to him about his guitars, he will simply keep your funds, or charge you $400 or more to send his guitar back to him. Only to not have him be able to fix it because he’s the moron who built it in the first place? REALLY? LOL

Last check, his Refund Policy is that he has none. You can get another guitar from him, but forget about getting your money back. Not going to happen.

I feel it is my responsibility to warn people that they are throwing hard earned money away.

After all this explanation, someone questioned my motives? Oh, he’s just trying to direct you to his shop. Of course, I would rather you did business with me. At least I have a REFUND Policy. But please, do not come to my shop. I beg you to not call me if you are considering a Bellucci Guitar. Please feel free to go to one of my esteemed colleagues or luthiers in the business. At least you will have the chance to get the majority of your money back if you are unhappy with your purchase. THAT is exactly how it should be and no other way.

You will not be so lucky if you buy from Renato Bellucci and mangore.com

OK, rant is done. You’ve been warned. Thanks for listening and heed my words. By the way, and I’ve said this before….Renato Bellucci is welcome to debate any of this with me in a public forum for the entire guitar world to witness. It will be my pleasure. I guarantee you, it won’t be his.

Listed under Bellucci Guitar problems – Mangore guitar reviews – Renato Bellucci – Belluci Guitar reviews

———–

Additionally, I have been receiving emails and reports about some “other” eBay seller who offers “luthier built” classical guitars for around $500, disrespecting the work of master luthiers as a whole.  Nice…making friends and influencing people.  If you’re looking for a Brazilian Rosewood classical guitar for $500 or 600, hehehehe, go right ahead and buy from this type of seller.  Please don’t call me.  I don’t want your business.  If this simple sentiment is over your head, we’re good.  We have nothing in common, I have nothing to offer you.

Tonewoods matter, the solidity of said woods matter (versus laminate backs and sides?), the use of those woods by a master matter, the decades of accumulated knowledge, training and experience matter, the finish matters, the workmanship matters, the musicality and timbre of the instrument matter.   The fact that hundreds of hours by one man or woman went into this guitar matters very much.  The longevity of the instrument, its quality, its presence in your hands matter so very much.  For anyone to so blithely disrespect these efforts is beyond comment.  I have nothing further to add.

_____

Photos of one of the last repairs for a guitar numbered in the late 600’s by Renato Bellucci, African Blackwood or so he says?  Look at the cracking, the incredible amounts of polyurethane, the peeling, and so on.  African Blackwood…yeah, the middle strip maybe.  The rest is dyed rosewood.  See some User comments after the photos.

bellucci_1051 bellucci_1050 bellucci_1098 bellucci_1090 bellucci_1089 bellucci_1056 bellucci_1055 bellucci_1054 bellucci_1053 bellucci_1052

 

 

 

 

 

 

 

 

 

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User Comments:

stevenmward

Submitted on 2013/09/28 at 3:09 am

I read your two warning posts about Bellucci guitars. This is so sad, both because he seems like such a nice guy, a solid family man and a decent classical player, and also because he has used his charm to unfairly deal with his customers, leaving them in the lurch.

His guitars are beautiful but as I am now understanding, it is because the are embalmed! His use of an indented cutaway is is a great idea though he was not the first to make an indented cutaway. It certainly doesn’t matter if in the end the guitar is inferior, and all the worse of it is intentional… very said indeed, especially for his customers.

I wonder what Ana Vidovic and Sharon Isbin have to say, or if they even know. He blatantly uses them with car salesman deft, leaving hanging in the air the implication that they approve of his guitars as concert quality musical instruments.

Renato of course is a player, a one-time very good concert player and still may be so. But he just pays a number of south american luthiers to build guitars and one must understand that his workers are under his thumb and build what and how Renato dictates to keep food on their table. Don’t blame them as their only alternative to for them and their families to go hungry. I know firsthand as I as much south american as I am north american. How embarrassing!

While saddened to learn of the details, especially for Renato’s clients (victims of poor quality, bait and switch, and worse).

Steven

daniel morales

Submitted on 2013/08/25 at 10:27 am

First of all thank you for letting everyone know about this scam artist! I may have been a victim as well however, I did research and found out Bellucci’s terrible guitars. Thanks to everyone taking the time to let others know! I recently sent a message to Mr. Bellucci about his business practices, etc. he seems to love the attention. I can tell you for now he has NO intention of changing his ways! He will keep conning buyers and take their money-what a shame. He does not have remorse and he is going to continue this behavior. I blocked his e-mails as SPAM so I won’t get the “back & forth” communication with him-he seems to enjoy keeping it up. In Spanish or English-does not matter! Anyone reading this who is thinking of purchasing one of these trash-heaps listen to Savage Guitars & others. Do not do it! You will be throwing your hard earned money down the commode! Sincerely, Daniel Morales.

garyberg

Submitted on 2013/05/01 at 1:43 pm

I told you about my having bought a guitar from this guy a few months ago. You told me not to waste another nickel on it, and you were right as can be. I sent it to a luthier recommended by my former teacher, Jeff Van. He was able to make it playable, but it has pathetic tone quality, and he warned me that it would likely break down before long, based on his careful inspection.

Lesson learned.

tecklow

Submitted on 2013/04/15 at 2:10 am

Hi Richard, I am sorry I found your post too late. I got caught. In less than a year the bridge broke. Took it to Spanish luthier in Perth WA, who replaced a bridge for A$450. The bad news is he said that the neck is bowed so badly I cannot play frets past the twelth as the strings are too high. For him to fix the neck it will cost another A$750.

His opinion is the guitar looks nice but it is so badly designed and the sound for a $4000 guitar is so disappointing.

jimmyz1972

Submitted on 2012/12/23 at 7:38 pm

Thanks a bunch, he was on my list of considering to purchase, i knew something seemed funny , thank you.

Truth and Honesty in Guitars and heck yeah…the World Wide Web

By Blog, Latest From Rich, Player's Corner, Uncategorized No Comments

Trust and Honesty.  An interesting concept.  It shouldn’t be, but the sad fact remains, it is an oddity in this day and age.  From back in the day, vendors have been spouting their special brand of I invented a new wheel or the better mousetrap, but the sad fact remains that the mouse likes cheese (or is it peanut butter) and his neck still snaps with alarming efficiency from the springy thing on the other side of the piney looking same old same piece of wood and don’t forget, it’s still mighty inexpensive for that boring old mousetrap.  I can prove it  Just go to your old hardware store and look for one.

Why do I bring this up?  An interesting? question or just the need to vent the pressures of a self-righteous bladder?   You decide, though I’m firmly rooted on the latter.  It starts with a rant on marketing and marketing professionals, but finishes nicely, like the Nascar driver who just won Daytona 500 spinning in the winner’s circle, with the showing of some of the seamier sides of the business of classical guitar.  Enjoy.

Let’s see.  Oh yes, I remember (as I pull myself back into my lane without the need of a lane checker in the latest automobiles), I do a lot of SEO work here, especially late at night or early in the AM, while waiting for the java to lick at my synapses and wake my sorry ass awake.  In doing so, I check on the people out there selling their wares, what’s selling, why, how they’re doing it, and so on.  It turns out, I’m really good at what I do, if I don’t say so to my “don’t mind if I do slap myself on the back” self.  btw, SEO is an acronym for Search Engine Optimization.  A process by which you are found on the world wide web by the use of select keywords.  There remain many metrics that go into this optimization, and many that were in practice back in the day.  As it were, from 2002 to about 2012, I had an old fashioned, MS FrontPage web site, that worked really well for me, and in that 10 year span, I built the SEO work up to a very high level.  Lots of traffic, high rankings for specific and useful keywords, and so on.

Then, I had to go and change everything, the website, the IP address, the whole shebangawanga.   Ranking plummeted, my blood pressure skyrocketed, and me and my site went to the crapper without the satisfaction of any excremental release.  Disgusting, I know.  So, and here comes one of the many points on the top of my pointy head, I had to reconcile needing professional help.  Not the psychiatric kind, though not as useless as you might imagine, but the SEO professional kind.  Gods, they promise the moon, but what they really gave me was a supernova of trouble.  Let me explain further.

See, my business, the business of acquiring and filtering through many classical guitars of all prices and timbre, is a highly specialized one, fraught with the danger that, if you do not know what you are talking about, it will eventually rear its ugly veneer job and bite you most unevenly in the ass.  Well, part of these SEO prickjobs job is to write copy for backlinks that will never be seen?  So how did I see it, you ask through the almost probable covering of your mouth through the inevitable yawn?  I searched and found it rather easily.  This pretty little lady, somewhere in the back deserts of Arizona, sitting in her little cubicle working for the “premier” internest (not a misspelling) and marketing firm, wrote copy that went along the lines of, “If you’re looking for the best flamenco guitar store in the world, let your search end with Savage Classical Guitar store, where you can find a capo, classical guitar strings, and repair your classical guitar with one of our knowledgeable people who really understand your guitar”, etc and so on and please god kill me right now on this gotdam spot.

Truth be told, the copy was way worse than the above.  See, if I tried, I couldn’t be as bad as that poor sappy little lady who gets paid to write drivel for a living.  Not to say I’m great, but hey, give me a little casino credit here, it’s all frickin’ relative.   Worse yet, they wormed their way into my backend (wow, that was Freudian…do people even say that anymore), OK, the backend of my web server, my html coding, what have you, and started writing meta tags and scripts that did even worse things to my rankings on the web.   I’ll spare you the techno dribble, but suffice to say, they sent me from page 1 and 2, to page 37, which is the same thing as sailing West before Columbus’ day, where without a doubt, you fell off the gotdam planet.

Nice.

So, since early December 2013, where I realized the problem I was having, I’ve been working on it myself, as much as I can spare the time.  Slow improvement, but let’s face it, and it’s the old adage, if you want something done right, do it yourself.  The thing is, not everyone can do this.  I get that.  My advice is to not trust the marketers.  They are expensive, self-serving, and they hurt your business in the end.  If I had to do it all over again, I would have saddled myself with a poor ranking, and brought it upwards with time and patience.  Not the most glamorous thing, but I wouldn’t have 4,000 wayward backlinks to my site that actually hurt my ranking, instead of helping.  I didn’t do this, the marketers did, in a story starring the get rich quick kid, instead of the slow and patient investor.  Truth and Honesty.  They didn’t tell me the truth, and honestly, they screwed me like a screwdriver without the vodka. Talking of drinks with no punch and segues….

Alas, I buy and sell guitars.  Really nice ones.  I know.  I picked them out of a line-up.  So in my search for why my rankings were so low, and my SEO work so ineffective I see lots of ads for guitars.  One like this….”Amazing quality hand-made guitars Very low prices starting at $750.00.”

Wowie, I gots to check this out.  Turns out they are laminated (which is OK), but not fully disclosed.  They are made in China, but not disclosed.   I’ve seen and played these guitars.  My personal opinion aside about how bad they are, they’ve got a lot of nerve.  But it gets better, as read below….

An infuriating practice.  Build a crap guitar built in China.  Put a $1200 price tag on it, don’t fully disclose it has laminated back and sides, but by all means, say it’s as good as a guitar that costs $7K or $8K.  !!!!!!!!!  Say what?

Really?  You’re honestly going to compare your $1200 laminate to a Kenny Hill Signature, a Bob Desmond, a Frederich Holtier, a Robert Vincent, a Richard Bruné, a Richard Prenkert, etc. ad nauseum ad infinitum?  Seriously?  I’m going to write about this in a separate article some day.  Oh yeah, and I’m naming names.   If you’re curious, I’m not interested in making friends.  I’m far more concerned and interested in people being ethical, honest and doing business fair and square.

I see this all the time.  I get Chinese manufacturers calling and writing to me all the time.  Sure, I’m the big fish they want to score.  In a million years, no way.  When I do come out with my own brand of guitar, it will be built by people that actually know what they are doing.

The one guy I do business with who builds in China, actually goes there, to his partner facility, one week a month, every month, to oversee all processes, the woods used, construction, practices, quality assurance, and so on.  He then has them delivered to his home facility in California, where they are further inspected and then distributed directly by him to his dealers.  I am one of them.  They are the only Chinese made product I will have here in my shop.  Why?  Because they are personally managed by Kenny.  He vets everything and anything to do with the process of building those guitars that he puts his name on.  He builds his Performance Series and Signature Series in Ben Lomond, California, if you’re curious.  Again, the New World Series, built by Kenny Hill, including his Estudio Series and Player Series, are built in China.  Wow, how clear is that?

He prices his laminate model Estudios w/HSC at $895 and his solid body Players at $1695 w/HSC.  You’ll notice that in my listings for Kenny’s Estudio, it actually says, in clear black and white, that the Back and Sides are laminated.  I believe I’m the only dealer to say this clearly in his listings for any and all guitars with laminated back and sides.

Why?  Simple.  No BS, no nonsense.  Solid woods cost a lot of money.  I’m talking quality solid woods.  Have you seen a Player from Kenny Hill.   They are gorgeous.  The Spruces shimmer, the East Indian is straight with a ruddy color, browns and reds, the Cedars have medullar rays, etc.

I could use those woods on a guitar costing twice as much and wouldn’t blink.  You’re not finding that in a $1200 guitar brand new and I apologize ahead of time, because I don’t need to do so.  It’s not going to sound like an $8K classical guitar.  It’s not going to play like it, resonate like it, be musical or lyrical like it.  It’s not going to have world class woods on it, or even decent tuning machines.

Gods, this is surprising?  It shouldn’t be.  Why would a world class luthier bother putting in, I don’t know, 200 or 300 hours into a world class instrument with woods that cost more than your $1200 guitar and tuners combined, when godsmack me in my bloated and disturbed little head, they could just build a Chinese class guitar for $500, ship it, and put a nice HSC on it, and sell it to you thru themselves or a dealer for $1200?  Hot diggety doggy style, why didn’t I think of that?

Get real.  If you want a student level guitar, get one.  Don’t expect it to be $8K worth of sound and volume.  It won’t be.  My title should also include the word “reality”.

The truth is that these men and women, true luthiers, masters of the craft, are horrified by any one moron who would be so simple, so blithe, so ridiculously glib to say that their $1200 guitar built in China is better than or “as good” as that of a master’s luthier made instrument of 200+ hours.  To the point where they can and should laugh their asses off at such silliness of banter.

So, let’s be honest here.  Let’s be truthful.  Let’s be forthright, with zero games, zero nonsense.  People say stupid things all the time, heck, they’ll sell ice to an eskimo, tell them they should pay for it because the water came straight from the mountain springs deep in the Alps (reads came from a water filter made by Brita in my kitchen sink),  but it don’t make it true, and it certainly doesn’t make it right.  You want the straight talk, call me.  You want the nonsense, call our friend in Paraguay who will be happy to sell you a $5K piece of crap with no return policy or people who misrepresent $1K classical guitars as something that sounds “exactly” like a luthier built $8K guitar?  (this just blows my mind).

You can also deal with the guys who think that just because they have a collection of guitars, that this makes them an expert dealer, when clearly they are incapable of handling your classical guitar, setting it up, re-polishing it, shellac work, lacquer work, buffing, repair work, etc.  They truly have zero idea of how to pack and ship a guitar.  These same people have no interest in truly representing a guitar accurately or honestly, with no expertise behind their commentary, regardless of any flowery talk they throw on a site or at you.  They don’t understand the guitars to begin with, but “can speak with expertise”?  Expertise from where?  Fantasy Land?  You can’t even get shipping a guitar correctly.

Basically, I am increasingly upset with what I’m hearing from luthiers and private clientele, how they are treated by the corporate mentality, to the private dealer who has no business being in “this” business.  Crooks, incompetents, thieves (variation of crooks  LOL), inherently deceitful.  From Georgia, to the MidWest to California.   They don’t know how to setup a guitar, polish one, inspect one (I mean inspect it internally and externally), not having the ability to truly assess the condition or viability of an instrument.  But, they will happily up the price of a guitar given exclusives, meaning you can only go to them for the guitar, and happily wop you for an additional 30-50% more for the guitar, because, hey, they have an exclusive?  WTF is that?  More and more, in this business, it is becoming clear, from incompetence, to overpricing, to general bullshit, and I have to say it out loud, I’m freaking tired of it.  But…

Seriously, they make my job that much easier.  I’m good with that, people, keep it up.  As a result, my business increases, the luthiers who wish to work with me keep arriving (defectors from other dealers), and my consignment business has never been better.  So, thank you!  Thank you very much, you make my life better.  But then, there’s the following aspect of the business:

Even better, a lot of people are selling guitars they don’t build themselves, guys in Spain, famous luthiers that you wouldn’t believe, with their dealers in the West or Mid-West, and then whoa, there’s some real special guys, serious assholes right here in good ole America. Christe, some don’t even know what makes a great guitar, or heck, even a decent guitar.  But they’ll tell you they do and sell it to you for $1200, happily taking your money to the bank.  Assholes taking advantage of people who don’t know better, the American way, gone global.

You want the straight scoop.  You want true expertise with a willingness to say, “hey, I don’t know the answer, but I’ll find out for you”.  You want to talk with someone who totally gets you and what you’re looking for, able to listen and understand you perfectly. You want someone who knows the luthier language and can speak to them for hours about their methodology, tricks of the trade and what actually makes a guitar a guitar?   Cool, then call me…talk to me.  I have zero problem outting people that do bad things, in this business or any other.  I’ll talk straight, about anything, because I don’t know anything else.

There, guitar world, from America to Paraguay, to England to New Zealand, I had the balls to say it out loud.   A $1200 guitar from California made in China or a $3000 guitar made in Paraguay (I don’t care what wood they used or how pretty it might be) is never going to sound as good, be built as well, with meticulous attention to detail, as a fine classical guitar made by a world class luthier – a true master who truly knows their shit and costs a helluva lot more than that.  Truth and Honesty with a splash of reality.

Signed – RF Sayage – and imagine what the F stands for – written at the end of the 1st month of 2014 on a Friday morning when I definitely had better things to do.  OK, not better, but more important?

– updated with vim and vigor on March 2, 2017 because I can … ha!

 

The Practice of Practicing

By Blog, Latest From Rich, Player's Corner No Comments

A great article I found with the help of one of my old teachers.  It is about concert pianists, but can be applied to all musical performance situations and really, most anything else, athletics included.

Credits to Stephen Hough

Stephen Hough is a concert pianist by night, but his daytime interests include theology, art, hats, puddings… and writing about them. His website is www.stephenhough.com and he is @houghhough on Twitter.

http://blogs.telegraph.co.uk/culture/stephenhough/100070997/the-practice-of-practising/

 

Concert pianists spend much more of their lifetimes practising than they do playing concerts. It’s not just that pieces need to be kept in the memory (muscle and mind), but the very act of playing the piano is physical and athletic. It involves reflex and endurance. It may be true that you never forget how to ride a bicycle, but if you and it are rusty there’s not much hope of winning or even completing the Tour de France.

So we need to practise. But the key is how we make our time offstage best serve our briefer time onstage. A pianist who plays many concerts has little time to spare so it’s important that those spare hours, even minutes, are used well.

My teacher, Gordon Green, used to say, “in practise a perfectionist, in performance a realist”. In other words, prepare assiduously, tirelessly at home, but when onstage accept the situation at hand without wishing the piano were more in tune, the audience were more appreciative (or larger), you hadn’t made a mess of that octave passage and so on.

But being a “realist” sounds rather prosaic when faced with bringing to poetic, passionate life the masterworks of master composers. I might put it differently from Gordon: in practice an engineer, in performance a pilot. Nuts and bolts in a plane are incomparably important, but when you sit at the cockpit of a Steinway concert grand your eyes need to look ahead not underneath.

The purpose of practising is so that we (offstage as engineers) make sure that we (onstage as pilots) are completely free to fly to the destination of our choice. That destination is one involving imagination and creativity and spirituality and danger and ecstasy of course, not merely the A to B of playing the notes, but without the nuts and bolts in place we will never be airborne. The greatest interpretative vision of the final pages of the final sonata of Beethoven will nosedive to oblivion if we can’t play an even trill.

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So, moving inside the hangar, spanner at the ready, how do we practise? There are as many answers to that question as pieces in our repertoire, but maybe some signposts can help:

Study
Relish the task, whether beginning to learn a piece or whether revising one long familiar. Examine the score like a rabbi poring over a rare parchment. Decode the message behind the notation. Map out the journey. Look for the obstacles. Know the (good) tradition of historical evidence; distrust the (bad) tradition of ‘its always done like this’. You may be Brahms’s secretary in the practice room, but on stage you are his mouthpiece. And a composer’s message is always more than words: it’s a drama in which you and Brahms are as one character.

Finger
When starting to learn a piece I always write in fingerings. It aids memory, it emphasises the act of study, it discourages a sloppy “sight-read till ready” attitude, it forestalls nerves in a performance, it personalises the score. In the early years of a career we can be asked to step in at the last moment for a colleague who has cancelled. I remember an occasion when I was in my early 20s getting a call to play Bartok’s 3rd concerto with the Chicago Symphony and Esa-Pekka Salonen. There was about a day’s notice and I hadn’t played the piece for a couple of years. I could accept the date because the nasty, twisting passage towards the end of the third movement was fingered and thus still in my motor memory. It saved me a couple of hours work when I only had 24 hours to pack my bags and fly across the Atlantic.

Dissect
We need to know what might go wrong in a performance and why. There is no such thing as a difficult piece. There are merely moments in pieces which are problematic. The notorious coda of the 2nd movement of Schumann’s Fantasie op. 17 is a good example:


A is easy for the left-hand, moderately tricky for the right; B is hard for both hands; C is a little easier for both because the 5th fingers land on black notes; D is easy for both. To face this passage like a rabbit looking into the headlights of an approaching car is totally counter-productive. We do not face a steamroller. There are four wheels (or two which are parallel) and if the rabbit is not in the line of these it can scamper off into the forest unscathed.

Slow
Slow practice can be a complete waste of time if the mind is not working quickly. Simply to trawl through passages like a contented tortoise is a waste of the felt on your piano’s hammers. Good slow practice is more like a hare pausing to survey the scene – sharp in analysis, watching through the blades of grass, calculating the next sprint. My favourite kind of slow practice is the half and half variety. For example in a semiquaver passage I will play four notes at performance tempo then four notes exactly half the speed – then reverse the groups. It can sometimes be useful to do this with eight-note groups. It stops any tortoisian ambling and it focuses the mind quickly from one reflex to another. It is a hare with alert eyes.

Audience
There are two dangers to avoid in practising, firstly not to play as if you’re onstage, filling the hours crashing through pieces without improvement. This is a common occurrence in conservatories – Rachmaninov concertos pounded with adolescent passion and coarse, crude effects. But the second, more subtle danger is not to get stuck in a practising mode. This is related to mindless slow practice. All the focus when in the practice studio should be how we will play when in the concert hall. If something comes apart, don’t stop immediately. Guide the skidding wheels around the crashing corner for another meter or two, despite the sparks and screeches. A common student scenario: music flying along; train wreck; a second of silence; start at point of accident; continue. The point where things broke down is the fragile spot, the dodgy seam. It needs sufficient overlap of material to be strong. Go back before the mistake and practise beyond the mistake – then the mistake itself will be more safely repaired. Otherwise the very stopping and starting becomes a reflex – an ingrained repetition of breakdown.

Mind
As important as it is to have strong fingers – muscles, tendons, joints loose and lithe – we need a strong mind too. Strong in concentration, on and off stage; ever striving for improvement, but relaxed when none seems to take place; aiming the dart tirelessly at every bullseye, but gentle and kind when it clatters to the floor. Muscles are effective when they are able to tense and relax at will, not just when they bulge in a ripple of aggression. This is true for the physical side of playing as well as for the mental challenges. The mind’s clear vision is not a stare: it needs to be able to focus near and far with flexibility and wisdom.

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There is a well-worn saying: practice makes perfect. I don’t believe this, at least in reference to playing the piano: abstract “perfection” is rarely what we seek; but good practising makes it more likely that we will give a good performance. Its attention, its concentration, its tightening of the screws enable the concert experience to take wing in freedom.