Podcast appearances and mentions of Pepe Romero

En este episodio de la Sobremesa Cafetera, hablamos de ciencia y literatura. Pepe Romero no explica el problema que supone la basura

En esta edición de La Sobremesa Cafetera, Pepe Romero ha obsequiado al equipo cafetero con su presencia física para negociar en directo

En este episodio de La Sobremesa Cafetera se ha celebrado el regreso de Pepe Romero, ausente durante varias semanas por cuestiones familiares

Pepe Romero interview

“America's Leading Classical Guitarist” Philadelphia Inquirer “Taylor has brought a new aura of excitement to the concert stage. He is widely acclaimed by audiences, conductors and critics as one of the most fiery and charismatic guitarists of our time.” Manila Bulletin/Philippines “Jonathan Taylor has become one of the best American guitarists, recitalist and teacher of today.” ​Het Laastste News/Brussels Belgium “A Master in his field” Barbados Advocate “Bach's “Chaconne” seemed like the effort of two guitars. The “Leyenda” by Albeniz produced results equal to a convoy of guitars was truly a marvellous performance” Daily Nation, Bridgetown Barbados ​ “He plays exceptionally well the concert repertoire he demonstrates his ability to play contemporary music …the up-and-coming guitarist.” Soundboard Magazine - The Guitar Foundation of America “Jonathan Taylor's performance was magnificent it was a dramatic display of his virtuosity and clarity and inspiration.” United States Information Service USIS Taylor studied music at Chapman University on a Presidential Scholarship and headed Newport Institute of the Arts music department in Southern California, studied privately at the home of virtuoso Pepe Romero, as well as privately with Frederick Noad author of the classic book “Solo Guitar Playing” and in Master Classes with the great American Virtuoso, Christopher Parkening. Mr. Taylor has had a long and distinguished career, performing extensively for years throughout Europe, North and South America and Asia. In addition to concerts, Taylor has recorded extensively on the Classical International label in the USA and the Empire Master Sound Prestige label in Europe. His recorded pieces are so technically demanding that few can attempt them, much less perform them flawlessly… it has been said that the notes seem to just flow out of his fingers. Learn more: https://new.express.adobe.com/webpage/5R2b8Hv3U7p4r? This episode is sponsored by Outfy Outfy is a powerful social media management tool designed to assist small businesses promote their products online. By connecting to various marketplaces, such as Etsy and Shopify, Outfy retrieves product information and uses it to craft AI AI-assisted custom content like videos, animated gifs, and promotions. This engaging content is then shared across the seller's social media channels, enhancing visibility and driving sales. Learn more: https://www.outfy.com?utm_source=YH9lmbTy

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Good bike/body separation is key to leveling up as a beginner or even an intermediate rider. When each element of your body, the bike, and the trail work in concert, you achieve dexterity on the bike. Like the podcast? Send us a tip, here!  Referenced in this episode: Our Braking and Ride Beautifully episodes Pepe Romero talks about finger independence at about 5:22 of this video. It's just beautiful. 2023 UCI Mountain Bike World Cup Rider Brandon Semenuk (check this out) Centrifugal force is an outward force that pushes away from an axis of rotation on a revolving object. This is why it would be the force that pushes you into a berm, for example, because your force is moving outward away from the direction you're turning. Barrel roll trail in St. George, Utah Paid subscribers will receive a copy of Jamie's Bike Anatomy doc! Let's connect! Book a lesson with SimplyMTB or work with Danielle's project-based growth model at You Need a Thing. Please don't forget to rate, subscribe, and share this if it resonates! If you've found value in the podcast, consider sending us a tip, here!

Aaron breaks down this "ok" Classical Guitar LP from 1960. There is some nice work on this recording some, rare pieces by a very young Pepe Romero that he has never heard before. --- Send in a voice message: https://podcasters.spotify.com/pod/show/powellguitar/message Support this podcast: https://podcasters.spotify.com/pod/show/powellguitar/support

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The Solemnity of John the Baptist, the Precursor. A meditation preached in Lyncroft Centre, Toronto, by Fr. Eric Nicolai on June 24, 2023. Lk 1, 57-66: The time came for Elizabeth to have her child, and she gave birth to a son; and when her neighbours and relations heard that the Lord had shown her so great a kindness, they shared her joy. (...) All those who heard of it treasured it in their hearts. ‘What will this child turn out to be?' they wondered. And indeed the hand of the Lord was with him." Good thing Zechariah agreed with the name John. His tongue was loosened and he gave praise to God with the Benedictus. Joy rippled out throughout the region. It was the thanksgiving and joy at understanding the beauty and grandeur of the divine vocation. Each one of us has a divine vocation, a divine purpose. Have I too been filled with wonder at what God has designed for me? Thumbnail: Piero della Francesca, The Baptism of Christ, 1450s, tempera on wood (National Gallery, London) Music: Francisco Tárrega's "Lágrima" performed by Pepe Romero on an 1888 Antonio de Torres For more meditations, check my channel: https://www.youtube.com/c/EricNicolai/videos

Mark 12, 14-17: Is it permissible to pay taxes to Caesar or not? Should we pay, yes or no?' Seeing through their hypocrisy he said to them, ‘Why do you set this trap for me? Hand me a denarius and let me see it.' They handed him one and he said, ‘Whose head is this? Whose name?' ‘Caesar's' they told him. Jesus said to them, ‘Give back to Caesar what belongs to Caesar – and to God what belongs to God.' This reply took them completely by surprise. In response to this trap, set between the pharisees and the Herodians, on the delicate question of taxes to Caesar, Jesus responds with this phrase: Hand me a denarius and let me see it. Music: Francisco Tárrega's "Lágrima" performed by Pepe Romero on an 1888 Antonio de Torres. Thumbnail: Julius Caesar 44 BC. AR Denarius was minted at Rome by moneyer M. Mettius 44 BC.

Fr. Eric Nicolai preaches a meditation in Kintore College on May 13, 2023. We are unique with are own personal stories. Yet we have a lot in common, a series of bonds that holds us together with a common vocation, a common faith in which we are united. There is real communion among us, we are not isolated verses. Compendium: 194. What is the meaning of the “communion of saints”? This expression indicates first of all the common sharing of all the members of the Church in holy things (sancta): the faith, the sacraments, especially the Eucharist, the charisms, and the other spiritual gifts. At the root of this communion is love which “does not seek its own interests” (1 Corinthians 13:5). Music: Francisco Tarrega, Lagrima, played on guitar by Pepe Romero. https://www.youtube.com/c/EricNicolai/videos www.ernescliff.ca www.opusdei.ca

En esta sobremesa del programa La Cafetera de Radiocable.com hemos repasado, de la mano de Pepe Romero, algunas de las noticias de

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We beginnen deze podcast met rustig ademhalen en ontspannen. We raden de luisteraar in de eerste minuten van de podcast aan hetzelfde te doen. Floris vertelt eerst iets over de energetische opleiding die hij momenteel volgt bij het ITIP. Vervolgens doen Daan en Floris een ‘sharing' over wat er op dat moment in hen leeft. Floris legt daarna uitgebreid uit wat een sharing precies inhoudt. De begrippen ‘radicale eerlijkheid' en ‘geweldloze communicatie' komen voorbij. Daan improviseert op zijn nieuwe Pepe Romero-gitaar een stuk meditatieve gitaarmuziek. Daan komt naar aanleiding van een interview met Jaap Voigt (onder andere medeoprichter van het ITIP) over ‘goed sterven' terug op het beginthema van onze podcastserie ‘hoe te sterven als een blije ziel'. Het volgen van de eigen levensstroom en de vraag in hoeverre je levensloop al dan niet wordt bepaald door bewuste beslissingen komen ter sprake. Tot slot geeft Floris een update over zijn leven sinds onze laatste podcast in juli, met onder andere verhalen over zijn ‘Heroes Journey', tantra-festival en sexability festival in Scandinavië en Enbakka in Noorwegen.

Hosted by (ig and youtube) @guitar arrangers  @The Music Thief   @Donitalia  Guest  @Pepe Romero  Special thanks to Matt Denman and Bryan Hays for making this interview possible. https://www.romero-institute.com/ https://peperomero.com/ Pepe Romero Biography There are very few true living legends in the world of classical music, few who have sustained greatness and grown throughout their lives. Pepe Romero is such an artist. He has been honored by kings, heads of state, and major institutions-the encomiums continue to pour in. But to Romero, his most important contribution has been reaching the common man. He has communicated the richness and beauty of the classical guitar to millions of people throughout the world. He has, indeed, become an ambassador of classical music, and, correspondingly, of the classical guitar. But this gift did not just appear out of nowhere. Pepe is the second son of one of the greatest guitarists that ever lived—Celedonio Romero. And he is brother to two more musical phenoms—Celin and Angel Romero.  Pepe Romero has premiered works by some of the finest composers of the twentieth and twenty-first centuries. Joaquín Rodrigo, Federico Moreno Torroba, Lorenzo Palomo, Padre Francisco de Madina, Paul Chihara, Enrique Diemecke, Ernesto Cordero, and, most poignantly, Celedonio Romero, have written compositions for Pepe. Always a champion of music by composers in earlier periods of music history, he has also delved into rare archives to re-explore lost pieces by Fernando Sor, (world premiere and recording of Fantasie in d minor), Mauro Giuliani (world premiere recordings of Concerto no.2 in A major and Concerto no.3 in F major and Variations and Polonaise, Op.65), Francesco Molino (world premier recording of Guitar Concerto in E minor, Op.56), Ferdinando Carulli (world premiere recording of Guitar Concerto in E minor, Op.140), Johann Kaspar Mertz, Luigi Boccherini, (world premiere recording of all 8 guitar quintets) and others. Maestro Romero's many accomplishments include: world premieres of Rodrigo´s Concierto andaluz (with the Romero Guitar Quartet), Concierto madrigal (with Angel Romero), and Concierto para una fiesta (written for Pepe Romero); Federico Moreno Torroba's Diálogos entre guitarra y orquesta (Pepe was personally chosen by Torroba and Andrés Segovia for the world recording premiere of this work dedicated to Segovia with an extended guitar cadenza written especially for Pepe), Concierto Ibérico by Torroba (written for and performed by the Romeros), Concierto en flamenco by Torroba was premiered in Málaga (performed by Pepe with Angel Romero conducting); and Lorenzo Palomo's Concierto de Cienfuegos (with the Romero Quartet) and Nocturnos de Andalucía (both released on the Naxos label). Of the many guitar concertos by his father, Celedonio Romero, Pepe has performed the world premieres of Concierto de Málaga, Fiesta Andaluza and El Cortijo de Don Sancho. Other premieres include Troubadour Music for four guitars and orchestra by Morton Gould, Concierto vasco and Concierto flamenco by Francisco de Madina, Concierto festivo by Ernesto Cordero, Christmas Suite for four guitars and chamber orchestra by Massimo Paris, Concierto a Celedonio by Enrique Diemecke, Concierto Mariachi by Michael Zearott and the guitar concerto, Zareh, by Loris Tjeknavorian. He also revived the great orchestral work Metamorfosi de concert by Xavier Montsalvatge, with Gianandrea Noseda, and premiered as well as recorded the Concerto for Guitar and Orchestra with Trumpet Obbligato by Paul Chihara, with Neville Marriner and the London Symphony. In April 2014 Pepe Romero performed the German premiere in the Berlin Philharmonic of a new work by Lorenzo Palomo – Fulgores - for violin, guitar and orchestra. Pepe Romero has always felt, along with his father and brothers, that the sharing of one's art is a personal responsibility. Mr. Romero has served as Professor of Guitar at the University of Southern California, University of California at San Diego, Southern Methodist University, and the University of San Diego. Every summer at the Celedonio Romero Guitar Institute, currently held at Oklahoma City University, the Romeros conduct an intensive guitar workshop including master classes, private lessons, student concerts and a final concert featuring the students performing with the Romeros. Pepe has conducted master classes at the Salzburg Summer Academy, Córdoba Guitar Festival, and the Schleswig-Holstein Festival. In 2004 he was appointed Distinguished Artist in Residence at the University of Southern California's Thornton School of Music. His newly revised guitar method “La Guitarra” was published and released by Tuscany Publications in 2012. Currently he is finalizing a teaching video that discloses the principles of the Pepe Romero guitar technique.

¡Llega la revolución al estudio con la visita de Pepe Romero! Nos contagia su energía y comentamos las polémicas del verano.

In this episode, we look at the soundtrack of the 1995 movie of Sense and Sensibility by Patrick Doyle. We explore the themes used for the sisters contrasting both a classical style with emotional impactful moments and how their journey is told throughout. “Orchard House (Main Title)” - Little Women: Original Motion Picture Soundtrack by Thomas Newman, 1994 “My Father's Favorite” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Concerto in F Major for Piano and Orchestra, K 413: II Larghetto” - Mozart: The Piano Concertos, music by Wolfgang Amadeus Mozart, performed by Murray Perahia and the English Chamber Orchestra, 2006 “Quintet No. 1 for Guitar and Strings in D minor G. 445” - Boccherini: the Guitar Quintets, music by Luigi Boccherini, performed by Pepe Romero and Academy of St. Martin in the Fields, 1993 “A Particular Sum” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “My Father's Favourite (From “Sense and Sensibility”)” - The Music of Patrick Doyle: Solo Piano, music by Patrick Doyle, 2015 “All the Delights of the Season” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Third and Last Book of Songes, No. XV.  Weep you no more, sad fountains” - Dowland: The Collected Works, music by John Dowland, performed by Consort of Music, Anthony Rooley & Dame Emma Kirkby, 1978 “Weep You No More Sad Fountains” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, performed by Jane Eaglen, 1995 “All the Better for Her” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Patience” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “To Die for Love” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “The Dreame” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, performed by Jane Eaglen, 1995 “Devonshire” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Grant Me An Interview” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Leaving London” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995

JOAQUIN RODRIGO composed this beautiful guitar piece for the famous Spanish Guitarist ANDRES SEGOVIA. Our program presents guitarist PEPE ROMERO in this Concert.

De Tiny Tenor ukulele van Pepe Romero van dichtbij bekeken.

Los Angeles Guitar Quartet — Opalescent (Lagq Records) Jump to giveaway form New Classical Tracks - Los Angeles Guitar Quartet by “One could argue that the original goal was that we needed to get an ‘A' in this classical guitar ensemble we signed up for,” guitarist William Kanengiser said about how the Los Angeles Guitar Quartet started. “We're still working on it.” LAGQ was formed 40 years ago at the University of Southern California, and its members are celebrating that occasion with their new release, which highlights the varied colors of the guitar, Opalescent. “It started with a friendship I formed with Scott Tennant at one of Pepe Romero's master classes,” Kanengiser said. “This was before he arrived at USC, and Pepe was a member of Los Romeros, the most famous guitar quartet. He told Tennant and I that we should have a quartet. “It wasn't until two years later that we went from being the USC guitar quartet to the Los Angeles Guitar Quartet. That's why we're celebrating our 40th anniversary now.” Can you talk about Matt Greif, your newest member, who also studied with Pepe in Spain? “Greif joined our group, and we call him the new guy. He's only been with us for 16 years. We're still breaking him in. He was my student at USC and has done beautiful arrangements for us, one of which is featured on the new recording. “It was heartwarming to see the arrangement of Michael Hedges' Aerial Boundaries. I hadn't realized he'd been gone for 25 years. To hear that piece of music brought back to life by four guitarists makes Hedges sound like he was actually playing four guitars.” Why is it so important to have Hedges' Aerial Boundaries on this recording? “Hedges had a groundbreaking recording on Windham Hill called Ariel Boundaries. It just blew the socks off everybody. It changed finger-style guitar forever. “The funny thing is, quite a bit of this arrangement is a straight cover of what he did. It speaks to his amazing virtuosity and creativity that it takes four of us to do what he did on one guitar. Greiff went off the beaten track in the arrangement with a minimal 12/8 section that also beautifully adds his voice to the piece. It seamlessly works its way back to the original Hedges' track later on.” Why did you dedicate the album to Australian composer Phillip Houghton? “He's most famous in the guitar world for his suite for four guitars called Opals. It attempts to portray the glints and reflections you see when you rotate the Australian national stone, the opal. “He passed away three years ago and when we had started playing Opals, we thought we should record this beautiful piece. That work started the whole idea of what other pieces can reflect on the intersection between light and sound, or between the colors of the guitar and the colors you would see in your mind.” How does Frederick Hand's The Chorale turn your quartet into a choir? “It's unusual for us to have each person playing a single line as if we were singing. It's probably the hardest thing to do with four guitars. “John Dearman liked to say, ‘You know, it took us half our career to figure out how to play together and the other half to figure out how not play together, but to be together.' That requires years, and a lot of telepathy.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now More on Los Angeles Guitar Quartet Listen to the Los Angeles Guitar Quartet's recent Twin Cities concert New Classical Tracks Los Angeles Guitar Quartet Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Los Angeles Guitar Quartet — Opalescent (Amazon) Los Angeles Guitar Quartet (official site)

Play with passion!! My guest is high school friend Keith Rodriguez. We didn't know each other really in HS but what we did know about each other back in the day was our impeccible musical taste. It was fun to reconnect with Keith and get to know him. Classical guitarist Keith Rodriguez received his Bachelor's degree in Music from UCSD and his MBA in guitar performance from San Diego State University, both under the instruction of Celín Romero.  During this time, he had the privilege of receiving several lessons from the Romero quartet´s founder, Celedonio Romero.  He continued to perfect his craft by doing post-graduate studies at the Conservatorio Superior Real de Madrid under the instruction of José Luis Rodrigo.  In 1996, he was awarded a scholarship to attend the renowned masterclasses “Música en Compostela”, focusing on Spanish guitar music and technique.  He has attended masterclasses under the instruction of Pepe Romero, David Russel, Piero Bonaguri and Gabriel Estarellas amongst others.  He has performed as soloist with recitals in México, USA, Spain and Portugal.  The Spanish periodical El Mundo has said after one of his performances “perfect intonation, impeccable interpretation and a diverse program were a delight for all those who attended a glimpse of what was sure to be a brilliant career”.  He has performed extensively both as a soloist as well as forming part of various chamber music ensembles, combining guitar  with cello, violin, and voice, etc.   Beginning in 2009, he discovered a passion for choir conducting through the J.H. Newman Colegio Internacional, where he has been teaching music history, choir and guitar since 2005. This choir has been awarded numerous first prizes in the Comunidad de Madrid school choir competitions, as well as receiving a silver medal at the 2018 Spanish national youth choir competition.    In addition to performing classical music, he has performed jazz with the Keith Andrews Quartet, as well as blues with his previous group The Blue Roosters. He has also composed music for diverse theater performances and is active as both a performer and music educator.   Originally from San Diego, he moved to Madrid in 1995 to pursue his musical studies, where he has been living since with his wife and four children.   Keith has truly blessed us with lots to listen to. Here's the full performance of the song I played a brief part of during the interview: https://www.youtube.com/watch?v=-8hLHVrBIiIHere's the Under Pressure performance by him and his students: https://s3.us-west-2.amazonaws.com/life.revelrevel/public/Under%20Pressure%20jhnewman%20video%20final_2.mp4Here's his newest video: https://youtu.be/-8hLHVrBIiI I had never heard of Celin Romero--here's his info too: https://en.wikipedia.org/wiki/Celin_Romero   Other topics covered:No books to mention-SHOCK AND AWE! IKR? but these other items might interest you. The Netflix show I mentioned with Pope Francis is called Stories of a Generation https://www.netflix.com/title/81306329(And don't forget: my bookshop.org list of recommended books is always available. If you want a personally curated list of banned books too, please let me know.) The creator of this School of Community: https://en.wikipedia.org/wiki/Luigi_Giussani NOTE on Spotify: On the ep I talk about the Spotify situation. Here I'd like to address that if things haven't changed by my next episode, I'll be pulling my podcast off of the platform. As you can see from my stats below, this is purely a principle stance as my numbers on spotify don't hurt them at all. I apologize to these listeners though. Please use your voice to be heard that you won't stand for misinformation (and Rogan is still on all the other podcast apps, so, please support your musicians! My Spotify Stats: All time starts 160 streams 99 listeners 52  

From an alegrias by Celedonio Romero to a sublime melody by Franz Schubert to a song by a Tyneside composer to a song inspired by Snow White!

In this episode, we play highlights from a concert presented in Armstrong Auditorium on November 11, 2021 — given by the Romeros Guitar Quartet. Pepe Romero and Paula Malone — Vocal/Guitar Sets 11 Nov. 2021www.youtube.com/watch?v=bXph1wSTZrs

Listen to Aaron discuss the playing of world-class guitarist, Pepe Romero and enjoy the album --- Send in a voice message: https://anchor.fm/powellguitar/message Support this podcast: https://anchor.fm/powellguitar/support

Radio13 Digital presenta: Medio Ambiente. Pablo Vázquez nos transforma y genera consciencia ecológica cada Martes en punto de las 13:00 horas sólo por IGTV y Facebook Live. ¡No se lo pierdan!

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Patrick Kerber holds performance degrees from Loyola University and the University of New Orleans, and his studies include years of private study with Pepe Romero. As a solo guitarist, Mr. Kerber has performed on stage, radio, and television. Join us Sunday, January 10th night at 7 PM, as we listen to Mr. Kerber's original compositions and arrangement of the music of Gasper Sanz for guitar quartet.

This LP is a treasure of both Pepe Romero's playing as well as the music of Mauro Giuliani Discogs Info --- Send in a voice message: https://anchor.fm/powellguitar/message Support this podcast: https://anchor.fm/powellguitar/support

Antonio Reyes y Diego del Morao. Gema Caballero. Pepe. Los Planetas. La Susi. Parrita.

Nuevo episodio con el análisis de los partidos donde los equipos de la NFC es local. Mau, Chato, Pepe Romero y Adrián nos traen sus comentarios y consejos de #FantasyFootball para la semana 7. Los partidos analizados son: NYG @ PHI DAL @ WAS CAR @ NO DET @ ATL SEA @ ARI CHI @ LAR Les recordamos que pueden enviar sus preguntas a nuestra cuenta de Twitter en www.twitter.com/lacuevadelfan, Instagram https://www.instagram.com/lacuevadelfan/ o si prefieren, pueden llamar y dejar un mensaje de voz al +52 55 5351 0816.   Música de: https://taketones.com/track/we-move-forward License N: TT000270157 Audionautix, YouTube Audio Library

durée : 00:28:49 - Concertos pour guitare dédiés au Gentilhomme Segovia - Deux œuvres concertantes dédiées à Andrés Segovia et interprétées en solistes par Pepe Romero et John Williams : La Fantaisie pour un gentilhomme de Rodrigo, et le 1er Concerto pour guitare et orchestre de Mario Castelnuovo-Tedesco.

En este episodio, detuvimos la bola con Pepe Romero, actual técnico de All Boys. Charlamos del día a día con un plantel profesional, en su caso del ascenso, nos contó experiencias personales y ciertos obstáculos que tuvo que pasar a lo largo de su vida como técnico. ¿Que es jugar bien? ¿Como es dirigir en el ascenso? ¿Como hacer llegar la idea al plantel con resultados que no acompañan? Todas estas preguntas, Pepe las respondio con clase y experiencia. Hablamos de todo, pero principalmente, de fútbol.

¡Ya está aquí la ración semanal de vuestro podcast favorito! Con las voces de Juan Tejerina, Juan Pedro Prat, Ramiro Díez y Javier Bello, con la participación especial de Pepe Romero de Pendulo Studios y nuestra queridísima socia ViMa. Comenzamos la actualidad con las declaraciones de Platinum Games de que no cierra sus puertas y que seguirá desarrollando videojuegos para otras empresas. Sega anuncia Game Gear Micro y su tecnología de juego "en la niebla" para recreativas. Por su parte, Konami editará juegos desarrollados por terceros, empezando por Skelattack. Por último, hablaremos del nuevo trailer e información sobre el DLC de Pokémon Espada y Escudo. Después de meterse a fondo en desolador mundo de The Last of Us Parte 2, Juan Tejerina nos habla de sus impresiones, completamente libres de spoilers. En la sección retro, Javier Bello recuerda el fugaz ciclo vital de Game Gear, la portátil con la que Sega plantó batalla a la Game Boy. En el caspómetro suenan fuertes los rumores de Horizon Zero Dawn 2 podría abrir la generación para PS5, ¿será verdad? Luego le tocará el turno a las preguntas de nuestros socios, el sorteo semanal y el cierre con la sección a qué estamos jugando. [05:11] - Actualidad [01:06:34] - Impresiones TLOU2 [01:45:23] - Retro: Game Gear [01:59:33] - Caspometro: HZD2 [02:06:19] - Preguntas de los Socios [03:14:19] - Estamos Jugando

¡Ya está aquí la ración semanal de vuestro podcast favorito! Con las voces de Juan Tejerina, Juan Pedro Prat, Ramiro Díez y Javier Bello, con la participación especial de Pepe Romero de Pendulo Studios y nuestra queridísima socia ViMa. Comenzamos la actualidad con las declaraciones de Platinum Games de que no cierra sus puertas y que seguirá desarrollando videojuegos para otras empresas. Sega anuncia Game Gear Micro y su tecnología de juego "en la niebla" para recreativas. Por su parte, Konami editará juegos desarrollados por terceros, empezando por Skelattack. Por último, hablaremos del nuevo trailer e información sobre el DLC de Pokémon Espada y Escudo. Después de meterse a fondo en desolador mundo de The Last of Us Parte 2, Juan Tejerina nos habla de sus impresiones, completamente libres de spoilers. En la sección retro, Javier Bello recuerda el fugaz ciclo vital de Game Gear, la portátil con la que Sega plantó batalla a la Game Boy. En el caspómetro suenan fuertes los rumores de Horizon Zero Dawn 2 podría abrir la generación para PS5, ¿será verdad? Luego le tocará el turno a las preguntas de nuestros socios, el sorteo semanal y el cierre con la sección a qué estamos jugando. [05:11] - Actualidad [01:06:34] - Impresiones TLOU2 [01:45:23] - Retro: Game Gear [01:59:33] - Caspometro: HZD2 [02:06:19] - Preguntas de los Socios [03:14:19] - Estamos Jugando

Salimos a la Cancha mano a mano con José "Pepe" Romero, entrenador de All Boys.

Bienvenidos a TRAS EL DIAMANTE, un podcast sobre béisbol que pretende ir más allá de la MLB (aunque casi nunca se consigue).Nos volvemos a reunir en youtube!!!! Todo aficionado sabe que la Tommy John es esa cirugía de codo a la que se someten muchos jugadores, sobretodo lanzadores, y de la que se tarda un año en volver. Pero, ¿en qué consiste exactamente? ¿Por qué la recuperación es tan larga? ¿Cómo es posible que algunos peloteros vuelvan totalmente recuperados mientras que otros no vuelven a ser los mismos?Mario Gomez y Alex Carande cuentas con unos invitados de primera para profundizar en el asunto: José Tomás Lasida, “Seto”, Pepe Romero, fisio de la FCBS y del UE Cornellà, y el doctor Àngel Carrillo.Blog de Pepe Romero: https://peperomerohervas.wordpress.com/Web de la FCBS: https://strikecat.wordpress.com/ Artículo de Àngel Carrillo: http://sportsmadeinusa.com/beisbol/cirugia-tommy-john/Twitter de Tras el Diamante: https://twitter.com/TrasElDiamante Canal de Youtube: https://www.youtube.com/channel/UCflQlBZHrJX7i2RH57YOgdA/featured Twitter de Mario Gómez: https://twitter.com/mario19g Twitter de Alex Carande: https://twitter.com/AlexfCARANDETwitter de Àngel Carrillo: https://twitter.com/angelllcarrillo Twitter de Seto: https://twitter.com/setoarguiTwitter de Pepe Romero: https://twitter.com/peperh8

¡Bienvenidos a un nuevo episodio de vuestro podcast favorito! Con las voces de Juan Tejerina, Ramiro Díez, Juan Pedro Prat, Javier Bello y el invitado especial de la semana, Pepe Romero. Empezamos la actualidad hablando de las ventas de Shenmue 3, que al parecer no han convencido en Japón, Respawn afirma tener muchas ganas de hacer una secuela de Star Wars: Jedi Fallen Order, ya hay a la venta novelas de Death Stranding y The Pokémon company demanda a los jugadores que piratearon Pokémon Espada y Escudo El debate de esta semana es sustituido por una entrevista a Pepe Romero, programador en Pendulo Estudios, contándonos como ha vivido la producción de su último título: Blacksad. En retro, Javier Bello desata su lado más salvaje recordando la euforia destructiva que fue Carmageddon. En el caspómetro se comenta que Warner Bros. podría anunciar un nuevo juego de Batman durante los Game Awards. Luego le tocará el turno a las preguntas de nuestros socios, el sorteo semanal y el cierre con la sección a qué estamos jugando. [04:44] - Actualidad [56:32] - Debate [01:45:31] - Retro [02:02:35] - Caspometro [02:11:51] - El socio opina [02:38:13] - A que estamos jugando

¡Bienvenidos a un nuevo episodio de vuestro podcast favorito! Con las voces de Juan Tejerina, Ramiro Díez, Juan Pedro Prat, Javier Bello y el invitado especial de la semana, Pepe Romero. Empezamos la actualidad hablando de las ventas de Shenmue 3, que al parecer no han convencido en Japón, Respawn afirma tener muchas ganas de hacer una secuela de Star Wars: Jedi Fallen Order, ya hay a la venta novelas de Death Stranding y The Pokémon company demanda a los jugadores que piratearon Pokémon Espada y Escudo El debate de esta semana es sustituido por una entrevista a Pepe Romero, programador en Pendulo Estudios, contándonos como ha vivido la producción de su último título: Blacksad. En retro, Javier Bello desata su lado más salvaje recordando la euforia destructiva que fue Carmageddon. En el caspómetro se comenta que Warner Bros. podría anunciar un nuevo juego de Batman durante los Game Awards. Luego le tocará el turno a las preguntas de nuestros socios, el sorteo semanal y el cierre con la sección a qué estamos jugando. [04:44] - Actualidad [56:32] - Debate [01:45:31] - Retro [02:02:35] - Caspometro [02:11:51] - El socio opina [02:38:13] - A que estamos jugando

Scott Tennant is a founding member of the the Los Angeles Guitar Quartet, the GRAMMY-winning ensemble composed of alumni of the USC Thornton School of Music, and is himself considered to be one of the world’s top classical guitarists. During his student years at USC (1980-1986), he studied with Pepe Romero, James Smith and was a chosen performer in the USC Segovia Masterclasses of 1981 and 1986. He has authored several books and articles on guitar technique, including the best-seller Pumping Nylon, which has attained a “cult” classic status. It has become a standard text in conservatory and university guitar programs around the world.Tennant has made numerous recordings as a soloist on the GHA, Delos and GSP labels, and with the LAGQ he has recorded for GHA, Delos, Sony Classical, Windham Hill, Deutsche Grammophon and Telarc labels. Their Telarc release LAGQ Latin was nominated for a Grammy award, and it was their current Telarc title LAGQ’s Guitar Heroes that won a Grammy as the best classical crossover recording of 2005. Tennant is best known for his performances of Spanish music, and his recordings of the music of Joaquín Rodrigo.Due to a technical glitch, the conversation enters mid-stream as we were talking about the way classical guitar playing levels have changed over the years. We go on to discuss his injury that nearly ended his playing, his recordings, we talk about traveling and balancing a teaching schedule, the state of the recording business these days and much more. Enjoy!

Legendary guitarist, Pepe Romero, sits down with Inside the Notes to talk about his life as a musician.  He tells us tales of studying with his father, his incredible experiences on and off the stage, and the true purpose in the study of music.  There is so much we can learn from this cherished musician.

durée : 02:59:55 - Été Classique Après-midi du jeudi 04 juillet 2019 - par : Rodolphe Bruneau-Boulmier - L’Espagne en majesté ! du Padre Soler à la famille Halffter, de Maria Bayo à Pepe Romero, des gitanes aux chanteurs de flamenco. - réalisé par : Pierre Willer

Hello Listeners, Thank you for join me on my journey if you are new to the show and a big Thank You if you are a returning listener to the show. On this episode we dig into the NAMM 2019 interview bag and highlight an amazing guitar maker that comes from a long line of musicians in its heritage blood line. We also have some bad news to cover early in the show that broke our hearts. If you like what you are listening to, please subscribe to this podcast. If you don't like what you hear fill out the comment area below so I can delete it later (J/K). If you have any ideas, comments or wish to speak to us- feel free to drop us a line at https://fretmansblog.com. For more information on Pepe Romero's Creation, visit their website at https://www.romerocreations.com. --- Support this podcast: https://anchor.fm/fretmanspodcast/support

In the first episode of Season 2, David sits down with a living legend of the classical guitar, Maestro Pepe Romero. Over the course of a half-hour conversation, they discuss topics related to Pepe’s long history with the instrument and his deep love for music. In addition, Pepe shares his teaching philosophy, specifically the way he is able to release the true musician inside every student and help them find a way to express themselves through the guitar. Later on, Pepe talks about his upbringing as a member of “The Royal Family of Guitar” and what it was like studying with his father who to this day has been his one and only teacher. About the artist: Pepe Romero has been surrounded by music and the classical guitar since the minute he was born - literally. After a lifetime of dedication to the instrument, Pepe has been the recipient of many honors including the prestigious title “Order of Isabel la Católica” and a knighting from the King of Spain. Pepe has an honorary doctorate in music from the USC Thornton School of Music where his is an adjunct professor. “Pepe Romero makes his guitar talk to itself … [he] never just plays a piece, never just makes it sing. He creates a conversation with it, a conversation between the musical parts, a dialogue on one instrument.” - Los Angeles Times Intro Music: Couperin Les Sylvains (Scott Tennant) Rumores de la Caleta (Albeniz) The Miller's Dance (de Falla)

Jonathan Taylor is a master of classical guitar who was voted by guitar player magazine's 13th best guitarist in the world. He's studied with Pepe Romero, Christopher Parkening, and Joe Pass, and has performed for royalty and heads of state all over the world. In addition to being a classical guitar master, he's also a […]

Jonathan Taylor is a master of classical guitar who was voted by guitar player magazine's 13th best guitarist in the world. He's studied with Pepe Romero, Christopher Parkening, and Joe Pass, and has performed for royalty and heads of state all over the world. In addition to being a classical guitar master, he's also a […]

Nieuwe CD's, concert-tips, en een live-opname van gitarist Pepe Romero in de Kaufmann Concert Hall, New York.

Alexander Dunn, Head of the Guitar Program at the University of Victoria talks explains “how good teaching has now been spread around the world, so now, we can hear high-level players from all corners of the globe” – and: “how it’s not unusual to see an eleven – year old from Shanghai or a twelve – year old from Eastern Europe playing at - or beyond the level of Julian Bream or Andres Segovia in the seventies.” Alex discusses how the guitar has matured from the early era and the welcome end to what he terms “the Segovia tyranny.” We also talk about how “it’s absolutely imperative for the musicianship of a serious guitarist to always be engaged with other people” like singers, wind instruments, string instruments, ensembles or orchestras. The modern classical guitar itself is also discussed as it’s changed so much physically in the last twenty-five years with innovative methods of construction. And Alex talks frankly about how today’s classical guitarists, in large, are not prepared for a tough job market “because schools don’t offer curriculum that will tell them what will happen in the real world.” We’ll feature an exciting clip of Alex and Pepe Romero performing a guitar duo with orchestra! Get tuned-up with virtuoso guitarist and teacher - Alexander Dunn!

Daniel Ho is a 6-time GRAMMY winning artist, producer, composer, multi-instrumentalist, and audio engineer from Honolulu, Hawai'i. Playlist Spotify playlist Guest Daniel Ho is a 6-time GRAMMY winning artist, producer, composer, multi-instrumentalist, and audio engineer from Honolulu, Hawai'i. He began his professional career in the ‘90s as the leader of Billboard-topping contemporary jazz group Kilauea and has since gone on to win innumerable awards, tour all over the world, and compose, perform, record, and produce dozens of solo and collaboration albums. Most recently, Daniel collaborated with Japanese rock legend Tak Matsumoto, traditional Mongolian group The Grasslands Ensemble, and even performed the National Anthem at a Clippers Game at the Staples Center. Additionally, Daniel collaborates with luthier Pepe Romero in the creation of original ukulele instruments. Between the Sky & Prairie - album by The Grasslands Ensemble and Daniel Ho (CD / iTunes) "Pineapple Mango" by Daniel Ho (CD / iTunes / instrumental version on Spotify) Daniel Ho created original instruments with master luthier Pepe Romero: Tiny Tenor 'Ukulele ST Concert 'Ukulele XS Soprano 'Ukulele Ukeboard Daniel Ho also designed and produced the Shakerlele and Bongolele instruments with Ohana. Electric Island, Acoustic Sea - album by Tak Matsumoto & Daniel Ho (CD / iTunes) “Sakura Sakura” from the album Our World in Song by Wu Man, Luis Conte, Daniel Ho, Jhou Yi-cian, and Wu Chen-chun (CD / iTunes) More of Daniel Ho’s CDs, books, and merch here. Lightning Round Questions ​​What genre is your music? Two years ago, it was classical. Last year, it was stadium rock. This year, it was Mongolian world music. Performance ritual? Daniel plays through his entire show the day of and uses his ukulele piece "Amis Rondo" as a technical warm-up. (CD / iTunes / Songbook + CD) A modern/technological tool that’s extremely helpful to your practice? Yamaha P-115 keyboard, which has a built-in metronome, plays like a piano, and only costs $600. What failure that turned out for the best? His last marriage. "Life has been absolutely amazing since then." Something besides music that you’re obsessed with right now? Finding a better way to live. A piece of art that changed your life? The tiny tenor ukulele, which Daniel envisioned and luthier Pepe Romero created with him. Counterpoint Is there such thing as "good" music or "bad" music? Something Old Moog Sub 37 synthesizer (instrument used in the 80s and on the Stranger Things soundtrack) Something New "feelings change" by yaeji - it beautifully breaks a traditional music theory rule called parallel 4ths (iTunes / Spotify) Something Borrowed The band S U R V I V E, an analog synth band that uses the 80’s-era Moog Sub 37. Check out their song "A.H.B." (iTunes / Spotify) Something Blue The Blue Notebooks album that blends contemporary classical with electronic and spoken word featuring Tilda Swinton. Check out “The Blue Notebooks” and “On the Nature of Daylight.” (iTunes / Spotify) Connect Facebook group: Join our Facebook group, Underscore Society, to nerd out on music, tell us your favorite songs, and debate our Counterpoints! Email list: Sign up for our mailing list to receive Underscore updates, offers, and opportunities to connect with other music aficionados. Socials: We’re @underscorefm on Facebook, Twitter, and Instagram. Email: Thoughts, questions, suggestions? We’re at info@underscore.fm Thomas is @thomaskotcheff on Twitter and Instagram. Chrysanthe is @chrysanthetan on Facebook, Twitter, and Instagram.

This process is designed to provide a guitarist with suggested goals for their practice sessions and a process to achieve those goals. This process attempts at every step to explain the goals of each step of the process, why they fit into that part of the process, and tools used at each step to achieve those goals. One of the objectives of this practice process is to illuminate as much as possible about the musical and technical aspects of a new piece and to make as many interpretive/musical decisions as possible before addressing physical (technical) aspects of its performance on the instrument (Clickstein 33).  The process then attempts to provide different tools (visualization, singing, rhythmic practice, slow practice, memorization exercises, etc.) for achieving on the guitar the musical, interpretive, and expressive decisions determined in the earlier parts of the process. The ultimate goal of this document is to increase the speed of the learning process by quickly and effectively making interpretive musical assessments of a piece through analytical tools and score analysis methods that allow one to hear and understand the music before playing the instrument. The process then takes the reader through stages of actually physically learning a piece using practice tools from a variety of sources in the bibliography. Sources used for this project include guitar teachers I have taken lessons with, videos of guitarists talking about their process, and method books that discuss how to practice. A key goal of this process is to determine musical goals and how to achieve those goals in the beginning of the process as quickly as possible before touching the instrument.  An additional purpose of this practice method is to help with memorization by giving the brain more information to associate with for each piece a performer is working on. There are several examples provided in this document of guitarists claiming that when playing from memory, and especially during a memory slip, they have other associations that help them recall music (Glise 93, Clickstein 84-86). Its easier to remember a measure of music as a chord shape of open C or the finger pattern of a G lydian scale or a ii V I chord progression than it is to remember the notes in the measure individually (Sor 28-31, Glickstein 87-89). This concept is called chunking in psychology and is similar to remembering a telephone number in three chunks such as (800-700-6000) versus all one big number (8007006000). Often novice guitarists spend so much time trying to remember the notes from the score in their proper order that they miss the larger scale or chord patterns they imply or the exercises they have done that match what is in the music (Sor 28-31). It is easy to try to memorize every note of a passage and miss completely that it is a scale one has played several times before.   Another example of aiding memorization with multiple types of information from the score is seen in the habit of many professional performers who learn to sing pieces they are working on (Glise 93). When you learn to sing a piece, your inner ear often guides your hands when performing because you have associated sounds with physical actions (lessons I took from Rene Izquierdo and Andrew Zohn as well as sources in the bibliography including Klickstein 86, Kageyama “8 Things Top Practicers Do Differently, Romero 122-124). The ability to trigger memories of physical motions by associating them with another body sensation is similar to the triggering of normal memories from every day life. A smell can trigger visual, auditory, and emotional memories of a thanksgiving dinner for example. This ability for the brain to reinforce memories through remembering multiple aspects of the thing being remembered is a potential tool when learning music. The more ways we learn or examine the score, the easier it is to remember (Carey, Romero 122-124).  Another element of this process is to brake the act of practicing down into individual problems. Too often teachers prescribe time spent practicing as the fix to all problems. If you can’t play it, “practice more” is often the common advice. Alternatively, it is often said that focused practice is more beneficial. It is the assertion of this blog and podcast that practice can and should be the act of identifying and solving physical (technical) problems of playing the instrument that allow a performer to express their interpretation and/or analysis as clearly and easily as possible (Carlevaro 22-23). This blog/podcast’s goal is to create a guide for how one might practice more effectively by defining what “focused practice” means. In order to practice effectively, one must be able to develop musical goals and find ways to execute those goals on the instrument. A player must also be able to identify problems in each passage preventing the execution of musical goals and then create specific solutions for those problems (Kageyama, Noa. “8 Things Top Practicers Do Differently,”). It can’t be understated how important it is to think of technical decisions as results of previously determined musical decisions (although a performers perspective on interpretation may evolve as they spend time physically practicing a piece). Technique serves the music, it is not an end unto itself (Carlevaro 12). An example in guitar is left hand fingering. A single note on the guitar can often be played on different strings and at different positions on the neck, yielding different qualities of tone and vibrato at each location. While the location of the note is to some degree a purely technical decision, the reason to choose one location over another is also and primarily a musical one. To pick the fingering that is easiest, most familiar, or written by an editor may be technically sound but musically inappropriate compared to other available options.  Sound technical decisions are easier to make when a performer has a concept of sound for a work in their mind (Klickstein 43). Concept of sound means a performer has some sense, ranging from partial to complete, of how they want the piece to sound when it has been practiced and at performance level. Many novices and amateurs do not know how a piece is supposed to sound, or have not been taught how to develop a piece’s concept of sound before practicing the piece on the instrument (Ryan 210). This partly explains the slow progress of beginners: if a performer does not know what a piece is supposed to sound like and does not know how to make decisions that create a concept of sound, they usually struggle to know what to listen for while practicing or what to fix. The performer must learn how to develop a concept of sound for each piece and then how to listen to themselves intently to make sure that the physical motions and technical decisions they make yield the desired sound (Carlevaro 28-29). This idea of a preconceived final sound probably explains why so many great musicians started by transcribing or imitating recordings by other great musicians by ear: they learned what the music could sound like by listening intently and meticulously to other great players. “One starts by hearing the appropriate sound inside the mind and, while the body recalls the physical sensation of the sound, the hands automatically go to the necessary place and make the necessary movements.”  -Pepe Romero, (Romero 122-124)  As the performer advances and gains more experience, elements of this process may and should be adjusted as the user of this practice process discovers what works better for them. A performer’s first piece or pieces should follow this practice method closely. After those initial pieces are learned well using this process the performer should consider themselves ready to create their own process. The performer risks not knowing what tools from this system work for them and what tools do not work if they do not try everything and do so for enough time to truly determine the value. I think many teachers are afraid to offer performers their practicing process in an organized format because they fear they are imposing their perspectives or process on their students. Often teachers also fear that because there are so many different problems to be solved in each piece, generalizing the practice process is either not beneficial or perhaps even harmful. Many musicians seem also to be unaware that they have a process because their process is so internalized that it is subconscious. There also appears to be a culture within music that ascribes talent or time spent practicing as the solution to many of the problems faced by all musicians when the solutions actually come from how the performer identifies problems and spends their time while practicing. The goal of this document is to at least make an attempt at making the practice process more organized, rigorous, and clear. Musicians also let the culture of music as an “art” prevent the community from viewing music as a trade like engineering or welding that has skills that can be more methodically taught (perhaps a holdover from 19th century attitudes about art and artists). There is also a valid argument that what works for one musician may not work for another. These attitudes creates a reluctance of many musicians to systematizing the practice process. While individuals often have unique health circumstances, doctors are often able to prescribe the same treatment to many patients with routine problems. This document hopes to demonstrate that the same attitude can be taken with the practicing process. Yes, sometimes the cause of a headache is not something that can be treated by Advil, But doctors do not avoid trying generic solutions just because their patients are individual postmodern snowflakes.  Musicians and academia take postmodernism too seriously and it inhibits pedagogy. To say that some of my performer learn better visually, some learn by listening, and some by touching, therefore I will provide them with very little or nothing and let them figure it out for themselves is, to me, a huge flaw in the culture of post modern education. As an instructor, I should have options and tools that all three learners can utilize, provide them with those tools, and then let them decide what works for them. To give them nothing is inefficient and a unethical. The point of this practice process is to help teach performers how to think in the practice room. Too often lessons are set up as follows: performer practices, performer comes to lesson, teacher offers feedback, performer is expected to draw broad principals from teachers feedback. This process is an effort to teach a man to fish instead of identifying problems after the fact. I want the teaching and learning process to become proactive, not reactive. I feel the need to say a word about analysis and music theory as it is a key component of this method. Analysis of a piece as done in many college music theory courses is often frowned upon by musicians. It is even sometimes viewed to be impractical. Some fear that analysis of the music gets in the way of the intuitive artistic process of music. However, all great performers analyze their music.  If we define analysis as simply the act of identifying auditory patterns in the score and making determinations on phrasing, articulation, and technique to articulate those patterns, all performers do this. The reason performers believe they don’t analyze music is often because the way they do it and what they look for are different than the analysis taught in music theory. Performers may focus less on harmony than they do on texture in their analysis. Performers may internalize their analysis using their ear and their voice instead of doing so in writing or with the scale and chord vocabulary from theory. While music theory often focuses on scale and harmonic analysis because it can be done on paper in the classroom, performers may tend to focus more on rhythm in order to create articulation and phrasing. I am skeptical of any musician who says they do not analyze a piece, but I think its fair to say that each musician might analyze in different ways. One goal of this practice process is to demonstrate that music theory and analysis can be applied in ways that are more practical than simply writing roman numerals for harmony under the staff.  It can’t be overemphasized that this document is not meant to determine how a performer practices for the rest of their life. It is a guide for how to approach a piece for a performer of any level who believes their practice time could be more effective. Readers of this document can and should modify it to suit themselves after they have attempted all the tools offered in this system. This process is informed by my own practice experiences, observations of difficulties my students have had, tips from multiple eras of method books from Sor to Iznaola, information from non guitarists, and my own lesson experiences with Christopher Kachian, Andrew Zohn, Rene Izquerdo, Robert Sharpe, Jeff Thygeson, Jeffrey Van, and a host of videos I have watched by great guitarists who at times have provided examples of how they practice or “work up” a piece of music. Please see the forest through the trees. Its rarely about how many times you do a particular exercise or what type of exercise you do. For example, Whether you choose to sing and play the melody on another instrument, on its own on the guitar, or while playing all the parts together on the guitar is less important than committing to being able to sing the melodic line because doing so reinforces your memory.

durée : 00:59:40 - Concert espagnol, par le Quatuor Casals et Pepe Romero - par : Jean-Baptiste Urbain - **[Cuarteto Casals](https://cuartetocasals.com/) Vera Martínez Mehner, violon Abel Tomàs, violon Jonathan Brown, alto Arnau Tomàs, violoncelle** **Avec [Pepe Romero](https://peperomero.com/), guitare et Carissa Romero, castagnettes *** _**Enregistré le 18 août 2013 à l'Auditorium Pau Casals d'El Vendrell, durant le 33ème [Festival Pablo Casals](http://prades-festival-casals.com/casals-el-vendrell/)**_ {% image ce1efe02-fc81-4437-80fe-96b39029a247 %} **Joaquin Turina** _La Oración del torero (La Prière du torero), quatuor à cordes op. 34 I. Introduction brève II. Pasodoble III. Andante IV. Lento V. Pasodoble (reprise)_ **Joaquin Turina** _Sevillana, fantasia pour guitare op. 29_ **Luigi Boccherini** _Quatuor à cordes en sol mineur op. 32 n° 5 G 205 I. Allegro comodo II. Andantino III. Minuetto con moto IV. Allegro giusto_ **Luigi Boccherini** _Quintette pour guitare et quatuor à cordes n° 4 en ré majeur G 44 I. Pastorale II. Allegro maestoso III. Grave assai IV. Fandango *_ **Manuel de Falla / arrangement pour quintette pour guitare et cordes** _El Sombrero de tres picos (Le Tricorne), Suite n° 2 : II. Danza del molinero. Farruca (Danse du meunier)_ [ ](https://cuartetocasals.com/)

El buscador interno de un eCommerce es una pieza indispensable para cualquier tienda online porque ayuda a resolver el problema de la encontrabilidad de los productos. Por eso, en este episodio 12 hablamos con los chicos de Doofinder, el buscador para eCommerce de referencia y más extendido (más de 2.000 clientes en todo el mundo), que nos dan las claves para optimizar el buscador de tu tienda online para vender más.Además de conocer al equipo de Doofinder, y comprender las posibilidades que nos brinda un buscador para eCommerce, durante este podcast también aprovechamos la experiencia de Iván Navas y su equipo montando una empresa B2B SaaS como Doofinder y tratamos algunos aspectos como la internacionalización, la organización de los equipos de ventas y cómo montar una empresa sin inversión externa.Índice del episodio00:30Bienvenida y presentación del episodio 1201:30Presentación de Alfonso Díaz, Director de Soporte y Atención al cliente de Doofinder02:00Presentación de Pepe Romero, Director de Marketing de Doofinder02:50Presentación de Iván Navas, CEO y co-fundador de Doofinder04:30¿Qué es Doofinder? Un buscador para eCommerce y mucho más06:00Algunas ventajas adicionales de utilizar Doo

Del Mar's Pepe Romero Jr. grew up immersed in wood shop + classical guitar which led to his passion in guitar building. Along the way,  Pepe fell in love with the Ukulele and adapted his classical guitar building to the Hawaiian instrument with great success -- building uke's for Jack Johnson + Ben Harper.

Del Mar's Pepe Romero Jr. grew up immersed in wood shop + classical guitar which led to his passion in guitar building. Along the way,  Pepe fell in love with the Ukulele and adapted his classical guitar building to the Hawaiian instrument with great success -- building uke's for Jack Johnson + Ben Harper.See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

Colin McAllister, who studied guitar with Celin and Pepe Romero, interpretation with Bertram Turetzky, and conducting with Harvey Sollberger and Rand Steiger, and has connections to some of the most influential musicians in history, helps you learn how to play and appreciate music. Discover scales, fingering, and posture as he tells tales of being a rock star on the road. Plus, hear some amazing music!

When I'm learning a new piece or searching the repertoire for something new, or maybe I just can't seem to make immediate sense of a score, I like to listen to a variety of interpretations via recordings. Over the years I've developed my “go to” list for recording artists, stellar players like David Russell, Manuel Barrueco, Scott Tennant, Pepe Romero, and Adam Holzman. Cornering Holzman for a chat at the GFA symposium a couple of weeks ago, I finally had the chance to ask him about some those phenomenal albums. He is among the first classical guitarists to record on the Naxos label, and has recorded several series of complete works from a range of composers, including two discs of Sor, two discs of Ponce, many of Lauro's Venezuelan Waltzes, and most recently Mertz's Bardenklang. Not to mention that every time I see him live I love his playing too, and I'm often struck by his especially engaging approach to composers of the classical style like Carulli, Giuliani, and Sor, as he somehow transforms works I'm tired of, or unsure about, into music I adore. In this episode you'll hear him discuss his preparations for recording, some excellent practice techniques, his current experience teaching three GFA finalists, in addition to picking some great music from his ample library of recordings for us to listen to, including pieces by Sor, Ponce, and Lauro.

As a member of the legendary Romero family, Pepe Romero, Jr. grew up in a self-described classical guitar “gypsy camp.” Instead of following in the footsteps of his father and relatives, however, Pepe decided at an early age to become an instrument maker. On this week's podcast, he talks to the Fretboard Journal about his nylon-string guitar creations, as well as his latest passion: ukuleles. He also describes the nylon-string guitar he built for Jack Johnson (which was used extensively on Johnson's From Here to Now to Here); his work for the Climate Reality Project; the reverse fan-bracing that he utilizes and more. “It's a new angle on my family tradition,” Romero says of his career in lutherie, “but it's perfect for me.” Learn more about Pepe Romero, Jr. handmade ukuleles and guitars via his website here. Pepe has started a production line of ukuleles called Romero Creations. To learn more about the Climate Reality Project and the beetle-kill guitar that Romero made for Jack Johnson, watch this video.    

Let me introduce you to musicologist and classical guitarist Dr. Walter Aaron Clark. Dr. Clark is the founder and director of the Center for Iberian and Latin American Music at the University of California, Riverside, where he is currently on the faculty. Additionally Walter is an accomplished guitarist, holding bachelors and master's degrees in classical guitar, his M.A. earned studying with Pepe Romero. He's written numerous books and articles on all our favorites, most recently Tórroba and Albeñiz. For those of you out there that want music, and probably guitar, to be part of your primary career path, but are looking into alternatives to being a touring concert artist or teacher music history might be the way to go. Walter is a great example of this career choice, as he has been able to maintain his connection to the guitar world by writing about many classical guitarists' most beloved composers. On the show today Dr. Clark will discuss the life of a guitarist-musicologists, we will hear some interesting history about Albeñiz's piece, which is incorrectly titled Asturias (Leyenda), and for those of you who love Spanish music but a little tired of the same old repertoire, Walter gives us some suggestions for new transcriptions and arrangements in the substantial repertoire of Spanish light opera, Zarzuela.