What a great teacher. It's not easy to find a fantastic performer who is also a fantastic teacher.

So insightful, a true gift to all of us. Thank you.

I love his modern approach and rich tone

I'm working on a Bach arrangement myself and this comes more than useful!! Thanks for this video, Jason is such a great player and teacher!

The core issue with classical guitar is that it's such a notoriously difficult instrument to master. People know the violin/cello is complicated, but the guitar has so many other kinds of issues one must deal with before getting it perfect. Every serious classical guitarist appreciates the valuable insight that you're sharing, Jason. Thanks!

Great player and teacher. Thanks for sharing.

I hope his students realize how lucky they are being taught by one of the greatest guitarists ánd best teacher.

Fantastic guitar lesson

If you get a chance to attend a Jason Vieaux performance, do so. His concert at GFA Denver this year was a top notch musical experience. He showed every bit and more why he is a Grammy Award-winning artist.

Wonderful teacher and player and conveys a felt sense of connectedness... thank you very much!

This is a very clear lesson on Ornamentation. Thank you Jason!

What a great tone, what a touch. Such a fantastically sensitive guitarist, and an outstanding teacher too.

A lot of the ornamentation finds it's essence in the knowledge of how the chord is build and the appogiatura which can be seen as a form of a dynamic as well as an agogic accent. The appogiatura sounds above or below a chord note and releases tension on the chordnote. Thrills are in general a faster way of playing the "delay dissonant" and the chordnote. Donnington wrote excellent books about the interpretation of early- and baroque music. The melodic ornamentation finds as far as I know it's historic origin in Diego Ortiz 'Tractado de Glosas' published around 1550.

EXCELLENT!....thanks for pointing out that many composers wrote these pieces down as "guides"....performers would enhance, and even add their own 'root basses" in parts, etc....this is what music truly is....people forget that yesterdays 'classical" music, was the pop music, or jazz, of the day.. Well done dude!!

Great lesson! Thank you.

i agree with gtrmusic69. We should lock ourselves inside the cube of conformity for all of eternity while we cast away those outside the cube. Rigidity, along with keeping an ignorant and closed mind, is what makes music so enjoyable to play.

"its nice" pretty sweet definitions of the style. its really nice.

Great approach!

Beautiful guitar

Brilliant

beauty execution brother

I just realised how much easier is when someone plays it, and I just imagine doing it myself.

You are far to modest...just like a great master would be. You have my support :)

is there a GoFundMe for the "campaign​ to decrecendo trilling arpeggios"?

great

Why does your thumbnail go all the way from there to Timbuck two???

I'm surprised to see how long his thumbnail is. It's almost like Chet Atkin's thumbpick.

I was at his master class lucky me

Have you considered the allemande in BWV996 in a different key. OK the original key was G minor, but in C minor key, so I think the whole suite may sound better? I think that Segovia did this allemande in C minor, so I think that perhaps the whole suite can be arranged in C minor?

11:00 for trill fingering.

What song was that at the beginning? I would like to learn it for school

Which guitar is it?

I don't think that cross string ornamentation is necessary, unless there is no other way of doing it. It is much easier to , as you said, to decrescendo with left hand ornamentation. As you have also said that it can be overdone, and timing can become an issue as you have demonstrated.

I don't like Baroque music that much, I play it because is part of my classical guitar foundation but my repertoire is mostly classical-romantic era+ latin-spanish styles.I really like the way Jason plays it, it makes me want to add some baroque pieces to my repertoire.Is like seasoning/spice an spinach based dish, Jason seasons it in a way that the spinach awful flavor/smell is lost in all the good flavors and aroma of the spices.

literally the biggest thumb nail ive ever seen bar none

To moi ornaments are an open playground. What CPE does is give us his father's ornaments; what HIS father tended to do in each situ., not what other players OF his music MUST do. The hypocrisy is that, on one hand we will say that everyone must execute JSBach pieces EXACTLY. Then, we'll turn right around and point out how they all improvised back then (over figured bass)..I don't believe the maestro himself would want everyone to play the same ornaments as he, whether it's his own work or not.. It'd be as if all Christmas trees must be decorated the same way, all gifts use the very same blue ribbon, all hair dos the same, all spices the same in each food, and all jazz solos the same.. What Jason does is good. He spins it his way, while being mindful of the period of music he's swimming in at the time. There is NO rule in music about 'decorating' it (except in respect to the style and era the music was composed )... I assume we all know Bach put no tempo or dynamic markings on his charts..Now why would that be ? Hmm..... But, I too am no expert...That's for damned sure ! MH Los Angeles, Oct.2017

anybody want to give me pizza?

Holy thumbnail batman. If you need that much nail to perform professor, I hope you have a plan B if it chips or breaks the day before your recital ;-) That aside, @gtrmusic69 - to my knowledge JS Bach composed exactly *zero* pieces for the classical guitar, since it technically did not exist. Compositions for the lute are arguably the closest to adapt CPE's 'table of ornamentation' but then there are the solo 'cello suites where there is no right hand equiv. with a bow. Bottom line - guitarists have to adapt. All that said, I also think we can *way* over-think these issues. As long as the piece is played musically (vs. mechanically) I don't think it matters. Let the critics decide if something was over-or-under ornamented, and let the listeners decide if they enjoyed the performance.

A sextuplet is not the same as two triplets. A sextuplet is one grouping of 6 with no break, just as a quintuplet is one grouping of 5, and not a triplet plus 2.

He's right. He is no expert. Not even close. Golly.....to even put that out there.....hahaha....only in the classical guitar, where 99% of the people are uneducated or badly educated, world would this be approved of and considered ok. CPE left a table of ornaments that applies to his father's music, so we know precisely what JS Bach intended. Adding staccato notes was not something he intended, nor was ALWAYS playing the bass note slightly ahead of the treble note, causing the treble note to be about a 1/4 beat late, when they are clearly right on top of each other and intended to be played together......lol......what a mess.