uring the much awaited for weeks of June 4-15, the Musical College of Roosevelt University in Chicago, Illinois was pleased to have the returning of Manuel Lopez Ramos for another successful and well excepted master class. Sixteen students performed each evening from 5:15 until 9:00, and often much later with no indication of fatigue from the Argentine guitarist.

The class seemed more of a reunion of family members than a relationship of professor and students. But nonetheless, Ramos' comments were taken with high respect. Never was Ramos insulting to any student, no matter what level of ability. In the contrary, he always emphasized strengths before weaknesses.

Pamela Kimmel and Manuel Lopez Ramos

Ramos often quoted Segovia during his short lectures on stage. One such quote was that of the most essential element in music, melody. Segovia sometimes will alter the rhythm slightly in order to gain emphasis on the melody. He uses rubato, delaying a few notes and then catching up while still keeping the main pulse. One must listen to Segovia with a very discerning ear to capture the magical effect of his rubato.

It is important not to highlight bridges between sections within a piece for it obscures what is really important.

As any musician, guitarists must synthesize all the elements of music when preparing a piece, such as melodic structure, harmonic structure, texture, etc. We must also think of its form and origin whether it be a sonata, baroque dance, or a modem piece. But unlike other musicians, we have to take into consideration that the guitar has a short sustaining level and we must build our tempos around that fact. A very lyrical piece must not be played too slowly on the guitar because the thread will be lost. Finding the right tempo is one of the finest tasks for a guitarist.

One feature during the Ramos class was the maestro's lecture on the music of Bach. He stated that Bach's music is generally intensely expressive. It is important however, to distinguish expressive intensity from passionate as in music of such composers as Chopin and Listz which allows for a great deal of rubato. In Bach's music, it is not passion but tenderness which brings great moments of intensity. Strictness is retained allowing for only subtleties in rhythm.

Linda Keilman and Manuel Lopez Ramos

Bach was a fond mystic but never stopped being human. Many feel that Bach's style is an ancient style. Ramos stated that Bach is for all time. It is not good to think of Bach as a journey back into another age. Bach's music is an expression of emotions of people - people of all time, and reveals constant miracles which are a part of life.

If we would take one note and not put in that vital energy to make it deeper, we would only be a synthesizer. All music reveals all mankind, all sensations of humanity - happiness, sadness, tragedy, etc. If we use music to express, we have to transform that one note and bring it to life.

Casals once questioned why purists could not see that playing the note exactly how it is written is the wrong route. Music must change. Casals said, "Bach was one who employed all man's most subtle sentiments."

So, what is this comedy of being afraid of sensitivity? Do not be afraid of oneself but have trust in oneself. The musician is an interpreter and will not understand a piece unless he feels it himself as a part of him.

Ramos also commented on the use of rest stroke v. free stroke. He expressed that rest stroke should be used most of the time to bring out more power and to achieve stronger climatic moments. Clearness and softness are beautiful in themselves, but in places where the contrapuntal lines are not interrupted, it is best to use rest stroke. Free stroke is used to bring out an elegant, gracious style, wherever a sense of airiness is desired.

Steve Klein and Manuel Lopez Ramos

Finding climatic moments in a piece is so important to a performer. These moments can be achieved through accelerandos and rallentandos. If a rallentando begins too soon, the interest and continuity can be lost. Even though a rallentando is indicated in the score, you should decide for yourself exactly at what point it should begin.

In memorizing a piece, one must subdivide it into sections. This gives a security, as the handholds of a tight-ropist. If we begin to feel off balance, there are not one, but several beginnings we can return or advance to. It is good to mix up the sections in practice so that you are sure. It is a psychological comfort to know several beginnings.

An added feature during the busy two weeks was a party given to all the attending students. This gave students a better opportunity to speak openly to Manuel Lopez Ramos. With discussions of the love and beauty of music and the sense of closeness developed, there is no wonder that students have returned year after year.