Classical guitarist Matt Palmer is one of a kind. Combining the soul of an artist, the technical virtuosity of the highest caliber and a heightened sense of musicality, Palmer’s uniqueness is also his greatest strength. While other guitarists’ posses a comparable level of expression, technicality and musicality, to find them all in one player, and at a young age, is a rare occurrence to say the least.
Growing up in Tennessee, Palmer’s early exploration of heavy metal on the electric guitar was merely a prelude to the intense study that he would undertake as a classical guitar major during his time at Middle Tennessee State and Appalachian State University. After garnering local and regional recognition, Palmer was ready to step onto the national stage as he entered the Doctoral program at the University of Arizona, under the tutelage of world-renowned guitar pedagogues Tom Patterson and David Russell.
Though he is not the biggest fan of guitar competitions, Palmer’s trophy case contains first prizes from the Beeston Memorial, Sholin Memorial, Columbus State Guitar Symposium International, Arizona State Concerto and MANC International competitions, just to name a few. As well, he was also a finalist at the 2007 edition of the prestigious Internationales Pfingstseminar Competition in Koblenz, Germany.
After studying alongside some of the world’s finest classical guitar pedagogues, and firmly establishing himself in the arena of international guitar competitions, Palmer is stepping out from the shadow of his mentors and firmly establishing himself as a player to watch out for on the concert guitar scene.
In this installment of the Artist Profile series, Guitar International talks with Matt about his early influences, his unique approach to right-hand technique and the upcoming releases of his debut solo album and guitar method book.
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Matt Warnock: Growing up in the South and playing electric guitar during your early years, how did you discover the classical guitar and when did you know you wanted to be a classical guitarist as your career choice?
Matt Palmer: My first real exposure to the classical guitar was from a CD my mother gave me when I was about sixteen. I hid that CD away, still encased in plastic wrap, in my closet for at least three years before I ever opened it. When at last I did open and listen to it I was just blown away by what I heard.
I soon began learning how to play those pieces by ear, which is how I learned at the time, and just loved the challenge. My audition for my undergrad degree included an ear transcription of J.S. Bach’s famous Fugue from his Violin Sonata BWV 1001.
I never planned on going to college at all. In fact, I had no idea you could go to college as a guitar major. When I began college at age twenty I hadn’t completely abandoned the electric guitar. I thought I would just learn music theory with the goal of learning how to write better solos for metal music. But, I soon heard my professor at Middle Tennessee State University Bill Yelverton perform and that really inspired me to pursue classical exclusively as a career. Bill is a very expressive, virtuosic player with a great sound that I’ve always admired.
Matt W: Can you talk about some of the experiences, good and bad, that you had as an undergrad and graduate student in classical guitar? Does the modern day classical guitarist need school to be successful as a performer and teacher?
Matt P: When I began studying classical guitar, I didn’t even own a classical guitar. I didn’t read music, know the repertoire or have proper technique. So I borrowed a cheap classical guitar with no case that, of course, was in pretty bad shape to say he least. So things were quite difficult at first.
I had a great left-hand, but absolutely no right-hand technique, which was very discouraging. But, I soon began developing a unique right-hand technique of playing fast scales in order to compensate for my right hand, one that I still use to this day with great success. My first teachers, Bill Yelverton and then Douglas James at Appalachian State University, actually encouraged me to develop this technique further in my early years.
Do we need school? That’s a difficult question. I think we need mentors and guidance. We also need connections and effective ways of networking. The right school with the right teacher can certainly help us acquire these things.
Matt W: You studied under Tom Patterson at the University of Arizona during your doctoral years. What was it like working with a teacher like Tom, who has consistently produced some of the finest classical guitarists of the past twenty-five years from his studio?
Matt P: Tom’s a great guy. He’s always working for his students. His teaching style is quite unique. Most of his mentors were not guitarists, but pianists. So, his approach is that of a very talented guitarist with these other influences mixed in, which is great. He has helped make the University of Arizona guitar program one to be admired by any institution.
Matt W: While at the U of A you were also able to work closely with David Russell. What were some of the main points of study that the two of you worked on during your time together?
Matt P: David has this great ability to dissect a piece of music note for note to make anyone a better player. So, of course having the opportunity to work with him has been a real pleasure. Along with musical and technical points, I’ve really tried to learn from his professional attitude, enthusiastic teaching, and confident stage presence. I’m not sure if there’s a better example to follow than that of David Russell.
Matt W: What advice do you have for younger players who are thinking of going to school to study classical guitar?
Matt P: Practice, a lot. Choose a school and professor that can help you further develop your career goals. Be willing to sacrifice nights out on the town for the sake of practice.
Matt W: Over the years you’ve won an impressive amount of guitar competitions. How important do you feel it is for a young classical guitarist to be winning competitions in order to gain recognition in the world of concert guitar?
Matt P: I personally have never liked to compete. In some ways I felt it went against what I believe music is all about. That being said, competition wins do look good on the resume, and furthermore, force us to practice a lot to refine our skills. However, I don’t believe one needs to win competitions to be successful. Probably the best aspect of a competition or a guitar festival is the possibility of networking.
Matt W: There are a number of videos on YouTube featuring you in various performance situations. Do you feel that using sites like this, as well as Facebook, Myspace and Twitter, are a necessary fact for anybody who is looking to become a professional guitarist in the 21st century?
Matt P: Absolutely. Any tool that is available to us to network is valuable. For instance, YouTube has allowed me to reach an audience of thousands that otherwise would not know who I am, and I’ve even gotten concerts from Facebook friends in the past. Due to the classical guitar’s relatively small fan base, we need to do everything we can to reach more people. The sites you mentioned are all great tools to do that.
Matt W: You’ve recently filmed a video of your arrangement of Tom Waits’ tune “I’m Still Here.” What is it about Waits’ music that inspired you to explore this song on the classical guitar?
Matt P: I’m a big fan of Tom Waits. He has an incredible ability to write beautiful and original melodies. I’m interested in any great music, regardless of the genre.
Matt W: With the majority of your DMA degree behind you, what are you focusing your attention on in the near future. Is there a CD or method book on the horizon?
Matt P: I’ve just begun working on a CD featuring modern works by Rak, Rudnev, Assad, Ponce, Turina, Rodrigo, and D’Angelo. The projected release of this CD is January 2010. I’m also in the later stages of writing a method book that discusses the techniques I use to play scales.
The technique is an original way of playing fast scales with three fingers of the right hand, as opposed to the traditional index and middle finger alternation. The efficiency of the technique will, in my opinion, be beneficial to all finger-style guitarists. I’m very excited to share this information with the guitar community.
Photos Courtesy of Mamta Popat, Tucson, Arizona.
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