{"id":3262,"date":"2015-12-29T16:03:28","date_gmt":"2015-12-30T00:03:28","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=3262"},"modified":"2015-12-30T10:03:40","modified_gmt":"2015-12-30T18:03:40","slug":"countdown-the-5-most-read-stories-from-2015","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/countdown-the-5-most-read-stories-from-2015\/","title":{"rendered":"Countdown! The 5 Most Read Stories from 2015"},"content":{"rendered":"<p>It\u2019s been an exciting year in the world of classical guitar. As it comes to an end, we take a look back at the most read and shared stories on elizabethl27.sg-host.com for 2015. Read them all here and get to know the music, musicians, and instruments that matter!<\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"http:\/\/classicalguitarmagazine.com\/practice-room-to-concert-stage\/\">5. 5 Ways to Transition Successfully to Your Performance Phase<\/a><\/strong><\/p>\n<p><a href=\"http:\/\/classicalguitarmagazine.com\/practice-room-to-concert-stage\/\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone wp-image-3266 size-full\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/making-move.png?resize=900%2C600\" alt=\"making-move\" width=\"900\" height=\"600\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/making-move.png?w=900&amp;ssl=1 900w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/making-move.png?resize=300%2C200&amp;ssl=1 300w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><\/p>\n<p>We\u2019ve all heard the old joke about how to get to Carnegie Hall. \u201cPractice, practice, practice!\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"http:\/\/classicalguitarmagazine.com\/cordobas-f7-paco-is-a-versatile-fun-to-play-guitar\/\">4. C\u00f3rdoba\u2019s F7 Paco is a Versatile, Fun-to-Play Guitar<\/a><\/strong><\/p>\n<p><a href=\"http:\/\/classicalguitarmagazine.com\/cordobas-f7-paco-is-a-versatile-fun-to-play-guitar\/\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone wp-image-3268 size-large\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/pacof7-1024x339.jpg?resize=1024%2C339\" alt=\"pacof7\" width=\"1024\" height=\"339\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/pacof7.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/pacof7.jpg?resize=300%2C99&amp;ssl=1 300w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>I\u2019m not necessarily a flamenco guitarist, but when I play some basic rasgueados and golpes on C\u00f3rdoba\u2019s F7 Paco, the sound is unmistakably Iberian.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"http:\/\/classicalguitarmagazine.com\/the-recent-rise-of-female-flamenco-guitarists\/\">3. The Recent Rise of Female Flamenco Guitarists<\/a><\/strong><\/p>\n<p><a href=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/flamenco-females.jpg\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone wp-image-3264 size-full\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/flamenco-females.jpg?resize=900%2C500\" alt=\"flamenco-females\" width=\"900\" height=\"500\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/flamenco-females.jpg?w=900&amp;ssl=1 900w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/flamenco-females.jpg?resize=300%2C167&amp;ssl=1 300w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><\/p>\n<p>Female guitarists\u2014<em>tocaoras<\/em>\u2014have existed only as a tiny, uncelebrated minority. Until now, that is.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"http:\/\/classicalguitarmagazine.com\/catching-up-with-julian-bream-the-legendary-master-looks-back\/\">2. Catching Up with Julian Bream: The Legendary Master Looks Back<\/a><\/strong><\/p>\n<p><a href=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/julian_bream.jpg\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone wp-image-3265 size-full\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/julian_bream.jpg?resize=236%2C231\" alt=\"julian_bream\" width=\"236\" height=\"231\" \/><\/a><\/p>\n<p>I think that the movement towards authentic instruments, such as we have witnessed in the last 30 years, has been a magnificent movement and as such it has changed the historical face of music forever.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"http:\/\/classicalguitarmagazine.com\/george-sakellariou-toccata-and-fugue-in-d-minor\/\">1. George Sakellariou: \u2018Toccata and Fugue in D minor\u2019<\/a><\/strong><\/p>\n<p><a href=\"http:\/\/classicalguitarmagazine.com\/george-sakellariou-toccata-and-fugue-in-d-minor\/\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone wp-image-3267 size-large\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/maxresdefault-1024x576.jpg?resize=1024%2C576\" alt=\"maxresdefault\" width=\"1024\" height=\"576\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/maxresdefault.jpg?resize=1024%2C576&amp;ssl=1 1024w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/maxresdefault.jpg?resize=300%2C169&amp;ssl=1 300w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/maxresdefault.jpg?w=1920&amp;ssl=1 1920w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Here is\u00a0Sakellariou\u00a0performing Bach\u2019s \u2018Toccata and Fugue in D minor\u2019 (BWV 565), a piece\u00a0that has become a fixture in haunted houses and spooky cinema.<\/p>\n<p>&nbsp;<\/p>\n<p>Make sure you don\u2019t miss anything in 2016 \u2013 sign up for our free e-mail newsletter now!<br \/>\n<iframe src=\"\" width=\"100%\" height=\"600\" onload=\"javascript: if(typeof ewt != 'undefined' &#038;&#038; ewt &#038;&#038; ewt.setIFrameSrc) ewt.setIFrameSrc(this, 'http:\/\/www.pages01.net\/stringletterpublishinginc\/Classical_Guitar\/CG_Top_Posts'); else if(this.src != 'http:\/\/www.pages01.net\/stringletterpublishinginc\/Classical_Guitar\/CG_Top_Posts') this.src = 'http:\/\/www.pages01.net\/stringletterpublishinginc\/Classical_Guitar\/CG_Top_Posts';\" ><\/p>\n<p>Your browser does not support iframes.<\/p>\n<p><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>It\u2019s been an exciting year in the world of classical guitar. As it comes to an end, we take a look back at the most read and shared stories on elizabethl27.sg-host.com for 2015. Read them all here and get to know the music, musicians, and instruments that matter! &nbsp; 5. 5 Ways to Transition Successfully to Your Performance Phase We\u2019ve all heard the old joke about how to get to Carnegie Hall. \u201cPractice, practice, practice!\u201d &nbsp; 4. C\u00f3rdoba\u2019s F7 Paco [&hellip;]<\/p>\n","protected":false},"author":10,"featured_media":3267,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":["post-3262","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/12\/maxresdefault.jpg?fit=1920%2C1080&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/3262","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=3262"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/3262\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/3267"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=3262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=3262"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=3262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}