Eric Alan Heil started at a young age at the College of the Desert under Anthony Arizoga. Having Dr. Norman (Dean and Conductor at the University of Oklahoma) for music theory, and later compositional, symphonic, and symphonic compositional music theory writings.
Specializing in early music - such as Renaissance, Baroque, Classical and 20th century in performance and classical guitar; Eric studied many years under Frederick M. Noad in both Oxford, England, and locally at his Los Angeles studio.
He learned in depth research and originals of the composer’s hand, and transcribing major manuscripts from the facsimiles and giving Eric a rare education of Dr. Noad’s secrets of how music should be performed.
Eric learned the critical art of improv showing the controversy of embellishments and accurtures plus understanding the 16th century tablature of where vertical lines do not mark off measures, but only serves to keep track of individual pulses. In notation, this is normally set as the semi-breve (Our whole note). The vertical lines are not at all the same as our bar lines, which indicate repeated patterns of stronger and weaker beats. Contrary to modern practice, 16th century vertical lines do not mark off ‘measures’ but only serve to keep track of individual pulses. This could be regarded to 17th century lute tablature notation. Writing them as bar lines gives a distinctly misleading impression. Where then does the real bar lines go? Modern book editors have given literal note values where they place real measures that gives implied rhythmic structures forcing irregular mixtures of measures in 2/4, ¾, 4/4, 5/4, etc. To conclude that the inflection in any one voice to mark off measures will usually give a false impression of another voice.
Where this is such a complexity would make the reader more difficult, switches to using the breve as the beat unit (a double whole note). The verticals are not the same as our bar lines, which indicate repeated patterns of stronger and weaker beats. Eric has spoken to and collaborated these controversies with Dr. Richard Sovino on the issues of the Vihuela and the Lute and the editorials to the guitar.
Because Eric showed advance passion and intellect to the classical guitar, he was willing to take time to produce and perform in master classes all over the world that brought him initially to Spain where he met Ruggero Chiesa; specialize in transcribing of early music to the classical guitar. Eric studied with Dr. Chiesa wherever possible. Dr. Chiesa had Eric transcribe all eighteen “Diciotto Partiite” by Giuseppe Antonio Brescianello. These tablatures were written for a lost instrument called the colascione and are regarded as the best and lost discovery of a 17th century composer. After the transcriptions were complete, Eric was commended with such high regard, Dr. Chiesa gave his own eighteen transcriptions to Eric which were going to be performed by Andres Segovia, but could not meet this because of his own scheduling. Andres Segovia would regret this up until the time of his death.
This is a virtue of heart and pearl that Eric be entrusted with these unforgettable Partitite, Dr. Chiesa gave him his blessings and told him “Brescianello will take your career to the eternal stars where sound never ends or dies.” And because of the sound coupled with the passion and complexity of his works, “the virtue of Brescianello is so far ahead of his time it takes the music theory from 17th century to early 18th century.”
Having performed in many master classes with the great master, Sir Julian Bream, Eric was able to really encompass the secrets of the guitar perfecting the guitar and mastering the pieces to bring out vigor and cohesion. This changed his life completely and forever. He will also be grateful for Julian’s time and what he learned. Eric knows that the master classes taught by Julian gave him the ability to take the guitar further in its composition and not regard what the composers were saying. These classes are a virtue that will be with him forever.
When Eric was obtaining his degree in other areas, he introduced himself to David Grimes who has one of the best reputations of classical guitar not only as a teacher, a publisher, and a judge at every completion and was the president of the Guitar Foundation of America. And also as a scholar of early guitar history and literature who studied with Oscar Guidalia - the best chosen classical guitarist from Italy by Andrea Segovia. David Grimes currently holds the Dean position at Cal State University of Fullerton. He inspired Eric; he invited him to all of his master classes and he
In 2001, Eric broadcasted on radio at California State University where he gave a wonderful performance there and this broadcast and many more were heard globally. CBS News broadcasted his interview and performance. Newspapers and magazines all over the nation wrote about his performances including recitals in America, England, and many other countries.
Eric Alan Heil had EMI Records classical guitarist Julian Byzantine who teaches at the Royal College of Queens in Austria, help him specialize in 20th century guitar playing and new notations for the 21st century guitar. As he continues as a player, he has worked on the complete transcriptions of El Devino (Francesco de Milano), and Giuseppe Antonio Brescianello, and the complete vihuela composers of the Renaissance.
Eric is currently teaching classical guitar and early 20th century music, music theory, compositional writing, symphony writing in Joshua Tree near Rancho Mirage, CA.
This CD is a compilation of his first and earliest recordings at an early age that shows that his level was way behind his years….