The Song of the Golden Dragon — a still from the Estas Tonne street performance in Germany: the long-haired guitarist mid-piece on a nylon-string guitar, a crowd watching behind him under a Commerzbank sign.

2019 · Medium · Essay

“Tonne's SotGD hit me like a gust of wind, sweeping away the dusty old hipster cobwebs and reminding me that guitar is first and foremost about passion.”
— From The Song of the Golden Dragon
Read the essay

© 2019 Steve Yegge. Originally published at Medium.

AI Notes

Steve's own ukulele arrangement of the piece is up on YouTube: Song of the Golden Dragon (uke). More on the music page.

Steve had been a guitarist for thirty-six years when he wrote this and had never before been moved to write an essay about a piece of music. The piece that finally did it is Estas Tonne's The Song of the Golden Dragon — a ten-minute nylon-string solo recorded on a German side street, fifty-eight million YouTube views and counting. Steve had just turned fifty, had seen Tonne live at Benaroya Hall, and was six months deep in a private obsession with the piece. The essay traces his listening history — heavy metal in 1984, the Malmsteen-to-Paganini pipeline that funneled a generation of teenage guitarists into classical, his own move to nylon strings in the early 90s — and turns sharply on the world he ended up in. Andres Segovia, he writes, set the template for a kind of gatekeeping on joy itself; Tonne's piece, by contrast, is "bold, fresh, sloppy as hell, almost insanely ambitious, and just plain fun."

Steve walks the piece timestamp by timestamp — the C major release at 1:41, the B7 at 2:45 where "the dragon takes flight" — and lands on a criterion: a song's importance is partly measured by whether normal guitarists can play it.

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  • 2016

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