Just an aside:

"Leonard Bernstein once said that classical music is mis-named, it should be called 'precise' music. It is played as it was written."

Not quibbling, just clarifying. There seems to be something of a misconception about classical music that is pandemic among folk musicians based on the idea that because classical musicians are supposed to play the notes as written, there is no creativity or imagination involved. Not so. True, the notes should be played "as written," but the dots on the staff don't turn a living pianist into a mere player piano.   There is plenty of room for creativity and imagination.

For example, just how fast is allegro? This is open to interpretation and no two conductors or musicians completely agree. How loud is forte? How soft is pianissimo? When plucking a guitar string, how much nail? How briskly? Where on the string? Near the bridge for a hard, "glassy" tone, or soft and mellow a bit "north" of the sound hole?

One of the first classic guitar pieces I learned was Tàrrega's Lagrima. The third and fourth measures repeat exactly the same notes as in the first and second measures. My teacher suggested that I play measures three and four just a bit softer than measures one and two. "Like an echo," he said. There is absolutely nothing in the written music, either notes or dynamic markings to indicate anything like this. It was just my teacher's idea. I adopted it and began applying the same idea to other pieces I was learning when I felt it was appropriate.

In fact Lagrima is full of repeats. Same sequence of notes. I play each one of them slightly differently. And none of this is indicated in the written music.

The more one works with this kind of music, the more one sees that even though the notes are all written out, often complete with dynamic markings, there is plenty of room for individual interpretation.

Don Firth