Henny wrote:Matt, good to see you back.
jorge, you wrote:
"So, by "arming" my LH fingers in the right position I minimize the movements of the LH. The rest is up to RH fingering"
to bring out the voices it makes a difference what right hand fingering you use. A or i makes
a different Tone /accent. when used appropriately first we need to know the harmony and voices: accordingly we put the RH fingering as to bring out in the best possible way the music. to come back to Sor op 60. nr 1, we can play it in different positions with different RH fingering as to bring out the melody and have more variety in Tone. i noticed in op 60 nr 16 this becomes more evident when choosing the RH fingering.
I try to have an equal quality in A, I and M but still I hear differences when attacking with A or I , besides the logical order of RH fingering in the last piece mentioned is up to the player and i noticed that without knowing the Harmony well the choices are more at random.
Note: i am now travelling without my guitar for 2 weeks but have access to reply.
good weekend all.
Fully agree with your observations above, Henny, and I would like to add that, sometimes, I do not use the open string to produce a particular note, but a different one so that I can exert a vibrato
to the note. This is the case in Opus 60 #5, measures 17, 18, 33 and 34 - the last doted notes, E and B, I play them in the second and third strings, applying thus a little vibrato
with a good effect (to my taste, naturally). Also in this piece, in the second group of notes of measure 13, I use fourth and third strings to produce the G (4th string, 5th fret) and the B (3rd string, 4th fret). The tone obtained is clearly different from the one I would achieve if I were to use the 3rd and 2nd open strings, and is consistent with the fact that the first of each of these group of three notes - measures 13-16 - is a bass note, and therefore, should (or have to), preferably, be played in the three upper, bass, strings. Does this make sense to you?