Jorge Oliveira wrote: ↑
Wed Jun 21, 2017 10:52 am
<snip> … with Konobloch Actives Carbon CX, High Tension strings (5 months and 9 days old already, but still going ok, I think).
In my rendition of this little piece I'm following Tom Poore's "edition" of the standard score, where he puts a repeat sign at the end of measure 8 - see, please, here
, his musical analysis of this piece.
I agree with Tom Poore's repeat. The piece sounds natural that way. By the way, I could not find the link to his justification.
You brought out the melody nicely, especially in the second part. There is some tension in the left hand. I suggest just playing the piece below 1/4 performance speed and making sure that the melody is completely smooth. If you use Sor's left-hand fingering exactly, I think it will make it easier. For instance, the C (last note of measure 6) is played with the 3 finger. The A-F (first note of measure 7) is played with fingers 2-4. This allows a completely smooth transition between the two chords.
In measure 16, there are three Gs in a row. The first two Gs are the final resolution of the preceding G chord (G-B). I do not know what to make of the third G. It is not an upbeat because neither the first section nor the second section has an upbeat. But then why is the stem pointing up instead of down? I do not know. Musically the third G is the resolution of that G chord at the beginning of the measure. And perhaps you should subtly slow down there just a bit, to show that it is an ending of a phrase. Are you playing all the notes with stems down with the thumb? You will notice that Sor never writes right-hand fingering. But I believe that the downward stem was his way of telling you to use the thumb.
I am playing with the idea of skipping to exercise 13 so that we can be synchronized.
Oh, I forgot to ask you why high-tension strings? I use low-tension strings, and I find that they give more room for expression (not my strong point).