Henny wrote: ↑
Tue Jan 02, 2018 7:58 am
hi Jorge, and all others
Happy New Year 2018.
regarding the nr 18
i only had time now to listen to nr 18
you have a beautiful tone in general and especially in your high e string..difficult for me to get it good.
in general a very good rendition.
In general i would advise not to do the repeats in the same way. that means you play the repeats f.e. with different dynamics / ponticello etc..it makes the piece more interesting and keeps the listener's attention.
i did some takes of nr 16 but i am not happy enough to publish..to be continued
Hi Henny, thanks for your nice and encouraging words. Happy New Year 2018 also for you as well as for your family
Regarding my tone, well, thank you, Henni, I'm flattered, but I'm not sure I deserve your compliment...
. The reality is that my Hermanos Camps guitar is an excellent instrument, with it any one can produce a good tone, I assure you
. By the way, I bought recently a Japanese vintage guitar in an on-line auction in Tokyo, a Ryoji Mastsuoka No.40 (1979), with also an excellent sound. It still has to be adjusted - strings too high to my taste - but otherwise in an excellent condition given its age. I plan to make records with it as well and then you will see what I mean.
As for the the #18, I'm still working on it on a daily basis and it is my intention to post a second rendition one of these days. It will be, not faster, but more fluid. Some measures really require odd positions on the LH. On the contrary, the RH is quite trivial, with the finger movements almost unchanged along the way. I'll also have to look more carefully into what mainterm
said about my playing of the 1st half of measure 21. And, naturally, you are right, I realize now that at least the first repeat (measures 29-32) could/should be played in a more gently, softer way. I'll see what I can do.
Finally, the #16 and its infamous fast notes - measures 38 and 46 - not to mention measure 41 which is also tricky to play in tempo... I posted already two records of it but in none of them the fast notes measures are sufficiently well played. Stephen Kenyon so noticed and politely asked me to practice it further...
, and that's what I'm doing now. The fact is that the only fellow I saw playing these fast notes within the tempo and each one clearly distinguishable was Rob(ert) McKillop
(see, please, his post of 07 Dec 2016, 08:24h, right in Page 1 of this thread). Rob was quite active in the beginning of the thread, it's a pity he stopped enlightening and advising us as we progressed along the Opus. Nevertheless, I still hope he comes back...