Rasputin wrote: ↑
Fri Nov 17, 2017 9:21 pm
What musical reason could there be for not holding it, I wonder. It is Segovia's own composition... if he wanted them to be quarter notes, he would have written them as quarter notes.
mainterm wrote: ↑
Fri Nov 17, 2017 7:23 pm
Presumably Segovia, Diaz, Parkening and many others possessed the skill to hold the F-A for the full notated duration and chose not to.
This strikes at a fundamental debate regarding what a sudy
is, or is not. Therein lies in my view a serious weakness in guitar pedagogy which - it had once been promised - would have been remedied by Segovia, but never was or, if it was, was never released.
One picks up studies by Coste, Carcassi, Sor, Aguado, and half the time one has no idea what they really are supposed to be doing to your technique ; there is never a word added. A great exception to this is the Villa-Lobos canon of the Twelve
; there is no ambiguity there because he targets particular formulae which he repeats ad infinitum, thus drumming in a specific aspects of development.
, the only reason we know it is a study is because Segovia says so, although there is quite a bit of LH lateral spread : these bars also offer an excellent opportunity to work on LH shifts which are not too big and can be practiced WITHOUT looking at the LH while developing the ability to keep one's eyes on the score thus facilitating sight-reading. There is also a lot of thumb agility (playing consecutive notes on the higher strings) :
AND the speed which, at the prescribed 120, becomes very taxing and is certainly not, as has been suggested in one of the posts, an intermediate study.
Then, there is the much debated :
' could easily have been written as a crotchet, allowing for 2 to be lifted and "free" 4 for the flight to E! But it is NOT marked as a crotchet
, but as a minim
. If Remembranza
were a piece, one might well be lenient. But as it is a study
, it would seem to be a great loss of opportunity not to work on that stretch and develop finger independance, ESPECIALLY where the little finger is concerned.
If one forgoes the chance, if one shirks this hurdle, where do you stop this syndrome ? Do you then also shirk all the finger 4 difficulties in Villa-Lobos Etude No 10 ?
At that rate, you'l never develop fully! ... It is true that it gets very hard but the benefits, eventually, will be enormous. The crucial reconfiguring of the LH of a guitarist is evident in this X-ray of a guitarist's hands :
This physiological development of the little finger, by the way, became apparent after some eighteen months' work on the HVL Twelve Etudes. The fact that the most "stretch" occurred to the middle phallanx of the pinkie is intriguing).The difference made by this elongation of the hand was amazing and was in line with a remark once made by John Willilams (perhaps the quintessential technician) and which will be related in a post in the Classical Guitar Technique section ("Stretching Exercises Given ...").
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