Carcassi, Matteo - op.60/14

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andrebraci
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Carcassi, Matteo - op.60/14

Post by andrebraci » Wed Oct 25, 2017 6:33 pm

Hello my friends, this is one of my first Carcassi pieces, if you have some advices for my i will be very happy to hear.

Thanks.


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https://www.youtube.com/watch?v=65A4qBDJrzo[/YouTube]

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Schneider
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Re: Carcassi, Matteo - op.60/14

Post by Schneider » Wed Oct 25, 2017 6:50 pm

Hi Andre,
Well, you definitely have the score in your hand so how about starting to play music now ?
Sorry for being a little rude :wink:
I went up into the attic and found a Stradivarius and a Rembrandt.
Unfortunately Stradivarius was a terrible painter and Rembrandt made lousy violins.

andrebraci
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Re: Carcassi, Matteo - op.60/14

Post by andrebraci » Wed Oct 25, 2017 7:37 pm

Schneider wrote:
Wed Oct 25, 2017 6:50 pm
Hi Andre,
Well, you definitely have the score in your hand so how about starting to play music now ?
Sorry for being a little rude :wink:
Hey Schneider!! Thats no rude at all! I understand what you saying, but i have a great difficult to be more expressive in this kind of pieces, like this one and the Bach 999 prelude that i recorded a few weeks ago, do you have some advice to me work on this problem? Or have some other pieces that you recommend me to play to "loosen up" my expressiveness.

Thank you very much for the comment by the way!

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Stephen Kenyon
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Re: Carcassi, Matteo - op.60/14

Post by Stephen Kenyon » Thu Oct 26, 2017 5:45 pm

What is it about this kind of piece that makes it difficult to know how to find the degree of expressivity you want?
Simon Ambridge Series 40 (2005)
Trevor Semple Series 88 (1992)
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andrebraci
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Re: Carcassi, Matteo - op.60/14

Post by andrebraci » Sun Nov 05, 2017 1:35 pm

Stephen Kenyon wrote:
Thu Oct 26, 2017 5:45 pm
What is it about this kind of piece that makes it difficult to know how to find the degree of expressivity you want?
Hello Stephen! I found difficult because i practice a lot with the metronome and when i turn it off it is automatic to me to play in the same tempo.

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Stephen Kenyon
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Re: Carcassi, Matteo - op.60/14

Post by Stephen Kenyon » Sun Nov 05, 2017 3:34 pm

andrebraci wrote:
Sun Nov 05, 2017 1:35 pm
Stephen Kenyon wrote:
Thu Oct 26, 2017 5:45 pm
What is it about this kind of piece that makes it difficult to know how to find the degree of expressivity you want?
Hello Stephen! I found difficult because i practice a lot with the metronome and when i turn it off it is automatic to me to play in the same tempo.
Aha! So if you wanted to change tempo to add some expressivity, how would we go about finding the right-sounding places for that? Pieces with a clear melody with clear phrases can be easy to sort because if we think of a singer breathing at the end of a phrase, that makes a little break in the sound, and if we think of a phrase broadly and generalisingly as a rising and falling in energy, both volume and tempo (slightly!) then if we find the phrases we can at least start to think about ways to deviate expressively from metronomic stability.

And before somebody jumps in and tells you not to use a metronome, please keep using it but do learn to deviate from the accuracy you have achieved. Its much better from my POV to do it that way round.

So how would we find the phrases in this piece....?
Simon Ambridge Series 40 (2005)
Trevor Semple Series 88 (1992)
Louis Panormo (1838)
Alexander Batov Baroque Guitar (2013)

andrebraci
Posts: 77
Joined: Thu Jul 07, 2016 11:30 pm
Location: Curitiba, Brazil

Re: Carcassi, Matteo - op.60/14

Post by andrebraci » Mon Nov 06, 2017 10:35 pm

Stephen Kenyon wrote:
Sun Nov 05, 2017 3:34 pm
andrebraci wrote:
Sun Nov 05, 2017 1:35 pm
Stephen Kenyon wrote:
Thu Oct 26, 2017 5:45 pm
What is it about this kind of piece that makes it difficult to know how to find the degree of expressivity you want?
Hello Stephen! I found difficult because i practice a lot with the metronome and when i turn it off it is automatic to me to play in the same tempo.
Aha! So if you wanted to change tempo to add some expressivity, how would we go about finding the right-sounding places for that? Pieces with a clear melody with clear phrases can be easy to sort because if we think of a singer breathing at the end of a phrase, that makes a little break in the sound, and if we think of a phrase broadly and generalisingly as a rising and falling in energy, both volume and tempo (slightly!) then if we find the phrases we can at least start to think about ways to deviate expressively from metronomic stability.

And before somebody jumps in and tells you not to use a metronome, please keep using it but do learn to deviate from the accuracy you have achieved. Its much better from my POV to do it that way round.

So how would we find the phrases in this piece....?
Yes Stephen! I have a lot of dificulty to play in a singable way, i am triyng to work on this issue, but i dont know what piece will be a good start to develop this technique, i believe in this piece the melody the stand out the most to me is in betwen bars 10 to 12 when there is sort of a conversation betwen the high and low melody , and it happens again in the bar 22 to the 25, am i right? or do you think there is others melodies in this piece that we can play with more expressives?

Thanks

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Paul Janssen
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Re: Carcassi, Matteo - op.60/14

Post by Paul Janssen » Mon Nov 06, 2017 11:30 pm

Hi Andre,

Well done on one of your first Carcassi pieces. These seemingly simple studies have so much going for them don't they.

I won't hijack the discussion you are having on phrasing but there are a couple of things that you might like to consider.

For me the main challenge with this piece is trying to make the scale runs sound as smooth and connected (legato) as possible. It's hard to tell from the camera angle in your video but it appears that you may be using your thumb for all the notes in the bass runs in bars 10 & 12 and bars 24 & 26. If so, you might like to consider using your thumb for the first and last notes only of each run and using i & m for the rest of the run. This could help make these bass runs sound more connected (it's very hard to sound legato with scale runs using only your thumb).

The first notes of each of bars 10 and 12 are actually quavers not semi quavers. This means they should be held twice as long as you are holding them (i.e. held until you come in with the second bass note - the D in bar 10 and the E in bar 12). I'm not sure which edition you have, but I'm working from the Schott edition and the higher voice rests help spell this out. The reason I mention this is that holding these two notes for their full duration will once again help make these bass runs sound more legato especially at the start of each run.

In terms of dynamics, the last two bars bars (i.e. the A, A7 and D chords) and marked as ff (fortissimo = very loud). Don't be afraid to really bring these three chords out.

I hope you don't mind me offering these suggestions? Overall I think you are doing a great job with this study. These tips are really just the 1 to 2 percenters if you like.

Cheers,
Paul

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