This forum is for our discussions on any classical guitar works. Regardless of whether these works are still under copyright, we can illustrate our discussions with extracts to a maximum length of 8 bars or 30 seconds, using attached audio files (mp3, wav or wma) or video files (mov or wmv). Only attached files are permitted. Links to audio and video files are not allowed.
This forum is for our discussions on any classical guitar works. Regardless of whether these works are still under copyright, we can illustrate our discussions with extracts to a maximum length of 8 bars or 30 seconds, using attached audio files (mp3, wav or wma) or video files (mov or wmv). Only attached files are permitted. Links to audio and video files are not allowed. However, we can say in our posts "you can hear a model interpretation by such and such a guitarist on such and such a site".
This forum serves as a place of mutual help if we are stuck on a technical or musical difficulty, whether the problem stems from the notes, the rhythm, the dynamics, or the fingering. We can post several successive versions of the extract, as our work on it progresses. This will serve to help not only the member who is presenting his work, but also indirectly the dozens of other members who are having the same issues with the same passage, but who don't have the equipment or the technical knowledge to post a recording.
As a rule there should be just one topic per work. If several discussions arise on the same work, the moderators will merge the threads together.
I am working on Estudio 3 (Sor Op. 6, No. 2) from the Segovia edition of "Twenty Studies for the Guitar" with my teacher.
The first two eight notes in the last measure make up a triad consisting of A, D, and G# (from low note to high note). This triad doesn't seem to fit well in the music, and we are wondering if there is a wrong note here. The combination of the A on the third string and the G# on the first string does not sound right. Older publications of the same study have the same triad. We are are wondering if Sor really wrote this triad, or if he did write it, was it intentional or a mistake.
There are several places in the music where Sor uses a triad consisting of B, D, and G# which is a 7th chord. We are not sure if this should be used instead.
I've had a good look at the piece in question and I must confess that it all seems perfectly in order to me. The G# resolves up to A (no problem there). The D drops half a step to C# (again no problem). The A moves down an octave to the low A, echoing what the E does at the end of the first part. I've tried using a B instead of the A and to me this doesn't sound right at all. Perhaps someone with a better technical understanding of harmony than I could explain it more fully, but I personally don't think that there is anything to worry about.
Thank you for taking the time to look at this. I guess my ear has to get used to this.
- Posts: 1321
- Joined: Thu Jun 20, 2013 4:17 am
Yes, 'wrong notes' in the Twenty Studies--familiar ground to the isolated amateur such as myself. I don't know how many times I've caught myself misinterpreting the text as written, even now, 30 years after starting my study of them. When I began learning them I would often say to the page " That's impossible! Nobody could play that. That's got to be a misprint". Still, I worked at it and it gradually became clear.
As Bob Dylan says: "I was so much older then. I'm younger than that now"
There's nothing wrong. D is a suspension from the previous chord and it resolves to C#. G# is the leading tone, and it's a retardation or if you prefer a suspension that resolves upwards to the tonic. A is the tonic. If you want just play the 2 last bars not with broken chords, just the chords and it'll feel righter to you. Also play the A at the 5th string (open), not at the G string, and you'll get it even better. Of course then play it as written!