Question about Mallorca - middle section

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Adrian Allan
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Question about Mallorca - middle section

Postby Adrian Allan » Sat Feb 25, 2017 9:19 am

In the middle section of Mallorca, in all editions and the piano original, the inner voice is punctuated throughout by the use of semiquaver/16th rests.

Do you observe these rests literally by placing the right hand fingers back on the strings on every single 16th rest?

If so, I am finding this quite hard - as at the same time as damping, a note is to be played in the upper voice.

Some people might cheat a bit by lifting the left hand pressure off the inner voice to partially damp the inner voice, or only damping them at the point where an upper voice is not needed - such as at the end of bar 2 in the example given.

Could anybody who has studied this piece please share their approach?
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Gary Macleod
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Re: Question about Mallorca - middle section

Postby Gary Macleod » Sat Feb 25, 2017 9:51 am

don't do the rests

Adrian Allan
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Re: Question about Mallorca - middle section

Postby Adrian Allan » Sat Feb 25, 2017 9:59 am

Gary Macleod wrote:don't do the rests


Thanks, Gary for your view

I consider you to be a concert level guitarist.

I had a Skype lesson last night from Cheryl Grice, another concert level guitarist and she said "do the rests"; but it is interesting to get two different approaches from players I respect.

Adrian Allan
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Re: Question about Mallorca - middle section

Postby Adrian Allan » Sat Feb 25, 2017 10:08 am

It also reminds me of a piece I learned many years ago.

It took a long time to damp the basses at the same time as playing the trebles, but with slow practice I did achieve it.
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Gary Macleod
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Re: Question about Mallorca - middle section

Postby Gary Macleod » Sat Feb 25, 2017 10:22 am

The only place I'd do the rests is after the B melody note in bar 35, where the chords are on their own.

Adrian Allan
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Re: Question about Mallorca - middle section

Postby Adrian Allan » Sat Feb 25, 2017 10:27 am

Gary Macleod wrote:The only place I'd do the rests is after the B melody note in bar 35, where the chords are on their own.


Yeah, that's where I was doing it.

I will give the damping approach a go; but it will take a lot of very slow practice.

msa3psu
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Re: Question about Mallorca - middle section

Postby msa3psu » Sat Feb 25, 2017 3:46 pm

Another approach is to do the rests on the three note groups; i.e., 1and2and3and(rest)4and5and6and(rest), etc. This gives a nice bounce to the rocking barcarole rhythm.

Adrian Allan
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Re: Question about Mallorca - middle section

Postby Adrian Allan » Sun Feb 26, 2017 10:04 am

msa3psu wrote:Another approach is to do the rests on the three note groups; i.e., 1and2and3and(rest)4and5and6and(rest), etc. This gives a nice bounce to the rocking barcarole rhythm.


Thanks for the suggestion

Further to my first post, has anybody tried all of with rests on every other semiquaver?

Frankie C.
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Re: Question about Mallorca - middle section

Postby Frankie C. » Tue Mar 14, 2017 5:45 pm

Hi Adrian, just to share my experience, when I have studied this pieces honestly I have never concentrated on the duration of the inner voice but instead on the execution of the melody. As long as the melody is fluent and "legato" the accompaniment is coming along and sounds good.
As far as the duration of the bi-chords, you are necessarily forced to play them with the semiquaver rest in correspondence with position shifts (impossible to do make the bi-chords play longer when you are passing in the melody from the G to A and from B to C#).

Anyway, this is a transcription of a beautiful piece for piano. In the adaptation for guitar the piece is getting a different character, it is normally played slower compared to the piano version, it is normally played with a more cadenced tempo and gets a very similar mood, in the first part, of the Capricho Arabe. The piano version is for sure normally more fluent and more elegant/sophisticated. I would concentrate in trying to give to the pieces authenticity. Remember that, with our beautifull instrument, it happens "very rarely" that what is written in the partiture is going to played "exactly" by the guitar.

Take care

Adrian Allan
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Re: Question about Mallorca - middle section

Postby Adrian Allan » Thu Mar 16, 2017 9:02 pm

Frankie C. wrote:Hi Adrian, just to share my experience, when I have studied this pieces honestly I have never concentrated on the duration of the inner voice but instead on the execution of the melody. As long as the melody is fluent and "legato" the accompaniment is coming along and sounds good.
As far as the duration of the bi-chords, you are necessarily forced to play them with the semiquaver rest in correspondence with position shifts (impossible to do make the bi-chords play longer when you are passing in the melody from the G to A and from B to C#).

Anyway, this is a transcription of a beautiful piece for piano. In the adaptation for guitar the piece is getting a different character, it is normally played slower compared to the piano version, it is normally played with a more cadenced tempo and gets a very similar mood, in the first part, of the Capricho Arabe. The piano version is for sure normally more fluent and more elegant/sophisticated. I would concentrate in trying to give to the pieces authenticity. Remember that, with our beautifull instrument, it happens "very rarely" that what is written in the partiture is going to played "exactly" by the guitar.

Take care


Thanks for your input, I have still not come to a clear decision about stopping the inner voices in every instance.


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