Granados-Andaluza, simple dynamics question

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Doraemon
Posts: 7
Joined: Fri Mar 10, 2017 6:33 pm

Granados-Andaluza, simple dynamics question

Post by Doraemon » Fri Apr 21, 2017 1:59 am

So, this is kind of a general question as well: when the melody becomes louder, should I also play the accompanying chords louder as well? Or should they remain a kind of quiet, steady backdrop.

I ask, since upon recording myself playing this several ways I'm still not sure. Sometimes the changing chords dynamics seemed too dramatic and harsh. Thank you!

Desperado
Posts: 101
Joined: Tue May 03, 2016 5:23 pm

Re: Granados-Andaluza, simple dynamics question

Post by Desperado » Fri Apr 21, 2017 5:22 am

Try to project the melody if you can. An accompaniment shouldn't distract us from the tune so yes do play it softer. There's a one thing about this piece that many players/guitarists do that crazes me and that is accenting from the first note of the phrase and not heading for the strong first beat

Luis_Br
Posts: 2201
Joined: Sun Apr 23, 2006 2:50 pm
Location: Brazil

Re: Granados-Andaluza, simple dynamics question

Post by Luis_Br » Fri Apr 21, 2017 9:45 pm

It is important do detach main melody from chords when they are just accompaniment as they are in this piece (sometimes this might not be the case).
For a crescendo, sometimes I would raise only melody, sometimes both, varies with musical intention, but it is important melody is up, so generally I wouldn't raise accompaniment as much, but generally would raise them a bit. (by raising I mean raising volume, or playing louder).

There are other useful ways to detach chords from melody which might give you more room to the guitar limited dynamic range, allowing you to play both but keeping the detachment. You could do this through articulation (eg, accompaniment non-legato or very rhythmically even against a legato melody or with more fluctuation and agogics) or through tone color (brighter vs darker or fuller vs thinner sound, through adjusting finger angle, amount of nail, degree of fingertip flexion etc.). Those techniques increase a lot the difficulty of execution, but they add a lot of richness to the musical result.

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