Everything that you have noticed is correct and important.Adrian Allan wrote:Surely, there should be a slight difference ... instead of it being just another identical run.
Many players follow a "chinese whispers" method, simply replicating what they have heard before with little (if any) thought or understanding. You display more astute observational skills - take advantage of that.Adrian Allan wrote:However, when I listen on Youtube, most people still put the accents on the same sixteenths as the opening run.
I have read a long time ago, and lost the link - thanks for giving me it again.guitarrista wrote: ↑Mon Jul 24, 2017 5:48 pmHave you seen Stanley Yates's summary based on he original manuscript uncovered in the 1990s? He has a number of remarks and changes regarding Etude 7. See pages 12-13 of his paper (direct link to pdf here).
I don't know if any of it is relevant to your particular question, but thought you might find it useful given your careful attention to the composition.
I tried to have three upbeats (a little rubato/paused) and then a run of notes starting with the accent on the F sharp instead of the G, as in the previous iterations of the scale. I haven't yet mastered that, though - but you can see my attempt on Youtube by searching my name.Rasputin wrote: ↑Mon Jul 24, 2017 7:41 pmWhat did you decide about the note grouping in that final run? I had a brief look on YT when I first saw the thread and it seemed that people were shifting the third note of what is written as a pickup over the bar line, then dealing with the extra note by making the last group a group of 5.
I take a similar approach. But what made me do that is the 1/16th note rest that kicks off the run. So, I hear the scale passage really starting on the F# of the next measure and ending on the B half-note.
Thanks for watching. I think that the wide movement of the strings is something to do with a trick or fault of the video recording device - I imagine it is a sort of strobe effect, similar to what happens or used to happen when you filmed a TV set. They are actually high tension Oasis carbon strings.Andre wrote: ↑Mon Jul 31, 2017 4:19 pmI take a similar approach. But what made me do that is the 1/16th note rest that kicks off the run. So, I hear the scale passage really starting on the F# of the next measure and ending on the B half-note.
I don't know if that's correct, or not, but it seems to work well, and, apart from the staccato markings, makes the phrasing of the ending scale passage sound noticeably different, accent-wise, from the (almost) identical scale begins the piece.
(I did locate your version on YouTube. Do you tune down or use strings that have very low tension?)
I will wonder if it is possible to play the first scale as real slurs? I think that Bream does attempt this.Luis_Br wrote: ↑Tue Aug 01, 2017 2:34 amI think Zanon in his recording plays first scales very legato with correct articulation and the ending scale is forte and a bit staccato. His ending scale does not sound really staccatissimo, but it is quite difficult to achieve it at that speed. Most players don't sound staccatissimo at the ending scale nor legato in the first ones (due to speed difficulties, a lot sound a bit staccato when playing that fast).
I don't know Cobo's recording.
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