DaveMoutrie wrote:Andrei Puhach wrote:My second part of the assignment:
- pages 66-67 ANONYME (ca. 1860) VALSE
A couple of mistakes and hiccups here and there but I think I've got the idea of "these two simultaneous strokes, one a strongly played rest stroke, the other a gentle free stroke".
Well done Andrie, I think you have it pretty much nailed - you're propably way ahead of the rest of us.
The tonal quality of the rest strokes does sound a little twangy in places though almost as if your finger nail is hooking on the string. I notice that your finger is attacking the string at exactly 90 degrees, it could be an idea to change the angle slightly, or alter the proportion of nail/flesh stiking the string.
Apart from that everything else (fingerings, dampings etc.) look pretty good.
Thank you, DaveMoutrie, for your comment!
Somehow this hand position is most comfortable to me. I can rotate it just a little but then it is difficult to do the free/rest stroke combination. With this hand position I can do this in a pretty much relaxed way which helps thumb/ring finger synchronization a lot.
And yes, the tone really depends on the nail shape and how hooked it is. I learned how to unhook them (with a heated spoon). This really works. Also, I played loud and the strings are hard-tension carbon rather than nylon. Carbon strings might sound a bit brighter.
You can search this forum or Youtube "Andrei Puhach Capricho Arabe" where I tried to get the best tone I could (hopefully, it was much warmer than in this Valse).