Sor head !

Classical Guitar technique: studies, scales, arpeggios, theory
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Re: Sor head !

Post by Philosopherguy » Mon Oct 02, 2017 1:00 am

To my mind, you are over-thinking this piece. Each individual chord is supposed to ring together. The exception to this "letting ring" is that you have to mute notes that will not sound good with the next chord.

If you look at bar 7, up top it has a quarter rest and just below that is an eighth rest, so the math does add up. You play beat one(c), then beat one-and(g), then beat 2(e), the beat 2-and(c). Then the next chord in the bar is played the same way: 3(d) then 3-and(c). 4(f#) then 4-and(c). 4 beats in the bar.

This is very clean notation compared with some! I don't think, in music, we have to be too literal with all note values, especially with the guitar which is a very romantically played instrument in comparison to some others. These are open to experience with what sounds "right" and good taste.

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Re: Sor head !

Post by BellyDoc » Mon Oct 02, 2017 5:10 am

This is opus 60 number 9, and it's one that I play frequently. Numbers 8 and 9 in this opus are particularly fun for me because I play them fully respecting the stem-down = p, stem-up = i/m technique, and I really enjoy this.

I have my own interpretation of perhaps a reason that particular measure (7) appears to be notated differently, and it has to do with Sor's technique of the thumb. Granted - I'm a beginner musician, studying outside of a formal academic environment so my "interpretation" is really the impression I get by performing a sort of amateur intellectual exercise of reading between the musical lines. I think I've probably branded myself as a little bit of a nut job because of how I've been approaching Sor's studies, so take that into account.

My thinking is that one of Sor's goals with this exercise and the one preceding it was to have the student experience the use of the thumb, it's different tonal quality, and it's particular quirks of control. For me, the challenge has been to have a dynamic difference between a strong bass note that sustains appropriately, while playing a softer middle voice also with thumb. In several places the middle voice is shared by a thumb and then an index, and experiencing and controlling those tonal differences has been valuable to me.

To me, then, the use of eighth notes vs. quarter notes isn't just about acknowledging a length of sustain - because we already let these notes ring. It's a dynamic difference. Getting into the mindset that measure 7 is to played with notes that would ring longer is a sneaky way of inducing a crescendo.

Anyhow, that's how I play it, and I like the way it sounds! Your mileage may vary. :)
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Re: Sor head !

Post by geoff-bristol » Mon Oct 02, 2017 9:02 pm

Ok - thanks all - and thanks B-D - interesting. I do not want to sound too clinical - I do not play that way at all.
Is there recording of it here somewhere - I would be interested to hear it played.

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Re: Sor head !

Post by PeteJ » Tue Oct 17, 2017 12:34 pm

I cannot see what you mean. All the notes that should have tails have them and the parts are clearly distinguished. Where is the problem? I seem to be missing something.

The only potential oddity I see is the single crotchet rest in bar which (being pedantic) should perhaps have a rest for each of the top parts.

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Re: Sor head !

Post by Rasputin » Tue Oct 17, 2017 2:21 pm

I think it was all cleared up except for the question of why the second half of bar 7 and the first half of bar 8 are notated differently. Obviously you'd think that this is supposed to indicate some difference in how they are supposed to be played, but it's hard to see what this could be.

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