ufaf637 wrote:I've purchased Mel Bay's Complete Sor Studies as a training track. I've started at page one (OP 60 #1) and just worked each piece over and over again, focusing on fingering (tips, not pads), smooth transitions, keeping each finger planted till needed elsewhere to released, hearing each note as a single even tone compared to each other - very mechanical in nature at this point. Just working technique.
As I learn (memorize) each piece and I'm comfortable with all my technique - making sure I'm not taking shortcuts, etc - I'm beginning to put some emotion and feeling to each piece. The part that I'm missing is tempo. I'm not sure how each piece is "supposed" to sound. Is it a matter of interpretation or is there a desired tempo to work towards. Also none of the pieces has fingering. I've worked out *my* fingering, and assume it is OK, but I could be completely wrong.
I started a few weeks ago and am currently on OP 60 #13.
Does this approach to practicing sor - using as a vehicle to hone mechanics, technique, tone, etc - as well as working to make each piece a performance piece no mater how simple a workable approach to Sor? I'm loving each and every piece. I'm trying to get to where I can play each piece at a reasonable temp at least 10 times with no mechanical mistakes before I move on to the next. Then I play each previous piece as a warm up to the next.
Looking for your expert advice to my approach to the Master. I didn't pick up CG until I was 47, so I'm way behind and the simplest moves takes me much longer to master - old man's syndrom. I just turned 49 Sunday and have tinkered for 1.5 years, but am now focused. Sergovia, here I come (in my dreams).
If you really want to get an idea of how the pieces are "supposed" to sound, then take a look at the various CD's featuring Sor music at NAXOS. Opus 60 (along with 58 and 59) were recorded by Nicholas Goluses, and are available on the same CD. I find these CD's indispensible for use as teaching aids. I'm pretty good at sight-reading, and can "hear" most relatively easy pieces in my mind simply by looking at them, but there's nothing like hearing a professional recording. Even then, however, some of the pieces are at tempos different from the score as written. It's partly a matter of interpretation, so don't worry too much about matching another player's tempo exactly.
I am also 49, and have been playing CG seriously now for about 2 years, focusing much of my attention on Sor pieces, as well as Giuliani, Carcassi, Aguado, and even some Mozart, Beethoven, and others. Working too much with a single composer's material might help you play *that* composer's music, but a better approach for developing well-rounded technique would be to play music from several composers, borrowing from each what fits you best. Professional instruction, even if just to get yourself on the right foot, can do wonders to fight years of non-CG technique, and will help you develop a solid foundation from which to build.
Learning CG isn't a destination, it's a journey. Enjoy the view!