Hello Christian!! Thanks for the advice, i found very difficult to change the tempo in the music, i dont know if its because i only pratice with the metronome but if tried to change the tempo i completlely lose my timingChristianSchwengeler wrote: ↑Thu Sep 21, 2017 7:33 amHi André,
I used to play this a lot and you do quite well. If you want some advice or constructive critics - I find you should rush less in a first aproach (even if you play it faster later)and try to bring out more the separation betweeen the arapeggio and the bass line, (even if they make part of the same melody), it sounds nice if you have some acentuation on the bass line. It should sound very fluid but acentuated at the same time. Try to imagine the arapeggio and the bass as two counteracting elements - like calling and answering. In the following video you find a good example how it should sound. All the best
Thank you my friend for the advice!! I am studying one Villa-Lobos piece very good to express a more "singable" emotion, next week i will tried to upload the result so you can give me more feedback.Chris wrote: ↑Thu Sep 21, 2017 7:55 amYou have got the arpeggios down, really good. You could slow down a little and buy yourself time to play it more musically (Matthew McAllister's expression in this video: https://www.youtube.com/watch?v=8sssrprD3kA).
For example, each measure (motif) can be played like a little arch raising in volume until the 3rd beat and then lowering a little again. The bass line drives the piece forward through the major sections and different keys so let them can "sing" a little more than the other notes. In the 'difficult' couple of bars where you play the arpeggios on the same string (you which bars they are), take care to make them sound like the other arpeggios by playing them legato and not putting too much stress on the highest note (just before the 3rd beat). That's all right here and now, it's a lovely piece