Yisrael van Handel wrote: ↑
Tue Apr 09, 2019 4:33 pm
Jorge Oliveira wrote: ↑
Tue Apr 09, 2019 3:38 pm
I'm now rehearsing Sor's Opus 35 #5. My tempo, for the moment, is 1/16 = 160 bpm, which is equivalent to 1/4 = 40 bpm.
So, as Andante is 73-77 bpm in my metronome, well, though I don't think I'll be able to double my present speed, I think I can reach 1/16 = 200 bpm or even higher. The problem is to do that without too many mistakes
. Back to the guitar...
Jorge, thanks for your study notes. I was planning to keep up with you, but I was sick all last week, and I am currently behind. I am still working on a polished final version of #04. I am also well into #05 and #06. I actually am further in #06 than in #05. In #06, the obvious difficulty is constant shifting, and some of the shifts are difficult. But I am progressing very well with that. In #05, my main problem is making sense out of the melody. Also, you mentioned speed as a problem in #05. I am not having a problem with the speed as long as I follow Sor's left-hand fingering carefully. I am up to 1/4 = 60, and do not aim to play any faster. You did not mention right-hand fingering. Because the speed of the left-hand fingering changes is challenging, I am happy to use simplest p-i alternation for the right hand.
I am confused about measures 11 and 12. Chords (starting from measure 9; | marks the end of a measure): G Am G Am (rising melody) | G G Am B | Em F Am B (descending melody) | B G Am G |. Now, I am struggling to make sense out of that. Rising melody I am inclined to play crescendo and falling melody diminuendo. But how to finish it? I am inclined to play the Bs with emphasis (disharmony far from home) and then finish with the Am G as if it is a semi-resolution (which it is not, as far as I can hear). Any ideas?
I’m glad you are doing better now, Yisrael, and I hope it was nothing serious.
Concerning my guitar practice, I’m also trying to improve the tempo of the #04. If played too slow the melody doesn’t stand out in my view. My V1 rendition was recorded at ¼ = 85 bpm, which was more or less OK (I couldn’t do it faster, anyway), but it was too crude (dotted notes, separation of voices, etc…). My V2 was more polished but I had to lower the tempo to ¼ = 80 bpm and, by doing so, the melody was a bit impaired. My aim is to eventually reach the 90 bpm. I’ll keep on trying.
I haven’t looked into the #06, yet, but it looks a bit like the #13 of Sor’s Opus 60, though a bit more difficult because some notes in the #06 are higher in the scale and you need to do some barrés
. But it is doable, I think.
Now, the #05… well, it is not a jewel, it is a just a study to exercise your fingers, especially those of the RH. I’m using the p
(but I could have used only the p
and the i
). As for the tempo, my problem is that, at the speed I’m playing already I can no longer rely on my sight reading skills (which are too poor anyway). So, I had to memorize the whole piece and because there are phrases which are common to its two sections, I, sometimes, mix up things… I’m presently at ¼ = 42 bpm, going up quite slowly.
As for the chords ending in measures 09 to 12, I see them differently from you (I’m assuming the full chord position):
- m.09: G Major (tonic) – A Minor (tonic) – G Major (barré 3rd fret) – C Major (barré 3rd fret)
- m.10: G Major (barré 3rd fret) - G Major (tonic) - C Major (barré 3rd fret) - B𝄰 Major (barré 2nd fret)
- m.11: C Major (barré 3rd fret) – D Major (tonic) - C Major (barré 3rd fret) - B𝄰 Major (barré 2nd fret)
- m.12: B𝄰 Major (barré 2nd fret) - open G - C Major (barré 3rd fret) - C Major (barré 3rd fret – you just pluck a single open G or the G in the 4th string of the C Major barré position)
Naturally, you do not use full positions to play the two note chords in the score, just two fingers a time
Using your representation, starting in m.09 and simplifying the designation of the chords, we have, then:
| GM Am GM CM | GM GM CM B𝄬M | CM DM CM B𝄰M | B𝄰M opG CM CM |
As for crescendos (in red
), diminuendos (in green
), constant high volume (in orange
) and constant low volume (in blue
), what I do is the following:
| GM Am GM CM
| GM GM CM B𝄬M
| CM DM CM B𝄰M
| B𝄰M opG CM CM
I have no formal explanation for this, it is just how it sounds best to me. Does it make sense?