Very well done Jorge, it sounds beautiful! Strong and stable rhythm (55) and a very warm tone, specially in the bassesJorge Oliveira wrote: ↑Mon Jun 17, 2019 9:04 pmThank you powderedtoastman, thank you nico, for listening to my latest rendition of the #6 and for your valuable advice. Both said that I was not maintaining the rhythm and that I should go back to the metronome to steady it up. And so I did and you - as well as other Forum Members - can find, below, for listening and commenting, my V3 of the #6, this time played with a metronome stuck in my left ear (an Apple iPod connected to my iPhone) . The tempo is 1/4 = 55 bpm. The guitar used was, again, my Kuniharu Nobe #8 (1972) fitted with Knobloch Actives CX 500 Carbon Double Silver, High Tension strings.
Sor, Fernando - Opus 35 #6 (V3).wma
Sor, Fernando - Opus 35 #6 (V3).mp3
Indeed can still hear some of your interpretation now through that metronome in your ear, hope the metronome will internalize one day completely into your body, so that you could master it the way you want, on places where to play a ritenuto/ ralantando. I would like to make that suggestion again to clap your hands, stamp your feet, bounce your head on the rhythm of the music you're listening to. Just to internalize the rhythm. I realized that, unfortunately it's not possible to do that while playing the guitar, because every part of the body seems to be connected directly to the instrument; only the head could be moved, but then sight-reading becomes too difficult
And yes, it's a good idea to become more aware again of the legato versus non legato playing, specially in the chromatic diphthongs (?tweeklanken) in ms. 13,14 and 18,19 you could hear the non legato playing if you listen carefully.
By the way, I ordered the strings you're using all the time, next to some others that I'm going to try. Hopefully my basses will become more evident, at least when I'm able to hold my hand a bit higher before the whole of the guitar and use a firm thumb attack.