mainterm wrote: ↑
Mon Jan 07, 2019 2:29 am
powderedtoastman wrote: ↑
Sun Jan 06, 2019 10:10 pm
Here is a retake for number 2, and a first cut for number 3:
I'm curious if you would share which edition(s) you are working from on these. For no.3 most of the notes match the original edition I'm looking at (Simrock 1830, don't have the 1826 in front of me), but some differ. Many folks seem to like the Chanterelle or Tecla.
In any case, one example is a 1/4 note C below the first E in the pickup measure. There are few other cases like that in your rendition.
Absolutely, I am most often looking at the Mel Bay edition edited by David Grimes. I know people regard Chanterelle or Tecla as better, but I also got an e-book edition of the Mel Bay/Grimes one so it's really nice having everything in one PDF with bookmarks on it so I can skip to the beginning of each opus. I take the written fingerings with a grain of salt anyway.
Assuming you're referring to #3, the quarter note C is indeed here in the pickup measure at the beginning, and sometimes I do play it. That particular take I missed it.
I think when I'm not looking at the score I get confused about which one is which. Because there's a quarter rest underneath at the end of measure 4 picking up to measure 5, so you would only play the E. Same thing in the second section (must be pickup to measure 9) and then again picking up to measure 17, those have the E by itself in this score.
So thank you for pointing that out... I plan to do a more "final" take of this one in the near future so I will try to get that right.
And while I'm here... here's a sneak preview of number 5:
This is at a very reduced tempo and with the metronome, no repeats. Also I stopped and re-took in one place where I flubbed... I think the spirit of "learning" the opus means we can and should share snippets as we go along as part of the discussion.
This piece is a bit of an oddity because it seems a little more like a technical exercise and slightly less musical than the other pieces in this opus. None the less it is a melody and a harmony.
I spent some time practicing this maybe a year ago or more, but then shelved it so I've just picked it back up.
My approach used to be alternating p,m, p, i, but I played a similar Giuliani study out of Opus 1 part 2 (right hand interval exercises) for my teacher and he recommended doing mostly p and i only I think for consistency's sake. I feel like I might be able to get faster doing pmpi but it might not be as smooth or even that way. Maybe I should do both and see what the results are?
Anyway, here are my recommendations for this one:
Before playing as written, it will be VERY helpful to play only the lower 8th notes with the thumb, because (I believe) this is the melody and it will give you a sense of what the piece is actually doing musically.
Step two: add the upper notes, BUT instead of playing as written musically, play them simultaneous with the thumb notes.
Another good thing to practice will be the G major scale in thirds, going up to B and G on the 7th and 8th frets of the first and second strings respectively, and maybe down to the lowest G on the 6th string. Also great to do this with the thirds played simultaneously first, and then with as many different rhythmic patterns as you feel like... do it inverted, repeat each pair of thirds, do triplets, pip, ipi, etc.
Do the piece almost as written, but play it as if it's a dotted 16th and a 32nd note instead of an 8th and an overlapping 16th... then maybe do the inverse of that?
Do the piece written, but play each pair of notes twice instead of once.
I think if you did all of these variations and built up tempo with the metronome, you'd kick this thing's butt pretty good and hard.
My goal I think is to perform this at quarter note = 100 bpm.... and I think I will do some of the exercises I've thought up, and post them here!
And 100 bpm is about double what I've just done. So, ambitious to say the least! But I think doable.