Myers' Cavatina

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micha
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Myers' Cavatina

Post by micha » Sun Mar 03, 2019 8:05 pm

Dear all,
I am struggling with an issue on this sheet of Myers' 'Cavatina': (Mod edit: Link removed due to copyright), measures 5 and 6.

According to this sheet, the C# note should be sustained throughout part of the 6-th measure. However, this seems practically impossible to do, because the 3rd finger of the left hand needs to be used to play other notes in the 6-th measure.

Am I right?

Thank you! :D

Rasqeo
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Re: Myers' Cavatina

Post by Rasqeo » Sun Mar 03, 2019 8:31 pm

Yeah that’s a crazy arrangement. Just hold the C# until the end of bar 5. Even if a fingering were possible the note would never sustain for that long.

Crofty
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Re: Myers' Cavatina

Post by Crofty » Sun Mar 03, 2019 8:46 pm

In practical terms it obciously makes no sense as it isn't possible.

BUT..... it's the implication of sustain that is important here. A string or wind player or vocalist could and would sustain that note longer. Rather than thinking about the note length it is a combination of the initial weight and then the sustain and vibrato, versus keeping the following arpeggio notes [apart from the actual bass] more in the background, that are all important.

A listener will then "hear" [imagine] the note continuing anyway.

Paul

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Stephen Kenyon
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Re: Myers' Cavatina

Post by Stephen Kenyon » Sun Mar 03, 2019 10:09 pm

The edition does point out that some fingerings are impossible strictly speaking but its like that to give the idea of the legato to be aimed at. Many more advanced pieces include fingerings that contradict the literal durations - its for clarity, but also, because if you wrote it like it will literally be played, players would tend to think, 'oh a rest, I got to make a rest there', whereas the point is about creating the illusion of sustain.
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oski79
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Re: Myers' Cavatina

Post by oski79 » Sun Mar 03, 2019 10:12 pm

Micha; Your link was to a copyrighted score, and therefore not allowed. You may cut and post the particular measures you are asking about, however.
“People may say I can’t sing, but no one can ever say I didn’t sing.” --Florence Foster Jenkins

micha
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Re: Myers' Cavatina

Post by micha » Mon Mar 04, 2019 8:17 pm

oski79 : I am sorry, it was not my intention to post copyright material. I looked for a copyright sign in the PDF before I posted it and did not find it, so I assumed that this was ok. What should I check next time before I post a link?

Also, how many measure may I post at the most without violating copyright?
Last edited by micha on Mon Mar 04, 2019 8:22 pm, edited 1 time in total.

micha
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Re: Myers' Cavatina

Post by micha » Mon Mar 04, 2019 8:21 pm

Stephen Kenyon wrote:
Sun Mar 03, 2019 10:09 pm
The edition does point out that some fingerings are impossible strictly speaking but its like that to give the idea of the legato to be aimed at. Many more advanced pieces include fingerings that contradict the literal durations - its for clarity, but also, because if you wrote it like it will literally be played, players would tend to think, 'oh a rest, I got to make a rest there', whereas the point is about creating the illusion of sustain.
Interesting, thank you. :) I do not have the original sheet, so I did not see this note that you are talking about. Is this kind of 'contradiction' common in classical guitar sheets?

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Stephen Kenyon
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Re: Myers' Cavatina

Post by Stephen Kenyon » Mon Mar 04, 2019 10:59 pm

micha wrote:
Mon Mar 04, 2019 8:21 pm
Stephen Kenyon wrote:
Sun Mar 03, 2019 10:09 pm
The edition does point out that some fingerings are impossible strictly speaking but its like that to give the idea of the legato to be aimed at. Many more advanced pieces include fingerings that contradict the literal durations - its for clarity, but also, because if you wrote it like it will literally be played, players would tend to think, 'oh a rest, I got to make a rest there', whereas the point is about creating the illusion of sustain.
Interesting, thank you. :) I do not have the original sheet, so I did not see this note that you are talking about. Is this kind of 'contradiction' common in classical guitar sheets?
Ah well I suggest you obtain the original, its not expensive and its 'doing the right thing'. Plus then you have all the information and it can save you the problem of learning mistakes that people have made when making rip-off versions.
Yes its fairly common in more advanced pieces. Often its not particularly noticeable, just one of those things to be aware of in your approach to the text.
Simon Ambridge Series 40 (2005)
Trevor Semple Series 88 (1992)
Louis Panormo (1838)
Alexander Batov Baroque Guitar (2013)
Simon Ambridge 'Hauser' (2018)

micha
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Joined: Sun Jan 27, 2019 12:58 pm

Re: Myers' Cavatina

Post by micha » Sun Mar 10, 2019 3:26 pm

Thank you :)

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