druidplayguitar wrote:Good work! Thanks.
But I have a question here.
How does the analysis of the work help the guitar player to perform better?
I mean, after the analysis, I just know what chords a piece has, what's next? I think it should be more analysis for playing a piece beautifully.
Well, there are some chords that are unusual or less common.
One we might encounter frequently in Guitar music of the Classical and early Romantic composers is the Neapolitan Chord. It has a special purpose. Do you know what that is? Could you find one in a piece? Do you then, knowing that X chord is a Neapolitan, approach playing it differently? (most would argue, you should).
What about a German Augmented 6th chord? Or, what about a German Augmented 6th chord used in an enharmonic modulation? Are these important, or do you just burn through them like you would any other old chord?
Earlier in this thread we talked about Applied or Secondary Dominant chords. Many theorists say they "intensify" the chord they're applied to.
Should a player then also "intensify" that chord musically?
What about a Half Cadence versus an Authentic Cadence versus a Deceptive Cadence? Do you know what they are? Can you identify them? Could they inform the way you play a piece? (again, most would argue it should).
What about antecedent and consequent phrases, or parallel periods and parallel double periods? Does knowing what they are and being able to identify them allow you to perform the piece in a more informed manner?
What about Rondo Form, or Rounded Binary Form, or Sonata Form? Should the Development section be approached in a musical way that differs from say, the 2nd theme? What about the Recapitulation? Is it important? Do you emphasize it, or place more musical weight on it?
What about main and secondary entrances of motives in contrapuntal pieces? Do you know what the Subject and Counter-Subject in a Fugue is? When they appear later, does knowing what they are inform your performance?
Analysis works on MANY levels, and gives the player a more informed understanding of not only the "layers of complexity" within a piece, but potentially, the composer's intentions.