Segovia Estudio 6

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Conall
Posts: 681
Joined: Wed Dec 27, 2017 10:26 am
Location: Scotland

Re: Segovia Estudio 6

Post by Conall » Sat Mar 09, 2019 8:55 am

I have taught & played this piece for decades.

It's a pleasant etude which offers plenty of valid musical approaches. Being historically informed as to how the composer played it and what his original pedagogical reasons for writing it is interesting and potentially useful though given Sor's apparently idiosyncratic technique perhaps less so than one might suspect.

However a brief analysis of the piece is all that is really needed for a teacher & player to find a purpose for teaching & learning it.

My approach is usually to look at whatever is deficient or needs developing in a pupil's technique or musicianship then to find (or write) an etude & exercises to address those issues.

So if a pupil presents with a poor rest stroke then of course, a pleasant, existing piece which allows & sounds well with rest stroke is an obvious choice and whether Sor used or stipulated r.s. in this etude is then irrelevant in this particular case.

There are many other technical & musical features that can be taught through this etude.
- development of strong free stroke (melody)
- mixture of free & rest stroke eg each off beat quaver of the melody can be free stroke whereas every onbeat crotchet could be r.s.
- a similar effect using staccato versus legato
- a similar effect (stac / leg) in the bass
- damping technique (esp in bass)
- legato chordal playing ie sustain all as long as harmonically appropriate.

Etc.

And for the more advanced pupil the etude could be played in harmonics in the melody or the etude even arranged as a tremolo. Both work with minimal adaptation.

And how about a duet - treble in G1, bass, G2. Or trio - G3 could strum or better arpeggiate an accompaniment. Or quartet - G4 could have a descant written on top?

One of the advantages of this etude is that it is so adaptable.

If a student & you trust your teacher let him / her give you a reason & method of approaching the etude.
If a teacher, use it for whatever pedagogical purpose you see fit.
If a performer you probably won't be playing this on stage in Carnegie Hall given it's ABRSM c. grade 4 level & shortness but if you record it as (for example) a "complete works" or aural student aid you will have to decide it's primary or "best" purpose.

Me? I'm going off to learn another Dowland piece....

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guitarist_le
Posts: 91
Joined: Sat Jan 05, 2019 5:06 pm
Location: Omaha, NE

Re: Segovia Estudio 6

Post by guitarist_le » Wed Mar 20, 2019 9:55 pm

There are many other technical & musical features that can be taught through this etude.
- development of strong free stroke (melody)
- mixture of free & rest stroke eg each off beat quaver of the melody can be free stroke whereas every onbeat crotchet could be r.s.
- a similar effect using staccato versus legato
- a similar effect (stac / leg) in the bass
- damping technique (esp in bass)
- legato chordal playing ie sustain all as long as harmonically appropriate.
Ahh ok. I had no idea. This is my first teacher and I told him I was struggling with restroke. So now I see that these can be played many ways and can help in a lot of areas.
Me? I'm going off to learn another Dowland piece....
Lol Dowland is some tough stuff man. Good on ya!

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