Alternative: 1/2 Barre at fret V, finger 4 on low F (5) fret VIII; note e finger 1 on barre (2); note a finger 1 on barre (1); note f (fourth sixteenth note) finger 2 on (2) fret VI - note c below f finger 1 on barre (3); note e beat 2 and c below both barred by finger 1 after removing finger 2 from f etc. Of course, you will lose the campanella effect of the open string (1) in the original - are you approaching notes with fingertips as near as possible to the vertical plane as the three fingers in line 'vertically' on fret VIII should be far from impossible.jdhunt wrote:In "Milonga" by Jorge Cardoso measure eight, the chord is played in position 8 with finger 1 on 5th string F, finger 2 on 4th string C, finger 3 on 3rd string F, and 4th finger on 2nd string A - pretty much 8th position "double barre", except that open 1st string is also played. My problem is that my fingers are too big to fit into the tiny fret at this position (10th fret).
I have to agree with Avoz - and I've just played the piece to confirm. On measure 8 I place my thumb right on the lower curve of the neck and my fingers are very vertical, with my wrist more arched than on any other measure. My index finger is almost straight, 2nd & 3rd fingers slightly bent at the middle knuckle and little finger tip is vertical, bent at the tip and totally straight at the middle knuckle. It is quite an 'arched' position, but it is required to gain a good clean sound. My fingers are fairly large, but I don't have any difficulty with this position (I find the prelude of La Catedral much more awkward!!)avoz wrote: are you approaching notes with fingertips as near as possible to the vertical plane as the three fingers in line 'vertically' on fret VIII should be far from impossible.
Jerry, Those fingers tapered down to a normal 'footprint', but yours will be advantageous in other respects, e.g. vibrant vibrato produced by strength. I assume you practice any technical problems repeatedly and slowly until mastered - the chord in question is a standard major shape which you will encounter often (albeit without open first string).jdhunt wrote:
I was always amazed in watching videos of Segovia playing - his fingers appeared to be twice as big as mine, yet he was able to play tight fingerings like this with no apparent problems.
I do indeed. As I alluded to in my previous note, for this chord patter, I typically play it with two fingers - a "mini-barre" with the third finger (e.g. on strings 4 and 3 in this case) and finger 4 on the other string (string 2). That is what I practiced last night after my follow-up post and am getting it down.avoz wrote: I assume you practice any technical problems repeatedly and slowly until mastered - the chord in question is a standard major shape which you will encounter often (albeit without open first string).
Ramsnake, I know that in the past you've come up with some very clever and effective shortcuts and workarounds to sticky problems, but in this case I think the music would suffer too much to justify this solution unless it was absolutely impossible to play -- and it shouldn't be impossible.ramsnake wrote:It does help that the piece is marked lento but I too find that extremely difficult to pull off cleanly so I would just leave the c out and use the 4th and 3rd fingers as notated giving you a marvellous opportunity to accentuate the campanella effect at that point! Letting that one bar stop you from playing the piece would be a shame!
Lovely piece incidentally had not come across it before.
Yep, 1973 Ramirez 1a - nice big neck. With continued practice, I am getting better at using only two fingers in the 10th fret - third finger barre's strings 4 and 3 and 4th finger on the 2nd string. That's the fingering I've used for this chord pattern for decades - starting back in my electric guitar days. It just took more practice to get it to work for this particular chord.Guitar Slim wrote:Oh, a couple of other points. Stupid question, but you ARE playing this on a nylon-string classical guitar with a nice wide neck, right?
Yeah, measure 11 is no problem. It took some practice working out all of the chord patterns and the shift from one to another, but the only one that was causing me problems was the 8th measure.Guitar Slim wrote: I'm curious, have you tried to tackle the chord in measure 11? Personally, I think getting all the notes in that chord to ring clearly without accidentally touching and muting strings with the LH fingers, is one of the toughest things in the piece. If you can nail that one, measure 8 really shouldn't be that big a problem.