Thank you Zafar, your words of encouragement are very much appreciated, you keep up the good work too.Zafar Haq wrote: ↑Wed Sep 27, 2017 11:51 amHi,Binh NguyenKhac,
Well done for submitting these two assignments.
Dave, already observed few points for your assignments.
I'll say good tempo,rhythm,melody.Good both hands coordination.Your left hand fingers are responding to difficult parts efficiently.
Good audio,video,lighting quality.
Keep it up for the rest of exercises.
I tried traditional posture before but could not play in this position due to my low back pain. I feel natural and relax in horizontal position.DaveMoutrie wrote: ↑Wed Sep 27, 2017 11:42 am
Thank you for posting Binh, well done - it takes some courage to post for the first time.
There is quite a lot to talk about here.
Posture - The classical guitar is normally supported on the left leg and held at an angle of at least 45 degrees. You appear to be holding it roughly horizontal and on the right leg.
You absolutely right, I read the score again and I totally didn't notice the damping part. My bad. And I have a question though: "Does damping have rules? Who and which decides some notes must be damped and other notes don't need ? And as a guitar listener and player, if you listen to an audio song, can you recognize if some one who does use damping and some one doesn't?DaveMoutrie wrote: ↑Wed Sep 27, 2017 11:42 am
Allegro There is lots of damping in the base for this piece which of course makes the piece much harder to play. These are indicated by an astrix (*).
The first damping is at the start of bar 2 and this means that the open A string must be damped with the thumb at the beginning of this bar. There is a similar example in bar 6 where again the open A string must be damped. In the last 3 bars ie bars 9,10,11 there is an asterix (*) against each of the base notes. This means that for each base note played the previous base note must be damped with the thumb.
In addition, JF has stated that in the Allegro the melody is in the base and many students have taken this to mean that the piece should be played with thumb rest stroke throughout, though as this has not been explicitly stated it could be a matter for personal preference.
Spot on, my tempo in first 7 bars are rushed. I need to practice my damping technique more. Thank you for honest feedback, Dave. I appreciate that.DaveMoutrie wrote: ↑Wed Sep 27, 2017 11:42 am
The first 7 bars of this piece are rushed. Each of these chords consist of minims and should last a full 2 beats. Again you have missed the base damping throughout this piece. I like the rallantando at the end though.
I would suggest that you listen to JF's version of both these pieces and compare it with your recording.
Good luck and keep practicing. I look forward to hearing you play again.
Thank you for sharing Colin, I enjoyed listening to your submissions. It's always going to be a little difficult to get back into the swing of things after a bit of a break and D04 is quite challenging. I hope you don't mind if I make a few comments.Colin Bullock wrote: ↑Sun Oct 01, 2017 12:23 pmMy Submissions, warts and all.
I've decided against multiple takes, so this is how it is. Having a few problems warming up the fingers after summer, lh tips are a little uncomfortable.
Allegro opus 50
You may want to try a guitar support like the one used by the professor. You can sit naturally and still position the guitar at a 45 angle.
I believe when random note(s) are added to a chord, it may add unwanted color/harmonic and muddy up the sound. For example, on the Bretonneuse piece, the 3rd measure is Am chrod. The D from the 2nd measure does not belong to the Am chord and should be damped.Does damping have rules ... can you recognize ?
Thank Chu, you are right the concentration of reading leads to a blocking out of other aspects, but that is such a basic one that I should t really miss it. Will watch in future.Chu Bun wrote: ↑Tue Oct 03, 2017 2:54 amColin,
On the Bretonneuse, there is often a hesitation on the first beat, and the first notes are also significantly louder than the rest of the measure (...TA..ta..ta...TA..ta..ta etc). I often run into the same problem when sight-reading difficult passages. My brain will gives more preperation time and emphasis on the notes it considers more difficult.