Thanks Ed and Lucien. This group of pieces is taking me some time to learn. Hitting the last chord on this one was tricky for me. I was about to post Sauteuse, when I realized I was playing it wrong (second line, second-last measure - played open G instead of open B)
You're welcome Tom!Tom Wimsatt wrote: ↑Fri Feb 16, 2018 6:46 pmThanks Ed and Lucien. This group of pieces is taking me some time to learn. Hitting the last chord on this one was tricky for me. I was about to post Sauteuse, when I realized I was playing it wrong (second line, second-last measure - played open G instead of open B)
Thank you Jules,Jules Wilkins wrote: ↑Sat Feb 17, 2018 5:57 amLucian:
Huge improvement on the slurs. It is quite a challenge to keep even tempo let alone even volume so we need to make slurs a daily exercise, almost. I tend to overdue it some days and need a few days for my fingers to recover, but I know it will take hundreds of hours if not thousands to get proficient at them.
I believe the use of a metronome is a bit of a hot topic, with some asserting extensive use and others perhaps dispensing with them entirely. If you listen to Delcamp's recordings his exercises are played with strict cadence while his pieces are played with varied cadence, and I generally agree with that approach. Playing in strict tempo is a skill we absolutely need and we should be able to accomplish that without the "crutch" of a metronome, but to get to that point I for one need the metronome from time to time. For example, I am still working on Malaguena where we have to switch fingers in a chord in order to free up our first finger to play F on the 6th string followed by a fairly rapid string of notes. I would not be able to improve without the metronome. Like you I don't exactly like it because it tells me every time I screw up, but maybe by the time we have finished this years course I will be able to play Malaguena properly. Varying the tempo is a fantastic tool to use to give a piece artistic expression, but if we are doing it because we cannot make the chord change quickly then that is clearly the wrong reason. I think we need to be real with ourselves and pull out the metronome when we clearly need it, but the goal is to be able to control our tempo and play pieces legato without the metronome.
Tom: I think you may have misunderstood me. You are pausing just enough. What you are not doing is muting the strings for a beat as written in the score and as played by Delcamp. Truth of the matter, you play so well that it is easy for me to find praise and encouragement and difficult to find anything you do "wrong", but I did find that small thing.
Jules, I am sorry to say that after spending nearly 45 minutes on a response, I somehow hit the wrong button on my phone and lost the whole thing. I have also discovered I am unable to send private messages...Jules Wilkins wrote: ↑Sun Feb 18, 2018 7:23 amTom: I think you may have misunderstood me. You are pausing just enough. What you are not doing is muting the strings for a beat as written in the score and as played by Delcamp. Truth of the matter, you play so well that it is easy for me to find praise and encouragement and difficult to find anything you do "wrong", but I did find that small thing.
I suspect you are quite the perfectionist in all that you do, and I admire you for it. If ever you want a job, look me up.
I commented to Lucian on the use of the metronome and the importance of being able to play in perfect tempo. This is something you excel at and if you cannot play error free at the indicated tempo you simply slow it down to one you can handle knowing that speed will come in time. That discipline sets a great example for the rest of us. But in some sense playing "error free" is the easy first step. I think I played Andantino close to error free (after many failed attempts, but we wont talk about those ). But when I compare my rendition to that of Delcamp it becomes evident that I have a long journey ahead of me, and I think this is what you are noticing about your playing as well. Relatively little remains to talk about posture or hand position for while improvement is no doubt possible we are at least zeroing in on something that works well enough, but how do we take these skills to the next level? As you say, we have something in mind and we may even delude ourselves into believing we executed that vision...and then we play our recording and realize that we somehow missed the mark. Perhaps we are our own greatest critics, but that is OK because it is through raising the bar that we continue to improve.
I very much doubt that you will present us with much in the way of technique to comment on, and now that I am caught up I will strive to play as well. I will however look for interpretation suggestions to consider and hope that you will do the same for me, for I think that will be more helpful than a simple pat on the back. You will still get the accolades so long as you keep up the great work, but I don't think "good" is good enough for you and if I can help you achieve great than I will consider it a victory.
My left thumb is very sore so I have decided to stop playing for at least a few days for it to recover, so I will be tardy in completing the assigned postings. I have really been concentrating on improving my left hand and it seems to have taken a toll on my thumb. I will have to figure out why once I start up again.
Thanks Ed. Pavane struck me the same way. It seemed musically odd, only playing it faster made things worseEd Butler wrote: ↑Mon Feb 19, 2018 5:01 pmTom - well done. It is funny, the first time I heard you play this it sounded very fast. When I went back and listened to the instructor play and then re-listened to your version it was spot on. I am finding when I play this, the first 5 notes do not sound "musical" to my ears. I need to do a better job of coming close to the way you play those notes.