Precisely right.Lawler wrote: Maybe it arises from the fact that so many guitarists read staff notation as fingering directions rather than what notation really means (the sound of the music).
I don't at all mind arrangements/transcriptions to include comprehensive LH and RH fingerings. It seems to me that, apart from key and voicing, these are what constitute the "arrangement" for guitar. I think the guitarist should always regard them as suggested and feel free to change them for musical and/or technical reasons, but part of learning the art of fingering is to see how the masters went about it, and think about why they made the choices they did. I'm sure Segovia was happy to have Llobet's and Tarrega's arrangements of Albeniz, Granados, Bach, etc not because he wouldn't have been able to get the original scores and transcribe them from scratch, but because someone had already done the heavy lifting of key selection, voicing decisions, and writing out plausible fingerings which he used as a starting point and which evolved as he made them his own...which seems a reasonable approach even if he didn't allow his own students that freedom. But I agree that there are some arrangers where the choices don't seem to make any sense at all, and are a hindrance instead of a benefit and you end up changing almost all of them. It makes you wonder whether they were making random changes from existing versions to justify publishing a new edition. (This isn't a comment on Angelo Gilardino's arrangements as I've never seen one).Lawler wrote:I hear you. Print music for guitar is too often over-marked with fingerings. Aside from Angelo Gilardino's reasons, maybe the general issue is a hold-over from Segovia's parent-child attitude about teaching in his masterclasses... "Here is my recording... emulate it in detail. Here is my print edition... play it with these fingerings. Or suffer my wrath. (I love Segovia's playing, though.)" Maybe it arises from the fact that so many guitarists read staff notation as fingering directions rather than what notation really means (the sound of the music).
Mainly music AG has edited. Anyway, it's no big deal, just that in any given situation in which there might be three or four alternative fingerings AG seems to consistently pick the one that would be at the bottom of my list of preferences.Stephen Kenyon wrote:Denian, is it AG's own pieces then or editions, e.g. the Segovia Archive?
Yes. I Agree; I have the Blanco edition of Torroba's Castles of Spain and there are some fingerings (a lot actually) that make you lift your fingers before the actual written note value; he uses cross strings a lot too.Denian Arcoleo wrote:Mainly music AG has edited. Anyway, it's no big deal, just that in any given situation in which there might be three or four alternative fingerings AG seems to consistently pick the one that would be at the bottom of my list of preferences.Stephen Kenyon wrote:Denian, is it AG's own pieces then or editions, e.g. the Segovia Archive?
For Glassy's sake, I really hope this is satire. Otherwise it reads like a cry for help.glassynails wrote:One should never alter the fingerings of a Maestro such as Segovia. Especially if you play in one his Masterclasses. I always stick to the fingerings of Segovia 100% and that's just the way it is. I accept it and I feel you must in order to play Segovia's pieces! Segovia was not a mere mortal like the rest of us and he knew the guitar inside and out. We will never be able to fully understand the nature of the cg. It is not meant for us to know.
Segovia often changed his fingerings though. As the author of such beautiful arrangements, he had that right. Glassynails has always thought of himself as a pretty good transcriber, going all the way back to transcribing off of old scratchy 1920's country blues artists recordings and often times even correcting many 'mistakes' in Stefan Grossman's transcriptions, although Glassy realizes that Grossman may have not had the time or desire to transcribe in such a fully accurate manner, but rather just to demonstrate in a macroscopic manner the 'goings-on' of a particular bluesman's playing. Glassy has finally come to terms with this, but sadly has moved on away from the country blues music.
Glassy though has come to a conclusion with regards to why Segovia may have often deviated in his recordings or live playing of pieces that he had earlier arranged in such a highly beautiful arranging style that could only be improved upon by the efforts of the Maestro himself! I believe overwhelmingly that it was to confuse later efforts by the infamous Glassynails to correct the discrepancies between his recordings and the published Schott editions! Although with the advent of slow-down software Glassy had found a way to almost fully duplicate the recorded material and record it to paper. He usually gave himself an error-margin of only 2%, within which he usually was able to fall within.
The recordings though sadly cannot reflect the fingerings fully that the Maestro Segovia had used. Sadly, Glassynails has resigned himself to this fate of never knowing the left and right fingerings of such recordings! Again, I don't believe these fingerings are meant for us to know though. Once I did happen to see one recording played live by the Maestro after years of incorrectly assuming a left hand fingering. Upon the revelation of this particular phrases fingerings I was so overwhelmed that I broke down crying for almost an hour afterwards .... it was that beautiful, as Segovia's fingerings most always are.
I feel that this is why we must always faithfully follow our dear Maestro Segovia to the T! Glassynails even went so far as to buy the very same glasses that Segovia wore and a matching tux! Glassy is even trying to gain weight, so that his fingers will get fatter in order to be closer to Segovia! What is that saying "If it walks and talks like a duck" .....?
So ladies and gents, let's never forget the countless hours that went into the Maestro's arrangements! We may often try to find 'better' fingerings, but is the full-hearted belief of Glassynails that there are no better fingerings! There can never be and there we not meant to be! We have to accept that we will always be in the shadow of the Maestro and we can never do anything to approach his greatness, nor should we even try! It is a heresy!