I really like that piece. Its actually the 4th movement of Sor's "Deuxieme Grande Sonata Opus25". Classical period minuets were usually played quite fast, around 132 - 160 bpm, and as its the finale of a major work I think it should sound a bit dramatic. Aim for that sort of range, but without losing the quality of "gracefulness" that characterises so much of Sor.Inky960 wrote::contrat: Speaking of Sor, I'm working on his "Minuet in C," as presented in the Frederick Noad book, Solo Guitar Playing, Volume One.
Since we seem to have a score or Sor experts here, could somebody tell me the tempo of this piece? Noad makes no mention at all of tempo that I can see.
You've certainly come to the right place for that question! Be prepared for a multitude of responses. I believe though, the answer is up to you and your technical comfort levels....inimeany wrote: Can anyone tell me where to start with Fernando Sor?
In my opinion buy this book Complete Sor Studies and go according to it.inimeany wrote:Can anyone tell me where to start with Fernando Sor?
Agreed -- as an example, here is how he describes "the manner of setting the strings in vibration":almost a year ago, PM wrote:Awesome composer and probably an awsome guitarist himself, but writer?????
I checked a copy of his Method for Spanish Guitar from the libraray. Mercy!!!
It is like a technical manual written by some engineering geek (not that there's anything wrong with that).
Yikes! I hope the original Spanish version is easier to read. The French/German translation even includes mathematical equations with square roots. Classical guitar is a science!in public domain version from [url=http://www.crgrecordings.com/scores.htm]Lawrence Johnson's site[/url], Sor wrote:A stretched string in quitting the straight line, towards which it is strongly impelled by its tension, if that agent ceases to prevent it, will fly towards it with an impetuosity which will carry it beyond the line in the opposite side; and this deviation will, in its turn, produce a similar effect, this alternation continuing in proportion to the difference between the force of impulsion received, and its tendency to repose.
I agree completely! I'm a Sor-aholic, and have virtually everything he ever wrote (thanks to a Tecla collection). Opus 60 numbers 6 and 10 are beautiful pieces, and I play them at almost every practice session.PM wrote:Opus 60 No. 6 and Opus 60 No. 10 are pretty easy and fun to play. These are two of the many that I practice sight reading with. Just delightful little tunes that make me happy.
Actually, the Sor Opi were not written in order (Opus 1 was NOT his first Opus), so I'm not sure that you're really skipping around that much. Most of the Opus numbers were added long after the works were originally written.inimeany wrote:
(Actually, I have been skipping around a bit too and looking into the Etudes as well. )