Many thanks, Yisrael, it is always good to have your encouragment. Yes, I agree, Clayton's interpretation was a surprise for me, I was not expecting the quite fast tempo he used. But, no doubt, it sounds quite nice that way. It seems that he is already an advanced guitar player and it's quite good, then, to have him aboard in this thread .Yisrael van Handel wrote: ↑Fri Jan 11, 2019 9:02 amJorge, excellent rendition of music as written, phrasing improved, melody brought out, rhythm solid. I am inclined toward Clayton's rendition in 2/2 time with even more bringing out of the melody. I have the same comment on my own performance. However, I do not mean that we should stay on #1, but rather apply what we learn to the next study.
Clayton, can you be convinced to reconstruct your comments? Hint: check Remember me on the login page. I think that prevents login you out automatically in the middle of a session.Clayton wrote: ↑Fri Jan 11, 2019 11:09 amI had just written a longish post with my aims for a v. 2 of this piece now that I heard the other versions, and a few other comments which may/may not have been of interest - but when I pressed submit I was taken to the login page and what I had written vanished.
Well, these aren't my original comments but I listened to your rendition again and thought about what you said here:
I am interested in that too. I thought your second 4 measures did come across as a response to the first 4 though.
I am practicing applying the ideas to Opus 35 #03. I am having some success, and I hope to post soon. There are some very difficult fingerings in Exercise #3 (playing with hinged bar is required in several places, if you take the score literally). Rather than take liberties with the score, I decided to completely refinger the exercise, which improves the sonority and avoids the necessity of advanced techniques. It will take me another week to learn it well, as it is considerably more difficult than previous pieces.Clayton wrote: ↑Sun Jan 13, 2019 7:30 am
I think the note that joins the phrases counts for a lot. It seems as though the more you make it sound like an upbeat, the more what follows will sound like an answering phrase. It also seems that you can make it sound more like an upbeat by moving it a tad closer to the downbeat (so playing it slightly late) and by making it noticeably quieter than the downbeat.
Otherwise I think it's a matter of keeping the phrasing of the bits that stay the same consistent and maybe drawing attention to the bit that's changed by altering the dynamics. I was going to say by making it louder, but you seemed to make it quieter and that worked too.
I know people often talk about statement/response but the response often feels more like a kind of expansion on the statement to me, with the real response coming in the next long phrase.
Where the second bit is just a repeat, or not much more than that, I think you just change the dynamics and/or timbre. At least, that's what I tried to do, although I was going for a much bigger contrast than I actually achieved. Your tone production seems to be quite a bit ahead of mine so you may have an easier time varying the timbre.
Yes, I actually find #3 simply difficult. There are a lot of places that require considerable practice to make them smooth. I am working on it quite a bit, but progress is slow. It is encouraging to see that I am not the only one that finds it more difficult.
I can voice my agreement! I've been playing this one for a while and only recently starting to have a handle on it. Still not 100% what I'd like it to be but good enough to move on while keeping it in my rotation.Yisrael van Handel wrote: ↑Thu Jan 17, 2019 6:45 pmYes, I actually find #3 simply difficult. There are a lot of places that require considerable practice to make them smooth. I am working on it quite a bit, but progress is slow. It is encouraging to see that I am not the only one that finds it more difficult.
Oh, that's a good idea. I might do the same.powderedtoastman wrote: ↑Sat Jan 19, 2019 5:09 am<snip>I've been playing this one [Opus 35, #3] for a while and only recently starting to have a handle on it. Still not 100% what I'd like it to be but good enough to move on while keeping it in my rotation.
I do plan to post numbers 4 and 8 in the coming days.
Thanks fo your kind words and encouragement, Alexander. Yes, yours was, indeed, a good advice .
I'm glad you liked my rendition of the #2 as well, thank you. Nevertheless, I'll prepare, one of these days, a second rendition where I'll try to implement your recommendations. Two questions, though: I don't dare to include ornamentations on the repeats that are not in the score, at my present level of playing I feel that it would be presumptuous of me to attempt it . But I could change the tone colour by perhaps, moving the RH a bit up or down along the neck, no? Secondly, I'll pay attention to the third beat as you say, but as for the bass notes, I'm pretty sure I played them all. However, as I explained in a post a few days ago answering to a Clayton's observation, I play some bass notes with my i finger, specially if they are in the str.3 or in str.4 together with a nearby note in str.3 . But I'll check it out and make sure that I'll use the p finger for bass notes whenever possible. On the other hand, I'm curious, do you still find it difficult to hear my renditions without distortion? You see, the loudspeakers of these days ultra thin PCs are not good enough to reproduce bass notes, they are, either not heard well enough, or they are distorted.Alexander Kalil wrote: ↑Sat Jan 19, 2019 8:08 pmI also listened to your rendition of N°2 and found it pretty good. Just two remarks. Try to play repetitions slightly different each time, e.g., by adding ornaments or just varying tone color. Further, pay special attention to the third beat of each measure; often the chord/note you play there is clipped and the transition to the next chord wobbly; a few times you also forgot to play the bass note there. Make sure you can play the chord and the transition there smoothly, then decide afterwards if and where you really want it to sound staccato.