Yisrael van Handel wrote: ↑
Wed Sep 06, 2017 7:08 pm
Jorge Oliveira wrote: ↑
Tue Sep 05, 2017 11:33 pm
Sor, Fernando - Opus 60 #12 (V2).wma
Wow! Beautiful phrasing, melody brought out clearly, interesting dynamics. I like the lighter, slightly more rapid way of playing this piece (meaning, I like better than my approach). You have a little bit of tension in the left hand in measures 20–23, which is audible and some slight deviations from the rhythm. Your playing is noticeably more fluid, and the interpretation is becoming richer.
I am working on the same piece, and hope to post very soon. I just need some time to practice seriously. I hope this weekend.
Why, thank you, Yisrael for your nice and encouraging words
. This #12 is indeed a challenge if you want to play it a bit faster, specially in the counterpoint in measures 20 and 21. As an amateur it is quite difficult for me to play them, always, in a controlled and clean way and within the tempo. But it is worth the effort because this piece really stands out when you play it in a, as you say, "lighter, slightly more rapid way"
But now that you are rehearsing it, let me point out to you a couple of details in the score, if I may:
- In measures 2 and 6, the first notes are dotted ones and they are followed by notes played with your thumb. Now, if you play the first thumb note, in the third string, in the usual way, that is, apoyando (rest stroke), you will inevitably cut short the duration of the previous dotted note in the second string. So, the first thumb note must be done in a tirando way.
- In measure 18, the C in the first beat is a half note, so, it should ring during the whole of the measure. This means that finger 3 must be kept pressing the 3rd string in the fifth fret and use the remaining three LH fingers to play the remaining three notes.
These are simple things Steve (powderedtoastman
) called my attention to upon listening to my first rendition of the #12- see, please, his post below. But, may be, who knows you have noticed already these details, in which case, please disregard my comments above
powderedtoastman wrote: ↑
Sun Jul 09, 2017 2:55 am
Jorge Oliveira wrote: ↑
Sat May 27, 2017 7:39 pm
I'm posting Sor's Opus 60 #12 for you all to listen to and comment.
At any rate I have some comments for you for number 12.
First and foremost, nice job! It's a tricky one.
For me one of the most important things in the first section of this piece is the separation of the voices.
In the second measure (not counting the initial pick up note as a measure) where the lower voice comes in on the offbeat... I recommend using the thumb for that even though it's on the second string, and I say don't be too shy with that voice, since that's where the motion is at that moment!
That may help to make it sound like it's coming from a second guitar entirely. Also practice the voices separately, and if you have a friend to play with, try making a duet out of it as a fun exercise. I think that will open up your ears to something a little more that you can squeeze out of this piece.
And my other comment is 10 measures into the second section (once again not counting the pick up note as a measure), the lower voice is a half note C on the third string. Be sure to hold that for the whole measure!
Other than that just keep up the great work!