Sor's Study Op 29 No 17 in C (Segovia's "No 20")

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John Kemp
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Sor's Study Op 29 No 17 in C (Segovia's "No 20")

Post by John Kemp » Tue Sep 05, 2017 3:31 pm

This is a study in precision and articulation, in my view, and fingering is important. The initial chord EBG in Bar 27 is extremely difficult to place fluently, as fingered by Segovia, and I have provided an alternative fingering - shown in the attached jpg file, and made a virtue out of a necessity in some consequential changes to some other fingerings.
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dory
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Re: Sor's Study Op 29 No 17 in C (Segovia's "No 20")

Post by dory » Tue Sep 05, 2017 8:02 pm

I have not played # 20. However I have found that a lot of Segovia's fingerings in the Sor studies are either awkward or unplayable. I imagine if they were published now someone woukd proof them.
Dory

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cedartop
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Re: Sor's Study Op 29 No 17 in C (Segovia's "No 20")

Post by cedartop » Tue Sep 05, 2017 10:14 pm

The problem with this change in voicing is that it changes the value of the "b" to an eighth note instead of a quarter note. So the "b" no longer continues to ring as the eight note "c" is placed. I don't have the music in front of me and it has been at least 30 years since I played this piece, but as I recall this is part of a sequence in which one would like to keep the voicing in each repetition of the sequence the same. Segovia's fingering may be difficult, but it does preserve the printed voicing. There was a musical reason for the fingering.
2011 Traphagen Cedar Doubletop

khayes
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Re: Sor's Study Op 29 No 17 in C (Segovia's "No 20")

Post by khayes » Wed Sep 06, 2017 2:11 am

cedartop wrote:
Tue Sep 05, 2017 10:14 pm
The problem with this change in voicing is that it changes the value of the "b" to an eighth note instead of a quarter note. So the "b" no longer continues to ring as the eight note "c" is placed. I don't have the music in front of me and it has been at least 30 years since I played this piece, but as I recall this is part of a sequence in which one would like to keep the voicing in each repetition of the sequence the same. Segovia's fingering may be difficult, but it does preserve the printed voicing. There was a musical reason for the fingering.
How is the open B cut short when the C is played with the 4th finger on the third string?
Ken

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cedartop
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Re: Sor's Study Op 29 No 17 in C (Segovia's "No 20")

Post by cedartop » Wed Sep 06, 2017 6:22 pm

khayes wrote:
Wed Sep 06, 2017 2:11 am
How is the open B cut short when the C is played with the 4th finger on the third string?
You are correct -sorry - misread the score (I'm old :oops: ).
2011 Traphagen Cedar Doubletop

khayes
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Location: Middle Tennessee

Re: Sor's Study Op 29 No 17 in C (Segovia's "No 20")

Post by khayes » Wed Sep 06, 2017 9:14 pm

cedartop wrote:
Wed Sep 06, 2017 6:22 pm
khayes wrote:
Wed Sep 06, 2017 2:11 am
How is the open B cut short when the C is played with the 4th finger on the third string?
You are correct -sorry - misread the score (I'm old :oops: ).
Me too cedartop - and just so you know, you are probably right in my case. If I were to play using the revised fingering, the B would probably get cut off anyway because my 4th finger would most likely rub against it.
Ken

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