robin loops wrote:Wrong place for a dotted note. Usually that position denotes staccato...
there isn't enough time left in the measure to play it,
Scot Tremblay wrote:...I think Sors Op. 35 along with his method (if you can find a copy of the original publication, the later ones were altered/edited quite a bit) is the most comprehensive insight into his technique and style. We are so lucky that we have the Boije collection and others, on line, that we can easily access.
Sorry to blab on...
The final measure specifies the upper B to be played with played with the 4th finger.
Also that 2nd to last measure does not have a dotted half note
Cuyler wrote: I suppose another advantage of using the fretted version is that you can add some vibrato if you so choose (which I didn't think of before).
Scot Tremblay wrote:Speaking of staccato markings: occassionally you might see a run of notes with what appears to be a staccato mark on every second note (looked for an example but couldn't find one in a hurry and besides it's not all that common that the technique is marked). It doesn't necessarily mean that every second note is staccato but that the run is played right hand pipipi with the p on the strong beat and the i weak. Scale or single line melodic passages were often played with a pipipi technique much like lute (probably borrowed from lute technique) and Sor was one that used this right hand technique. It's not often notated but I thought I'd throw it in just in case someone checking out the Boije collection comes across these markings and exclaims loudly "What the ... !".
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