Many thanks, powderedtoastman, for you comments to my rendition of the #4 and the ensuing advice on how to improve it. This is quite a complex piece, indeed, it took me a long, long time to have in my fingers. There is, indeed, a melodic line and some notes and arpeggios that sustain it along the piece, though they sometimes seem to mix in each other as you rightly pointed out. It is not that easy for me to distinguish them, though I can see it in the work in progress posted today by Yisrael. I'm going to publish another version of the #4 one of these days and I'll try to stress a bit the melodic lines, perhaps by pushing their volume up a bit.powderedtoastman wrote: ↑Fri Mar 22, 2019 9:32 pmJorge, I think you have a very good functional hold on number 4.
As Yisrael has mentioned, what I'd now like to hear is a clear separation of what is harmony and melody. When I listened to my own take, I can kind of sort of hear it, but "kind of sort of" shouldn't be good enough. I'd like to bring it out and make it obvious a little more in my own playing as well.
I think for example, the first open G in the first measure is pretty obviously the melody, and the arpeggio that follows is the harmony which can be laid back. Similar in the next measure, the D is melody and the rest is harmony.
Third measure the whole descending scale run from the high G can be thought of as melody, but then something interesting happens, the bass line takes over and in my opinion overlaps a little starting with first A in the next measure while the higher voice starts to fade back to harmony.
So rather than practicing the piece as written, listen to and practice the piece while thinking of those separate voices and how they interact with each other. If you had a teacher or practice buddy around, I would say to go through and assign the voices to one player or the other and play it as a duo. I once had a teacher do that as an exercise with me for Op. 60 no. 12 and it really opened my ears to what that piece was.. This one could use the same treatment! The ultimate goal is to have it sounding as if you have two or more guitars going when in reality you're the only one.
Being aware of that of course is one thing but getting the total physical control over that... well, I will let you know when I think I've figured it out!
For the first two measures I can give you a hint that I think planting your fingers on the strings ahead of time for the arpeggio can aid us in controlling the volume, namely keeping the arpeggio in the harmony subdued. This advice courtesy of one of my teachers!
By the way - and referring to the advice of one of your teachers in your last phrase - I already do that. I'm a "positions" player by training and when learning a new piece I always try to apply standard positions that cover as many as possible notes of any given measure(s), even if some of the pressed notes are not played at all . This helps me to memorize the piece, steady my LH and minimizes as well the movement of my LH fingers.