I have no idea what a digital recorder is, didn't know it existed, also need to be in my budget any advise on this is appreciated.CarlWestman wrote: along with JFD's recording. There are digital recorders which can play back such things at varying tempos without changing the pitch. I use a Tascam DR-05, their entry-level model. You might have missed a note in there too (around 30-31 sec).
I did a bit of these lessons in Aug and got stuck in the middle around lesson 40 or so. I don't have time to continue now, Mr. Delcamp exercises and pieces take me a long time. Just out of curiosity did you accentuate the notes apoyando in Sagreras?Stefan Srećković wrote:Plenty of material to go through before lesson 3 comes, namely Sagreras book I, lessons 73 74 75!
Ah, that's what some people said at the Spanish forum, I was doing apoyando with my ring finger, it was so odd, I thought that was too muchStefan Srećković wrote:The 'apoyando sign' in Sagreras' books isn't necessarily calling for apoyando, but just accentuation.
In Sor's Don't you have to use the thumb to play the bass notes?WilliamTee wrote:If I understand it correctly, there is no (p) involve except for damping.
Yeah, ring finger rest strokes are uncommon. Try to review those lessons starting from lesson 40, but bear in mind that (^) sign calls for accentuation.Beatriz Martin wrote:Ah, that's what some people said at the Spanish forum, I was doing apoyando with my ring finger, it was so odd, I thought that was too much
What? It's widely used means to accentuate the melody in arpeggio patterns. Sor's B minor study, Spanish Romance, etc. The accentuation can be done without rest stroke, but for the beginner that is probably the easiest way when damping the next string isn't a concern. The rest stroke doesn't need to be heavy. Just enough to make the note stand out a bit.Stefan Srećković wrote:Yeah, ring finger rest strokes are uncommon.
Julio S. Sagreras wrote:... this movement is what I call apoyando, or rest-stroke and is indicated with the sign ^.
Melodia de Sor (aka Romance aka Jeux Interdits) has two different arpeggio directions. The version in D05 uses a(1) i(3) m(2) - a(1) i(3) m(2) (with a playing the melody). Then there is plenty of time to play rest stroke even at the given tempo. I agree that it is more tricky to play the other arpeggio pattern a(1) m(2) i(3) - a(1) m(2) i(3) using ring finger - rest stroke.- page 92 Anonyme - Melodía de Sor attribué à Fernando Sor
I recommend that you use rest stroke for the melody notes (upper voice, played with the ring finger).
Delcamp wrote:- page 54, 55 Sor, Fernando Exercice opus 35 n°22, en si mineur, Segovia n°5... The rest stroke is well suited to bringing out the melody (the upper voice). Use the free stroke to play the accompaniment.
D04L06:Delcamp wrote:- page 88 Tárrega, Francisco Estudio, en mi minor... Another piece in three voices. Here again I recommend that you use rest stroke for the melody (upper voice). The right-hand fingering is based on the most classic principle: the ring finger plays the first string, the middle finger plays the second, and the index finger plays the third, while the thumb plays strings 4, 5 and 6.
You'll get plenty of practice for that technique in D04.Delcamp wrote:- pages 50, 51 Sor, Fernando Exercice opus 35 n°13, en do majeur, Segovia n°2
This piece consists of a melody with accompaniment. Bring out the melody notes (those with the stem pointing up) by using rest strokes with your third finger. Play the accompaniment (the notes with the stem pointing down) quietly, with gentle free strokes using the thumb, middle and index fingers.
These two simultaneous strokes, one a strongly played rest stroke, the other a gentle free stroke, will seem very difficult, or even impossible, to achieve. But don't worry, my students manage this double stroke after 15 minutes. The first few minutes of practising this right-hand skill are always agonizing for students, because they feel that they will never succeed. In my lessons, my role is to reassure the students and encourage them to persevere. Often, after 15 minutes of repeating the same movements, students start to get there. Sometimes they are quite amazed at having succeeded at what seemed impossible. Because by repeatedly failing to perform rest and free strokes simultaneously, you end up convincing yourself that it's impossible. In short, persevere! Have courage!
Be patient, stay relaxed, don't get annoyed with yourself, don't curse me, just repeat the same movements over and over again while making an effort to get it right. In a few hours or a few days you will achieve mastery of this simultaneous rest and free stroke. This technique is used in the piece "Jeux interdits".