CarlWestman wrote:in measure 3 (and its parallel measure, 19), does the G note on the melody/treble get played as 4th string, 5th fret? It's not indicated as such, but if you play it as open on the 3rd string, it will kill the dotted half note G at the beginning of the measure, which is supposed to last the whole measure.
The only other thing I can think of is that the dot does not belong on the half-note, and thus the last note of the measure is just a quarter note, open string G, that interrupts nothing since it would then follow a half note.
The lower voice is definitely a dotted half note, because otherwise you would expect to see either a pause of quarter note duration, or the 'g' at the 3rd beat would have stems both up and down (a convention that is sometimes seen).
I must once again emphasize that I am in no means an expert when it comes to interpreting written music (or much anything else), so what I'm saying is just based on my experience.
Within the written music there can exist musical ideas that sometimes cannot be literally implemented on a certain instrument. In this case there is the musical idea that the piece starts with two phrases both two bars long, which have a similar structure. The upper voice first plays 3 quarter notes followed by a dotted half note, whereas the lower voice plays a dotted half note followed by three quarter notes. In this (and I guess many other) guitar transcriptions of this menuet, originally written for keyboard, the voices end up playing the same note at the end of bar 3.
Consider if it was written for keyboard the same way (I don't think it is, but that's beside the point). Clearly with keyboard it's impossible to play the same note 'double'. Which means that in this case we can rule out the intention of the composer being the 'g' played at two strings. The next clue is that the transcriber did not leave any direct clues as to which string he wanted each note to be played (no circled numbers). In guitar literature intended for beginners that generally means to use the string that allows playing at lowest position.
In my opinion this case is quite straightforward, and the intention is to play both the g's on the 3rd string, because there will be no issues with harmony changing when doing so. If the upper voice 'g' was already played on 2nd beat (let's say the upper voice would go d-g-b instead of d-b-g) cutting the lower voice short would have an effect to harmony, and then the only right solution in my opinion would be to play the lower voice 'g' on the 4th string. You can do so now as well if you wish (and in my opinion from the point of view of separating the voices, it's much better to play the lower voice on the wound string compared to the last note of the upper voice, because 2nd and 3rd strings are more similar in tone compared to 4th), but you don't really have to. It would of course then mean that you no longer will be able to play the 'd' with 4th finger as indicated in the music sheet.
CarlWestman wrote:Also, and perhaps you all touched on this earlier with the trills - it's pretty clear that M. Delcamp does not play the first part and second part the same the second time through (that is, after the repeat mark). He adds some ornamentation of some sort. I'm not sure if it's the trill you mention, or if it's some part of a scale he snuck in there. Since it's not in the sheet music (is it?) then I trust we are not expected to play it, but if we're clever enough to pick up on what he's doing, we of course can?
I would say that you could either pick up on what he's doing, or preferably invent some ornamentation of your own (division / diminution; you could google those to get a better idea how it's generally done). It's supposed to be spontaneous / improvised. But don't feel that you have to add anything to the written music. There will be some separate ornamentation assignments in the more advanced classes.