I was thinking mostly of Paganini and de Abreu pieces when I made a comparison of (technical) difficulty. Granted that Bach does have some technically difficult bars, but it's mostly arpeggios and scales in low positions. de Abreu piece has some nasty passages where you need to keep one or two voices sounding while changing finger positions for one or two other voices. It's very demanding (and tiring!) for the left hand, at least until you learn to do all the moves in most economical way. Paganini, on the other hand calls for very controlled right hand damping and articulation to make it sound "crisp" as I think it should sound, and there are some serious challenges for the left hand as well. I also find it difficult to maintain a good tone in the part that switches to D minor. It's also a piece that is nearly impossible to play too fast (and not just for me, but generally anybody; I have Marco Tamayo's recording of it, and it's way faster than Delcamp's).Pat Hargan wrote:I'm surprised at what you say about the relative difficulty of these pieces, as I find the Tarrega easier than the Bach, so maybe your judgment is based on the fact that you have been working on the Bach for longer. On the other hand, maybe it has something to do with my guitar having a cutaway - even though I am trying to pretend that it is not there for the purpose of this study, so as to practise the 'demanche'.
Still in some ways, I do find Tarrega study technically more demanding than Bach, but you're right that it's probably because I had been working with Bach longer than Tarrega, and it's the position shifts that make reading the music more challenging, and it's playing those high notes trying to maintain a good tone. But then again Bach does have much more notes to play, so perhaps I would say that the bars in Bach are easier on average. And I won't go into issues of making the notes sound musical
Practicing the 'demanche' with a cutaway must look funny! Can't wait to see it
Yes, I'm using pami only. I'm not sure if using those other fingerings would be useful for the purpose of getting better at pami tremolo. The tempo I used for the recording is pretty much my maximum limit that doesn't cause significant tension buildup in my right hand, at least for the duration of that piece. For the purpose of playing very accurate tremolo, I think I should have slowed down even more, but as I don't wish to spend time for tremolo at the moment, as the improvements will take several months of regular practice, I think that tempo was good for the purpose of seeing and hearing where I stand with it at the moment. Perhaps I'll start working with it regularly during the summer break. I'm not too fond of tremolo pieces generally though.Pat Hargan wrote:The tremolo study needs to be faster, but you are right to play it slowly and accurately until you are ready to play it faster. Are you using pami? I couldn't tell because of the low light, and because my connection is slow and tends to default to the lowest-quality video.
I'm looking forward for your recordings!