Thanks for your comments, Mark and Cat!
In my opinion the only thing separating this Rondo from D05/D06 stuff is the lack of full barrés and the fact that it doesn't go beyond the 3rd position. There are some tricky passages for the right hand, such as the fast bass melodies to be played by thumb only. Measures 24-27 have those high g notes right after the chords. Professor Delcamp seems to use either m-i or i-m for them, but I play them as a-m, as it feels a bit safer to me not having to move the hand so much, but with the cost of added tension in my right hand just before those fortissimo
chords, which is probably why I'm having trouble giving them the full volume, as I'm trying to relax my hand at the same time
Mark, I think you made a good call by repeating D04. The very best decision naturally was not dropping CG altogether after the hardship in "real life" intervened. The spring lessons are much harder than the first five, and I think many people, myself included, make the decision to move on to the next level motivated by not wanting to repeat initial "easy" lessons of the current level. I wasn't too happy about my performance both D04 and D05 spring, and D06 start already was very tough and demanded much more work than I had time and energy for. Even after having spent much of the summer studying it. These lessons hopefully aren't going anywhere, so it's better to take the time you need.
Mark Bacon wrote:I'd wager that you do when not recording but if you're like me the longer a piece you're recording the more cautious you get-to the point where the music suffers a bit. I have NO IDEA how the pros do it!!
I did try to play with some dynamics, but it is as you said, the music does suffer a bit from wanting to avoid mistakes. The main thing of course is that the piece is still technically so hard for me that most of my concentration goes to getting all the fingers in the right places at the right time, and consequently many times the use of dynamics is simply forgotten.
The pros, and basically anyone whose interest is solely in producing a perfect recording would use edits. Lots of them. That pretty much takes the nerves out of the equation. Why would you chase that perfect single take (which you'll never going to get anyway) for hours, when you can simply play the piece a few times, choose the best bits and paste them together, and then possibly record again some isolated trouble spots. That's what DAW software is for. Performing live is of course a different matter, but then the expected quality standard isn't as high as in the recording.
Then there's the matter of "fake" live performances, which are actually music videos for studio produced CD-tracks. Take for example the famous CG video of Schubert's Ave Maria, filmed in a cathedral. It is easy to assume that what you hear is a live performance recorded in a place with perfect acoustics. Yet there are moving cameras, which means moving cameramen that manage to make no audible sound into the recording from their shoes and clothes, which is easily explained by lack of any microphone in the video frame even in the long shots. Even though the YT video description says "Filmed
in the location..." and promotes the CD from the artist in question, youtube commenters praise the acoustics of the cathedral
Some videos even have fake microphones to fool us into thinking that it's possible to play 13 minutes straight without a single buzz...
My point is that our expectations of what a live performance should sound like is affected by this kind of technical trickery.
I'm not saying that the pros couldn't record a decent single take. They very well could, but it wouldn't be a perfect
take in their own mind. And they're probably happy that they won't even need to try and make it perfect at one go.
Catherine Livingston wrote:The Carulli Rondo sounds lovely! It is much improved when compared with the version you recorded on March 22nd. Your new recording setup is sounding nice too. I didn't have time to learn this piece but thank you for inspiring me to learn it in the future.
Thanks Cat! The previous Rondo version was more of a recording test for the new setup, but it also served as an eye opener to how much slower it was compared to prof. Delcamp's recording, so I knew I had to both up the tempo and work on some technical bits. Therefore it often makes sense to do a recording even when you know you're not really ready. I'm fairly pleased with my new recording setup as well! Hopefully you'll get as much enjoyment out of learning the rondo as I did