Hey Canbell - and no problem - I sort of figure most of us have lives outside the forums
Canbell wrote:- the piece is a double on a bourrée, so it might help to stress the same beats that are stressed in the piece it is based on. As it is, I feel you do not mark all the beats as much as they should be;
Yes - especially, perhaps in the beginning -- but I think it really is just an issue of better emphasizing a couple of notes as it begins.
It's hard for me to play against, say, Segovia's recording of the Bourree (the double starts before the Bourree and I can't yet keep up for more than a few notes) -- but, if I
play the Bourree - the opening at least - against my vid of the Double, it actually fits pretty well. --- Of course, this MIGHT mean that I am playing the Bourree to match the Double
--- geeee - I hope I don't do that!!
Canbell wrote:- from time to time, there is a clear melodic line on the basses (e.g. bars 4 and 20) that does not really come out when you play it;
Again - agreed -- I could/should do better at striking all of the notes there. Also, speed seems an issue as well - play the QT version of the vid using the FF button and I think the bass there will come out better (or maybe I was just focused on listening for it) -- Also, a better mic for recording might help because I really do think the webcam mic is biased toward treble and loses some bass response??
All that said, I do tend to allow some bass notes to ring longer than they should and that seems to sort of turn them into supporting harmony rather than letting them stand out as a line. I'm afraid I do that a LOT in this and other pieces as well. I just don't have my RH back to the point where I can (easily) touch-kill notes with my RH as I play.
Canbell wrote:- you play basically every note with the same intensity, and your right hand keeps the same position from beginning to end. You may want to vary the tone a little more, to emphasize the phrasing (I would for example have expected a change of tone between the A sharp at bar 3, which concludes a descending line, and the G that introduces a new line).
I'm not sure I fully agree with this - exactly. Poor phrasing emphasis seems a general complaint - and I surely agree with that. I could (read "should"
) certainly better emphasize phrasing in general - but, specifically in the places you note, I'm not sure they really work with color
changes (for example). This is a pretty "driving"
piece and I think the speed and notes themselves do a pretty good job of insinuating phrases.
Canbell wrote:- I find the pause on B (bar 10) a little too long; is there any reason why you don't also pause on A at bar 12?
(first an excuse
) -- I had spent only a bit over an hour reintroducing this to my poor old hands and I think there was (still is, actually) a bit of very old and deep muscle memory in play as I played.
The tenuto to which you refer is not marked in the handwritten music I had - nor in the printed score I posted later - and I could not justify playing it at all. Then I heard the Segovia recording and there it was. I am guessing that I played with the tenuto long ago and my hands were simply being controlled by that old muscle memory. I also note that there is not a second tenuto in the Segovia rendition -- probably something to do with the Bourree again.
I think that old muscle memory hits several other places as well because there are a couple of spots where my head says "do this"
but my hands want to do something else altogether HA HA HA -- it is a VERY strange feeling.
Anyway - yes - it needs a lot of work before I would claim it to be passable - for sure!!