Adrian Allan wrote:Since these harmonics are rare, I can't see them being introduced in even intermediate books, never mind early stage books.
Whilst not "everyday" they are not so startlingly uncommon in fact but, since Segovia (roughly), instruction books have focused on the same, very few, studies and pieces. Unambitious and lazy selections reprinted ad infinitum, each additional volume distinguished only by clumsy and uninformed changes of fingering (presumably to give something to support a copyright claim) and the odd extra piece from a once obscure collection.
Adrian Allan wrote:I have a huge collection of sheet music (admittedly piano as well as guitar) and I have never had a reason to use them - also probably because I do not play any "modernist" pieces apart from the occasional Koshkin or Walton.
Lol ... due to the lazy publishing referenced above it's quite easy to amass a huge pile of paper that, despite its density, includes little of value (I own plenty of that stuff). All you would need is a copy of Sor's Méthode to remedy the situation.
Actually - I place a great deal of value in those old methods and have very little time for modern junk like "Pumping Nylon" (though I do admit to owning a copy).
Adrian Allan wrote:... probably because I do not play any "modernist" pieces apart from the occasional Koshkin or Walton.
As you know, I sort of started out with a love of modern English works - Walton, Berkley, Bennett, Rawsthorne, Maxwell-Davies et al. When the Tippett came along I was in raptures - none of those required mid-fret harmonics (as I recall).
Since those days I've played the complete works (as far as they're available) of Sor, Aguado, Giuliani, Carulli, Carcassi, Legnani etc., etc. blah de blah de blah ... and read every method volume that I could lay my hands on. I strongly disagree with those who say that there's no audible difference between certain composers of that period - if I play Carcassi and Carulli side by side I strive for the audience to be able to distinguish between them - some of that possibility relies on understanding not just their approach to composition but also technique.
Adrian Allan wrote:Ok - here is another question. How many of these are practically possible on the classical guitar?
Only one way to find out ... I suspect that a "modern" instrument (and strings) will probably perform better.
Here's Sor's chart:
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