Giuliani, Mauro - Etude in E Minor

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unforgiven

Giuliani, Mauro - Etude in E Minor

Post by unforgiven » Wed Oct 12, 2005 4:40 am

I'm guessing this Etude is ok as there are some Giuliani pieces in the sheetmusic and he died in 1829. This is a piece my instructor gave me to work on my right hand speed and technique. I can't seem to play the first part without string squeaks and I did have to edit the last part in a few places that I can't play straight through without errors. I hope you enjoy and suggestions are welcome.
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hav

Post by hav » Wed Oct 12, 2005 6:30 am

Hey unforgiven --- a good effort and not terrible - and I'll probably sound like a broken record or something --- but I really really think you should just slow it down to a point where you can work all the way throuh evenly.

We all do this as we begin (or re begin) a piece or study (or even an exercise)- really. For example... look/listen at the Carcassi study that's been done by guitartim, me and tomc....

watch tim's video here...
***

You can also either watch my video on that same page
-or-
listen to my mp3 - and then tomc's mp3 - here...
***

Point is that we're all just at different stages of remembering this piece and we each play it at a speed we're comfortable with. Now - I actually think tomc's is a bit too fast for Andantino (seems to be pushing the upper end of Moderato) but so what - it's a study and he's got it nailed so the additional speed is just gravy!

Take it slower and play it over and over and over ... up the metronome... and play it over and over and over ... you'll be really really happy with the results!! (I say all this as I try to add speed to the Chopin :-) Oh well - do as I say - and not as I do :D )
Last edited by hav on Wed Oct 12, 2005 2:21 pm, edited 2 times in total.

unforgiven

Post by unforgiven » Wed Oct 12, 2005 11:41 am

I know exactly what you are saying. My instructor tells me the same thing. :roll: I spend a lot of time learning the beginning and get way ahead of myself learning the end. Once I get the beginning memorized and used to playing at a particular speed, I can't seem to slow it down or my memory fails. It's like the two are tied together. This causes the ending to be slower of have a lot of mistakes by trying to keep up the pace with the beginning.

I just need to concentrate more. The microphone still gives me the jitters so I'm not paying as much attention to what I should be doing. :lol:

Unfortunately, I don't enought posts to look at the videos yet but I can't wait to see them.

If I have time, I will retry this tonight and try to slow it down and make it more even. Thanks for the advice. That's what I'm looking for by posting my interpretations.

cardamomo

Post by cardamomo » Wed Oct 12, 2005 12:54 pm

Hi Unforgiven,
well now this piece is not only motivating...!

Now you're inviting me to work harder, :chaud:; and that's just a pleasure!

Thanks for posting!
Cardamomo

cprovinse

Post by cprovinse » Wed Oct 12, 2005 2:47 pm

Very nicely done. I have not heard this Etude before. Now I have a reference. Thank you.

hav

Post by hav » Wed Oct 12, 2005 2:54 pm

Hey unforgiven - here's trick my old teacher would use in your case.....

ALWAYS memorize the piece BACKWARDS -- not reversing the music - but memorize a line at a time starting with the last line of the piece :lol:

unforgiven

Post by unforgiven » Wed Oct 12, 2005 3:02 pm

Now that might help. I will have to talk to my instructor about it. He does tell me to start practicing in the middle of a piece once I have the beginning down well and then come back to it later when I'm better at the ending. This should then cause the two to come together better.

cardamomo

Post by cardamomo » Wed Oct 12, 2005 3:03 pm

Dear Hav,
does it mean that you just know which line of the score you're playing, while you're playing?

Cardamomo

hav

Post by hav » Wed Oct 12, 2005 3:08 pm

HA HA HA HA HA - only in my dreams :D --- heck - I can't even count measures and play at the same time :lol:

Florentin Tise

Post by Florentin Tise » Wed Oct 12, 2005 5:16 pm

thank you for posting

I would like to hear more of the top string (high E). There's enough bass, but I would like to hear more of the first string, especially towards the end, when you play e g e, on the twelwth fret and above.

great job. thank you for sharing.

unforgiven

Post by unforgiven » Wed Oct 12, 2005 5:21 pm

Thank you Florentin. I do have to make an effort to get good volume from my (3) or (a) finger. It doesn't help that I usually bite my nails off. I wish I could stop doing that. That piece tends to get my right hand very tired also so I tend to soften up toward the end.

tomc

Post by tomc » Fri Oct 14, 2005 5:01 pm

Ok You know how a ball player swings 2 bats or a lead-doughnut added to the barrel of his bat before taking his ups, that's the purpose of slow practice from a muscular point of view. You need to give some weight to your strokes slowly, it doesn't have to be metrically. Then when you take your"ups" your touch lightens under the newly developed strength. Can you see it? Let me say this to everybody who may read this, slow practice with a metronome is mostly avoided by players because it is dull and mind-numbing. Many measures are easy with the problem ones requiring extra attention. Work on what you don't know and leave what you do know, and can do, alone. Pencil in those measures that give you problems and analyze. Is there left hand confusion? RH confusion? You may have to analyze your hand movements by memorizing those problem measures in order to watch your hands, both of them. Practice the music a PHRASE at a time, that could be 4, 8 or more measures. The worst thing you can do and everybody does it because they crave hearing that piece in its totality, is play pieces from beginning to end over and over. Work on making the worst bits easy and the whole thing will start falling into place . You are actually probably closer to getting this piece than you think. Keep going!

unforgiven

Post by unforgiven » Sat Oct 15, 2005 4:01 am

Thanks Tomc. That is some really good advice and makes a lot of sense. I do some metronome practice, but not as much as I should for the exact reasons that you mentioned.

Thanks for the feedback.

tomc

Post by tomc » Sat Oct 15, 2005 5:09 am

I only use a metronome if I have a piece complete. By complete I mean fingered in both hands and memorized. Now remembering those problem measures, say the goal tempo is 80. If I start at 60 and keep advancing the tempo usually around 68-70 I'll make a mistake. I only really use the metronome as a mistake finder. Besides boredom it creates stress in me. My opinion on it. Anyway if I go back a few measures to get a running start at it (not the beginning) and I make the same mistake more than likely it's at that problem measure. That's the point to stop and analyze. Can I account for why I made the mistake? If I can, I can fix it. Don't worry about the process, at least my process is like any other job. You get used to the grind, right? :lol:

Steve

Post by Steve » Tue Oct 18, 2005 6:25 pm

Hi Unforgiven


Well done on a good start....I really must emphasise that slow deliberate practice on the difficult phrases are the key to getting fluid. I have read hav and tomc's comments myself and am going to grind through the hard phrases very precisely on some of my pieces. Another way is to play around with difficult sections. Take them and fool with the time and phrasing so that you become very familiar with them. You can turn chords into arpeggios and visa versa...if I do this I find that soon when I go back to trying to play it as the composer may have intended I am much more confident.

Keep up the practice.

Steve

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