Oh well done you guys for getting your recordings up. I have been away for the weekend, so am not sure if I will make it this evening...
I know what you mean about damping making it sound deliberate, Penelope. I never learnt it as a complete beginner and now I find that taking care of damping slows down my playing, and gives my brain and hands double the amount to think about, but I really think it's worth the perseverance, and I'm determined not to sacrifice it for speed.
Thanks for all the feedback on thumbs or fingers. I did see that the written fingering in the Sor piece was "i" but also saw that Mr Delcamp plays the G with "p". Since then I have been intrigued as to why. Having read your responses and had a week to think about it, I have decided to go with "p" - ironically for the exact same reason as Mike chose "i". I think the G is a different voice from the C and B in bars 1-5, so I want to use "p" to get a LESS consistent tone, if you see what I mean. I am practicing trying to hang on the D in bar 4 to emphasize the two voices. I'm not sure whether I am thinking about this far too deeply (and certainly far deeper than my skill allows me to play
), but I really like the way the top melody voice in bars 9-11 switches over bar 12 to a bass voice in the remainder of the piece. Well, after all this talk
, I hope that I will be able to play and record the voices that I have in my head
, because I think the piece is really beautiful, and more complex than it looks
(PS let me know if I am getting too carried away with the little smilies too - I don't go on many forums and they are a bit of a novelty