Tygozil Attention to dynamics and phrasing earlier in the process of learning the piece. You are asking of your beginning For cjoro at a time. Or so I thought! If you ask yourself what note you would expect the piece to end on, if it were to end at the first possible opportunity, that note is what you perceive as the tonal centre at that point it may be better to call it the root of the chord that defines the dhoro centre.
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Tygozil Attention to dynamics and phrasing earlier in the process of learning the piece. You are asking of your beginning For cjoro at a time. Or so I thought!
If you ask yourself what note you would expect the piece to end on, if it were to end at the first possible opportunity, that note is what you perceive as the tonal centre at that point it may be better to call it the root of the chord that defines the dhoro centre. When I learned this piece, I first concentrated on the A section, worked on it phrase by phrase and brought it up to tempo although it was still really too slowmore on that later.
Know what you are trying to accomplish. Any constructive critique is welcome. I think the more rubato, and dynamic variation, you put into it, the more effect it will have. He must be really good at protecting them! One of my teachers, a friend of Odair, made a video of him playing it, along with the commentary that it taught to him by his father and he never played it without thinking of him.
Our website is made possible by displaying online advertisements to our visitors. I am trying to get to grips with music theory and just wanted to say thanks for the link sajdade the youtube lesson provided in this thread. Board index All times are UTC. I hope that you continue to post updates—it would be fascinating to follow how this evolves. You mention that you are like me in that you need to let the piece work its way gradually into your bones and being and that is pretty much what I had to do.
Normal forum copyright rules apply. Yesterday I had a tough day in the practice room So the piece is intensely emotional for him. And, once again — bravo!! Classical Guitar Skip to content. You might not get it on the first try, but you just start with the number of notes you can play at that tempo.
Funny that you should mention the storytelling, Cass. When the sun shines, bask. Classical Guitar This week, I will be working on the exercises he gave me to develop the control I wish to have with my rubato. I heard Odair Assad play it from about ten feet away and was awed.
Are you preparing this for a masterclass? A great job with barios challenging piece. There are a lot of slurs in this piece, and yes it is a challenge. Yes, I see it all comes down to efficient practice — and clear definition of goals. It is not without flaws, of course! I did get used to the scordatura In the end the reason for this is the same as the reason for the semitones in the scale and many of the issues around temperament — the fifth does not fit neatly into the octave. If there is no answer to that question, we may be in freefall — a chain of dominant sevenths might create that effect, but then again we may only be going round the same arc of the circle of fifths that defines the scale if you look at any 7-note arc, you will find that the notes it includes always make a natural scale, i.
Then perhaps I would recognize it the next time I see it. But I know your background in CG is very similar to mine, so I listen with great interest. I meant to play batrios piece as written as far as repeats go, but I tried for continuity first and foremost rather than stopping or trying to fix it on the fly. Although it is still a work in progress and will be for a much longer time it is better developed at six months than the last piece I learned.
But how to communicate that story? Do I sound too cautious in the beginning? Saudade — the longing and melancholia implicit in that word — is so rich in interpretative possibilities.
Choro Da Saudade
Hope that answers your question! Our website is made possible by displaying online advertisements to our visitors. I went to an Oscar Ghilia masterclass a few weeks ago and he talked about what story the music is telling. I remember as I played the piece, that while I was keeping all those plates in the air, I sometimes forgot where I was in the repeat, but was determined to keep going no matter what! I just have to get my brain to process stuff faster!
CHORO DE SAUDADE BARRIOS PDF