My reference for this piece is: Judicael Perroy plays Barrios Choro de Saudade on the GSI channel on youtube. There are some critics about. AGUSTIN BARRIOS MANGORE. Chôro da saudade. The Guitar School – Iceland Page 2. Check out Choro de saudade by Béla Bánfalvi & Augustine Barrios Mangore Georgi Moravsky on Amazon Music. Stream ad-free or purchase CD’s and MP3s .
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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. Board index All times are UTC.
This was definitely a major problem for me. My grasp of music theory is very primitive. It’s great to hear someone post a recording of a piece that’s still in process–although well on the way! I’ll take a look at that lesson link when I get to a place with a better internet connection tomorrow. Obviously, it is still a work in progress!
Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp. There are some parts that did not sound as legato as they should, which is what I’ve been focusing on this week, and so I have been playing it pretty much straight time trying to get pulse correct before adding rubato. Our website is made possible by displaying online advertisements to our visitors. You do not have the required permissions to view the files attached to this post.
And it’s chroo to read the discussion too. Reedition Domingo Esteso by Conde Hermanos ; Kenny Hill, harrios Barcelona “While you try suadade master classical guitar, prepare for a slave’s life: Basically, you are sitting down to practice and you are trying to accomplish a particular thing.
Composer’s surname, forename – op. Saudade – the longing and melancholia implicit in that word – is so rich barrrios interpretative possibilities. I think I’ll watch some of his other videos too. For the past few weeksI have been trying to record myself nearly every day or two to get rid of the inhibition with which I start a piece when I push the red “record” button or am placed in a performance situation.
You aren’t trying to play the entire section at that speed, just a few beats. At the end you are very clear and not to fast. Usually I don’t feel I can play a piece in performance unless it has been on the burner for about a year simmering in my fingers and brain, but my teacher is trying to teach me to accelerate this time line and acquire pieces faster and more thoroughly.
Normal forum copyright rules apply. I think the more rubato, and dynamic variation, you put into it, the more effect it will have.
I am trying to get to grips with music theory and just wanted to say thanks for the link to the youtube lesson provided in this thread. This is the first piece that I have worked on in this way, so although it is much much further along at the same time point than the last piece I learned, it is still not yet ready.
PS Just watched the Judicael Perroy video. Chris had me bring small bits at a time up to and a bit past the tempo I planned to play the piece. Then did the same thing with B and C sections. I’m afraid I will have to watch it a number of times more before all that sinks in.
My reference for this piece is: I went to an Oscar Ghilia masterclass a few weeks ago and he talked about what story the music is telling. Hope that answers your question! They are not chords that I know. In some cases where the bassline is descending a whole step from one measure to the next, Barrios takes it down a half step in the middle of the bar to produce a chromatic line.
Chôro da saudade (Barrios Mangoré, Agustín)
So here is where it is at the moment. 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. I meant to play the 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.
He really rips through that. There are a lot of slurs in this piece, and yes it is a challenge. It’s ‘on the ground’ stuff.
I hope that you continue to post updates–it would be fascinating to follow how this evolves. I realise this isn’t constructive critique as such. I heard Odair Assad play it from about ten feet away and was awed. So we will see how the piece changes in the next week.
Yes, Oski is right For hours at a time. The earlier measures often feature a non-chordal tone that is a semitone off the chord tone it replaces. Perhaps you should mark the rubato points in your score and play towards them by accelerating.
Hopefully, the commentary will help me and others learn how to listen critically and how to move forward with a musically challenging piece.
Barrios Mangoré, Agustín – Choro da Saudade – Classical Guitar
I had a look at the score – it looks to me as though mm. I will stretch my fingers with the Choro da Saudade and my mind with these youtube lessons.
My previous usual process was to learn the entire piece, get the worst technical problems solved, then go back and work on the musical elements. The buzzing is due many times to imprecision in a barre where the string slides into a joint crease, or sometimes when I need to precisely place the little finger on a large shift.
When the sun shines, bask. I will outline it below and emphasize that it was tailored to me in particular and it is not necessarily the appropriate solution for another student. And, once again – bravo!!