Week 4: Etude Extravaganza!
Welcome to the Main Thread for the forth week of "Etude Extravaganza" practice challenge!
- Choose an etude from a composer that captures your interest. It could be a soothing Sor etude, a technical Giuliani masterpiece, a Carcassi finger exercise, a harmonically rich Brouwer composition, or a rhythmically challenging Villa-Lobos piece. You're encouraged to experiment with pieces from composers you're not accustomed to or push your boundaries with a technically demanding work.
- Commit to regular practice and share your journey with the community. Aim to practice daily and upload at least two videos per week to showcase your progress. This will not only aid in keeping you dedicated and motivated but also enables you to share your musical journey with our tonebase family.
- Share your favorite etude or recording that epitomizes the concept of "Etude Extravaganza." Your submission will serve as inspiration for others and construct a vibrant repertoire of potential pieces for fellow members to explore.
↓ Happy Sharing! ↓
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VL #5 again. I really wanted to give this a second chance. Afraid I can’t get it much better for now. Very last day of the challenge I did record again - a notch slower, for more relaxed feel (I hope). Funny I got a copyright warning, not the previous recording….
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Dale Needles don thank you. I find it difficult sometimes to decide about the best pace for an andante. I tend to be a bit fast, but if too slow it will sound drawling…
btw the wedding was great and very intense; always a good reason to bring friends and family together from different continents and generations. -
joosje This is probably my favorite of the VL Etudes and you played it wonderfully.
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Delpriora Study #4
I have really wanted to participate in the Etude Challenge but my attendance at the GFA Conference pretty much absorbed all my attention until this week. (More on that perhaps in the general discussion.)
I started off trying to revive my Etude composition from Ashley's workshop but it is still very difficult for me, especially the middle section. I still hope to get ii down and recorded but later.
I have 3 studies I have been working on that I will post here. This is the 4th study by Mark Delpriora. It is still very much a work in progress but it has some interesting moments.
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It’s not really my cup of tea, but you played it well. It looks like it would be a great left hand exercise, with some planted fingers and some moving fingers at the same time. Good to see your wife and dog!
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Jack Stewart Yeah, they're both hams. I understand about the Delpriora. There are some things I like about it but I won't spend much more time with it. Which I guess removes it from the 'work in progress' category.
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Jack Stewart Great job! Nice cameo from the missus. It sounded a bit like one of the movement from Britten's nocturnal. Can imagine a lot of possibilities playing with different tone and color with this.
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Jack Stewart Great to hear you again, Jack, difficult piece though. I would not be too happy working on it. But it looks great for finger independence (I found myself a teacher who is against playing etudes in general. Bad for me, 70% of my repertoire are etudes.)
Nice video, Your wife greeting us and your dog patiently listening, home scene.
btw how was GFA? I saw Marko Topchii finally won his dreamed final. His performance was indeed impressing. I met him 7 years ago in Kiev
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don Thanks Don. Interesting connection with the Nocturnal. I like the middle section's 'intrusion', but it really needs to be precise to work. I didn't really achieve that.
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joosje Thanks Joosje. It is more difficult than I had anticipated.
Yes we have lots of hams in this household.
The GFA was great (staying in the dorm - not so much). The level of playing was amazing. I also ran into Emmanuelle Sowiscz and Steve Goss. Topchii playing was wonderful and well deserving of 1t prize (as was Kevin Loh's). I'm glad I wasn't expected to determine who was the best! That is exciting that you meet Kopchii. I was glad to see he won.
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Sor op. 31.20 and op. 6.8
These are 2 Sor etudes that I continually come back to as they are fun to play. As you can tell they are also very much works in progress. I am experimenting with different articulations and phrasing. Your comments and observations are welcome, as always.
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Jack Stewart Obviously, these are much more to my liking! The first one is one of Sor’s absolute best, and you played it well. You added a bit of staccato to it, and that made for an interesting new dimension. 31.20 is one I have tried to play several times, but I can never get the tempo or the staccato up to par. Great Work!
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Eric Phillips Thanks Eric. I have always liked the op.6.8. For such a 'simple' short piece Sor really packs it in. I also enjoy the op 31.20 also but it is really difficult to keep it going. I can play all of it, just not continuously.
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Jack Stewart Very nice, Jack. Two wonderful Sor studies. I thought you played the first extremely well. I also would like to hear the Delpriora again. It has some interesting phrases but not easily approachable.
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Jack Stewart you got them under your fingers already , they are both sounding quite nice already. I 've not heard of Sor 31 no 20 before and it seems like a great etude, especially for me as I always have trouble shifting in chords.
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Jack Stewart so great to have you back with us in this challenge. It wouldn’t be complete without you. I love these studies. Well done. As usual. I like these Sor studies played with some energy, the way you do….
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Dale Needles Thanks Dale. I have always liked the op 6.8 etude. I think my performance was a bit heavy handed. but I like the direction it is headed.I agree the Delpriora has some interesting moments but requires a very precise performance to work. I am afraid I don't have that precision and will probably move on.
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don Thanks Don. I think the op. 31.20 is #9 in Segovia's Sor collection. It can certainly be challenging trying to maintain it thru out the piece
(as my difficulties indicate). -
joosje Thanks, Joosje. Every time I revisit the op.6.8 I come up with a new way of interpreting it which is one of its wonderful charms. The op. 31.20 is such an energetic knuckleduster. I love playing I (when I actually can).
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