Week 1: Rhythmic Revelations
Welcome to the Main Thread for the first week of "Song and Dance" practice challenge!
Choose a piece that is inspired or transcribed from a song or a dance. It could be a lively south-american danza, a passionate tango, a serene romantic lied, or a poignant aria transcribed for the guitar. You're welcome to explore pieces from unfamiliar composers or challenge yourself with a complex work.
Commit to daily practice and share your journey with the community. Aim to practice every day and upload at least two videos each week to illustrate your progress. This will not only help you stay committed and encouraged but will also allow you to share your musical voyage with our tonebase family.
Share your favorite piece or recording that embodies the theme of "Song and Dance." Your submission will serve as an inspiration to others and create a vibrant pool of potential pieces for other members to delve into.
↓ Happy Sharing! ↓
Sor - Valse Op 47 No 6
For the last several weeks, I have been working through Sor's opus 47 over in the practice diary. I am now on this last piece, and since it's a waltz, I thought it would be at home in this Song and Dance challenge.
This is just a first stab at each of the sections:
- Measures 1-16: Pretty straightforward. The slurs and occasional open string are the biggest technical challenge.
- Measures 17-24: This is the hardest part of the piece, without a doubt. The position shifts are pretty big and quick, and I want the slurs to be strong and fluid. I'm taking it quite slowly for now until I have it down. I really have to memorize this section so I can keep my eyes on the fretboard due to the shifting.
- Measures 25-32: Nothing too hard here. Slurs again always need attention. Despite the markings in the score, I think I will not slur to the open second string in measures 28-29.
I have some new things in the works for the month, but here are a couple of pieces I put up in my resolutions post a couple of months ago and they seemed to fit this challenge.
Leo Brouwer's Zapateo (or Zapateado) is based on a flamenco dance and the name translates to tap dancing in English.
Antonio Lauro's Ana Cristina was conceived of by Lauro as a lullaby for one of his nieces, but it's written in the style of a Venezuelan merengue with a triplet followed by a tuplet which gives it a distinct swing feel.