Sor Op 60 No 20
For the last couple of months, I've been working my way through Sor's Op 60 as a means of technical and musical improvement. I spent more time on number 16, as I love it so much. This one is similar in that not only is it a good didactic study, but it is also very musically enjoyable to listen to and play. So I thought I'd stop for a while on this one and try to refine it a bit.
Here are my goals:
- Left hand fingerings. After sight reading it, I can see that there are a few places where some forethought might be helpful in making left hand choices. Basically, left hand preparation is needed.
- Right hand fingerings. This is my general weakness. Without thinking, I naturally gravitate toward some inefficient right hand fingerings, particularly repeating my ring (a) finger. I don't necessarily want to work out every single right hand fingering choice, but maybe focus on a few tricky spots.
- Musicality. Like I said above, it is one of the more musically enjoyable pieces in the opus. Still, it is a bit repetitive and needs some variation in dynamics, tone color, articulation, etc. to make it more interesting.
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November 15, 2021
Here is a video of me sight reading the piece. I can tell already that I have some problems in my left and right hand fingering. I plan to study this video a bit and find the places that need special attention.
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Eric Phillips Lovely, Eric. I first encountered this study in one of Frederick Noad's anthologies, where it was presented as an 'alternative' to the more famous study in the same key ( from opus 35). It's a beautiful example of Sor's pedagogical genius. You mention above your tendency to stray from strict alternation of the right hand fingers. I do the same myself, all the time! I used to worry about this, thinking there was some sort of rule governing such things. Now, I ask myself, 'well, why not?' If it's comfortable technically, and it works musically, I don't see the problem. Maybe it's self-justification, but I no longer lose sleep over it!
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Eric Phillips beautiful! I've never played this study, it sounds wonderful! I think this study might be especially helpful for you as your hand moves quite a lot when you alternate between the thumb and the other fingers. It doesn't seem an issue in the beginning, but at around 1:47 I can see some movement. I doesn't cause any mistakes, but makes it a bit harder for your fingers to find that sweet spot of touch as your point of reference continuously moves (that is basically the reason why we don't want too much movement in our right hand in general).
You might wanna try to not continuously alternate between with p and m as those are the two strongest fingers in your hand, activating one of them usually activates the other one, too!
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David Krupka Thanks, David. I love the way this study uses stationary fingers while other fingers move around. I also like that it doesn't do so slavishly, like some sort of technical exercise.
I promise to lose no sleep over my right hand! I'd like to work on it a bit, just to gain control and independence. I agree, however, that the primary concern is always making good music, and if that's happening, great!
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Martin Thanks, Martin. I do see my hand bouncing around a lot. In a way, I think it helps me feel the music, but if it is affecting my tone and accuracy, obviously it needs to be tempered.
You mention not alternating p and m. I do like playing the down stems all with p. Would you recommend alternating p and i instead, or something else?
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Very impressive sight reading! I really like this etude as well. It's not as challenging as some but it has real charm and harmonic complexity.
You're up to about, what, 20 pieces for this challenge. I have no idea how you do it. Bravo!
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Jack Stewart Thanks, Jack. The only piece I’m working on for the challenge is the Villa-Lobos. The rest is just me doing what I do, only now I can use the practice diary to keep me focused..
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November 16, 2021
Here's an update after about an hour of practice. I am trying to keep my right hand more stable, and I am trying to avoid alternating p and m, as per Martin's advice. I haven't even looked at the video myself yet, so I'm not sure if I was successful.
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November 18, 2021
Here is another update. I tried to improve my right hand stability (although it still bounced around a bit). I also worked on my phrasing, trying to make it clearer and more intentional.
Regarding the phrasing, I found it interesting that the entire piece is made up of four-measure phrases (as expected), but there was one exception. Measures 28-35 seems to me to be an eight-measure phrase, but it is asymmetrical. The high point of the phrase is not at the half-way point (end of the fourth measure), but just past it at the end of the fifth measure. I would consider this the climax of the entire piece, and I think Sor is highlighting it by making it an expected phrasing. If you actually followed all that, you apparently are almost as much of a nerd as I am!
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Eric Phillips Your persistence is really paying off. That was wonderful.
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Jack Stewart Thank you so much, Jack!
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November 20, 2021
Here's another update. I tried to memorize it, but I kept messing up take after take, so I did this with the score. Not sure it's any better than my last recording.
