Week 2: Let us play Transcriptions and Arrangements
Welcome to the Main Thread for the first week of the transcription challenge! This is the place for the Week 2 Submissions!
- Make sure you've read the guidelines before replying (<- click)
- Watch the kickoff livestream for help with the first section!
If you want to describe your process (optional), feel free to use the following template.
- Things you found easy:
- Things you found difficult:
- (Optional): a video of you performing it!
- (Optional:) questions
↓ Reply below with your Progress Update and Questions! ↓
So, let me post the first submission this new week.
Another movie, this one French: le fabuleux destin d’Amelie Poulain’. Charming music score composed by Yann Tiersen. Very popular with pianists, and It works well on guitar, at least this tune does. It is a transcription by Joshua Rogers. I adopted some alterations and fingerings from Matthew McAllister.
It’s a tiny bit frustrating, this one. Such a simple structure: 4-chord progression: ‘em, G, bm, D, repeated in different combinations. Yet it took me 2 practice sessions to memorize!!! (and some time away from the guitar to analyze and drill the finger patterns.)
What’s so ´complicating’ ? some unfamiliar and uncomfortable R/L coordination! But I worked on that, it’s nice, and a relaxing step away from my more serious guitar repertoire. This is it for now - with some moments of hesitation, but for me this is also a memory training…
I borrowed a Zoom camera to record. Is it different from the smartphone sound?
Schumann’s Traumerei (in sections) Jan 10
This piece is in AABA’ form. Here’s the breakdown:
· A: measures 1-8
· B: measures 9-16
· A’: measures 17-24
The phrases all seem to be four measures in length, giving each section two phrases.
I will be working on it in sections, with a video below for each section. I worked a lot on finding fingerings that make the melody as expressive and legato as possible. I do use quite a few glissandi, which are obviously not very piano-like, but I think they work well for this piece and are definitely characteristic of Tarrega’s transcriptions.
Merry Christmas Mr Lawrence: week 2 update
Technically been working on this over 3 weeks.
- Things you found easy: Not exactly easy but less challenging I suppose. It would be that there isn't any tricky rhythm in the music. Not too complicated to read through or understand.
- Things you found difficult: Quite a few jumps 1st positions to 8th positions. Jumping from 1st to 8th is much easier than going backwards from 8th to 1st. There are also a couple of big stretches. The biggest challenge is overcoming all these and play at a nice tempo.
Will try to post another update end of this week.
As I mentioned last week, I have been working on two movements from Astor Piazzolla's Tango Opera, Maria de Buenos Aires, freely arranged by Agustin Carlevaro. The opera is the surreal story of Maria and tells of her depravity, redemption and rebirth in Buenos Aires underbelly. The Opera is in 17 movements and Agustin Carlevaro arranged six of those movements into a suite for solo guitar. The first movement is entitled Alevare, means to begin a tango, and is set at midnight in Buenos Aires with the spirit of the night evoking the voice of Maria. The piece is designated to be played "slow and mysterious." The challenge playing this short little piece is capturing the tango rhythm and conveying the mysterious atmosphere that the music evokes. Here is an audio recording of my progress to date.