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.
Hello everyone. I’m working on this beautiful piece, Capricho Catalan by Albeniz, as introduced to us by Emmanuel the other day. Is any of you playing it, too, and do you have Manny’s annotated score? I couldn’t find it. I’d be happy if you can share it with me. I’m struggling with the fingering. Especially the measures 43-46 are complicated. It’s a great piece to work on but I definitely need more time than these two weeks remaining….
Schumann's Traumerei (update Jan 11)
Here's a video of me putting all the parts together. I still feel a little shaky at times, especially in the B section (measures 9-16). I'd like to get this completely under my fingers and memorized if possible, so I can feel the freedom to stretch it musically. Getting there.
Right now, I am playing the second phrase of the B section (measures 13-16) with the melody down an octave. It is easier to play that way, but I think it may be more effective up higher like it is in the original piano score (and in Tarrega's transcription). If I have time, I might eventually rework that phrase and bring it up higher. We'll see.
Just for fun I recorded my read through (a few trials) of this very romantic and tiny bit melancholic walzlike piece called Grand Hotel Valse. It’s part 2 of the same suite by Eugenio Catina, based on the film score by Nicola Piovani.
Jack Stewart asked for the rest of the suite, so…
part 1 and 4 demand some more practice, and I have to spend most of my practice time to more serious stuff. But this valse is just such a joy to read, no complicated fingerings here…. So, there’s room to get carried away by the flow of the music. Thank you maestro Piovani…
HI all! I have recorded today something of Granada, DR transcription. I do not know how much I will improve in these next weeks....I have a lot of other pieces that I am working on...but I wanted to participate in the challenge and also because Barney is playing the Tarrega transcription ( I think Segovia did not a transcription of Granada, he did Asturias by sure...), at least he is not playing the David version. There are a lot of mistakes....I am learning it since June of this year (I began it together with "Sevilla" !!! "que loca" !)
Lob der Tränen, week 2. I started teaching full time this week, so I don't practice as much as I would like to, but I still practice a little bit each day. I made some progress on the second part. I I haven't played on that guitar that much, my thumb is often confuse and don't play the right bass note. I need to prepare more. But overall, it is starting to take shape. I will try to record this weekend the whole song.
Schumann's Traumerei (update Jan 14)
I have continued to work on this beautiful music. In the A and A' sections, I made some small changes in the fingerings that I think improve it a bit. The big change is in second phrase the B section (measures 13-16). I had been playing the melody an octave lower, but now I have it back up where Schumann (and Tarrega) put it, which I think is more musically effective. I'm still a little wary in this section, but I got through it here.
Also, I am now playing it without a score. This happened the natural way - just from practicing it so much that I have it memorized. I'm sure that a live performance of it, however, would completely knock the whole thing out of my memory!