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! ↓
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.