Week 2: Technique Tango!
Welcome to the Main Thread for the second week of "Etude Extravaganza" practice challenge!
- Choose an etude from a composer that captures your interest. It could be a soothing Sor etude, a technical Giuliani masterpiece, a Carcassi finger exercise, a harmonically rich Brouwer composition, or a rhythmically challenging Villa-Lobos piece. You're encouraged to experiment with pieces from composers you're not accustomed to or push your boundaries with a technically demanding work.
- Commit to regular practice and share your journey with the community. Aim to practice daily and upload at least two videos per week to showcase your progress. This will not only aid in keeping you dedicated and motivated but also enables you to share your musical journey with our tonebase family.
- Share your favorite etude or recording that epitomizes the concept of "Etude Extravaganza." Your submission will serve as inspiration for others and construct a vibrant repertoire of potential pieces for fellow members to explore.
↓ Happy Sharing! ↓
Sor - Andante Op 31 No 19 (June 13 update)
Here is an update from yesterday, a touch faster. I am finding this piece to be a lot more difficult than I expected. Even though it's not long, it's so repetitive that I find myself fatigued as it goes on. (I can't imagine how much more tiring a piece like Recuerdos would be to practice).
I am trying a new right hand fingering for the end of measure 7 into measure 8 (see the photo below). I'm not sure I like it, but I can't think of anything better. If anyone has any ideas, I'd love to hear from you.
Okay, back at it with attempt #2 on this Study in D by Sor. I had to take several days off for an out-of-town memorial service for my father-in-law, so I've been a bit out of the loop.
If you watched the first video, you remember that I just played the first couple lines and the last couple lines. In this version I play the entire piece.
I already have my eye on some rough spots that need to be worked out, and since recording this I've been going through each line repeatedly with a fine-toothed comb.
Interesting one - I have the Brian Jeffery edition and he suggests p-i alternation for all the 32nd notes. I've tried it both ways and I think your first fingering works better for me, but I haven't attempted it context of the whole piece! That being said I love both of your recordings!
Have you by any chance played Op 29 No 18 (in some editions it's No 6) ? I'm struggling with the left hand fingering for measures 6 & 7
F. Sor , Opus 31 No.19
Imagine for this one written and played by a Brass Quartet.
The 32nd note figures double tongue , dah-gah-dah-gah.
P-I-P-I of RH fingers imitate this.
This figure doesn’t have to be attacked too harsh or very loud.
Perhaps Trumpet for high notes and French Horn for lower notes using this figure.
Phrase sometimes crosses the bar line. Keep accompaniment part supportive with softer attack and bass slightly less.
The Sor studies offer much for your orchestration imagination.