Week 2: Strings Attached
Welcome to the Main Thread for the second week of "The Transcriptions" practice challenge!
- Make sure you've read the guidelines before replying!
- Watch the kickoff livestream!
Pick a transcription that was originally composed for another instrument, like piano or violin. Don't be afraid to choose a challenging piece or explore works from composers you haven't played before.
Commit to practicing daily and share your progress with the community. Aim to practice every day and post at least two videos per week showcasing your progress. This will help you stay motivated and accountable, and also allow you to share your transcription journey with others. Whether you're tackling a complex piece, refining your skills with a piece you already play, or experimenting with new playing techniques, the community is here to support you and celebrate your achievements.
Share your favorite piece that you would like to see transcribed or your favorite recording of a transcription. This will not only inspire others in the community but also provide a rich resource of ideas for everyone to explore. Plus, it's a great way to celebrate the creativity and artistry involved in adapting music from one instrument to another.
↓ Happy Sharing! ↓
Everybody's making such great progress here!
I feel like I've been making great progress on Cadiz. I've got pretty much the whole thing memorized now. Been working on it every day.
Today I was focusing on what is possibly the most difficult part of the piece. There are these sixteenth note runs that, in the original score (image attached), run in parallel octaves. The various transcriptions I've seen have treated these differently - some doing single-note lines in some places and actually attempting the parallel octaves - sometimes two octaves apart - in other places.
What I've decided to try to do is treat these measures (mm 65-70) with a flamenco type of style - single note runs all apoyando - starting in a higher register and then working my way all the way down the fretboard.
Today I merely just worked out what fingering - both right and left hand - is going to be best. My performance here is about 1/5 the speed that it will need to be. I will also add rasgueado-type strums on the chords to make it a bit more true to the flamenco style.
Also, I know I've got to reel those fingers in. I didn't realize until I watched this video how far my fingers - on both hands - were flying out!
Unfortunately I was ill the last 3 days. Here is my progress video for week 2. I am not yet able to commit the piece into memory. I have several memory lapses. My focus is on hitting all the correct notes and making them as clean as possible. In future, once I have memorized the piece better, I will take care of other aspects such as appplying more color contrast, rubato, etc.
I'm kind of excited about this one...
There is a passage of chords in measure 34 of Cadiz where the melody is in the base. I've seen the two transcriptions I have deal with this completely differently, and I don't really care for either of them.
I went back to the piano score and did my own transcription, and I think I've come up with something that I like. It's difficult, and it may prove to be too difficult in the end, but I really like the chord voices, and they are truer to the original score.
In the video I play through the chord progression first, and then I play it in context, starting at m 33...