Week 3: "Composer's Corner: Exploring Villa-Lobos"

Ernesto It is really getting there almost, the beginning is especially lyrical and beautfiul. 

Ernesto Very nice, Ernesto.  You have the A section mastered and are so close with the other sections.  I look forward to hearing it again next week.

Ernesto Nice playing of this old favorite of mine, Ernesto!  Keep going to fine tune it.  Thanks for sharing it with us.

Ernesto This is great, Ernesto. You have a wonderful feel for this piece. I would suggest marking the problem areas and focussing on those. You are getting really close on this challenging piece.

Calin Lupa Very nice. can feel your enjoyment through your playing too. 

Calin Lupa Excellent, Calin.  I think you are very close, and I like the echo effect by repeating the arpeggio piano.  Here is what Carlevaro who studied with Villa-Lobos wrote about this Etude, "Villa-Lobos' Study No. 1 creates an atmosphere of harmonic resonance, each note joining the other in an overall effect.  The composer himself insisted that the execution of this study should never be unruly, affirming that its beauty lies in the clarity of each note and in the different sonorities presented in each bar with its repetition.  In his (Villa-Lobos) opinion each arpeggio should be played forte the first time through (becoming piano on the fourth beat of the bar) and with an echo effect on the arpeggio repetition." (The Carlevaro Guitar Master Class, Volume III - the Guitar Works of Heitor Villa-Lobos 12 Studies)  

Calin Lupa Sounds beautiful Calin!  This Etude is difficult to keep the arpeggio very clear, clean, and consistent throughout the piece, and you are handling it very well, Bravo!

Calin Lupa Great work, Calin. This is brutal trying to maintain this relentless arpeggio, the only respite being a rapid fire slurred descending run - no rest for the weary! I would add to Dale's sage advice to make sure to maintain relaxed execution. At least that is what I always had to concentrate on.

Dale Needles thank you very much for the excerpt from Carlevaro, glad that the way I imagined the piece played aligns with his view.

Barney and Jack Stewart , thank you, indeed getting the clarity and consistency of the arpeggio is a big challenge here ...  I feel like one day works , the next day my nails are 0.5 millimeter longer and are not working as well.  

Calin Lupa Jack Stewart Yes, I agree the nails are tricky.  Did you know that Christopher Parkening once said he asked his dentist to create a plaster mold of his right hand when his nails were perfect, so he could refer to it for the exact shape and length needed.  Very extreme, but I guess not surprising for a concert artist who wanted his tone and playing  to be as perfect as possible.

Barney I didn't know that, but I totally agree with him as nails can be a huge issue for concert artists.  Probably they all practice also with fake nails , just in case... ? 

I never used fake nails, but I can see in the not so distant future a service to 3D-print your perfect fake nails . 

don You are progressing very nicely on the piece.  My suggestion would be to practice it slower paying more attention to holding melody notes longer for legato,  correct rhythm and accurate notes. ( Even though you have it memorized, please review the score again). Take a look at  the Emmanuel Sowicz lesson for some suggested fingerings, although it looks like you are using his. (Section C is a bit tricky).  Lastly, listen to recordings of players you admire for ideas, and listen to yourself for the musical flow.  Hope this helps.

Barney thats really good advice. I re look the score and indeed mis read some parts. Thanks. 

don If you give me your email address, I will send you Carlevaro's fingering.  

Dale Needles Thank you so much, I've sent you a message. Thanks!

don Great, Don. Everything seems to be firmly under your fingers. You are at a really good point to start focussing on overall refinements.