Week 1: In the Salons of 19th Century Paris! 
Welcome to the Main Thread for the first week of the "Around the 19th Century Guitar World" challenge!
Pick a piece from the 19th century and feel free to share it! Tell us what you love about it, how long you've been playing it, what you're struggling with! Let us into your practice room 
- Make sure you've read the guidelines before replying (<- click)
- Watch the kickoff livestream! (<- click)
↓ Happy Sharing! ↓
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I’m taking this opportunity to familiarize myself with the Carulli pieces I never learned in the beginner book “A Modern Approach to Classical Guitar - Part One” by Charles Duncan.
Man, you can always learn something, even from the “simplest” of pieces! What I like about working on these pieces is that it gives you an opportunity to focus on so many more layers - instead of trying to just “hang on for dear life” to get the notes right.
What I found most challenging, especially from “Andante Grazioso”, was getting the right hand fingering right.
Also, because of so much repetition, it challenges you to come up with dynamic ways to keep it interesting.
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Steve Pederson Well done, Steve. I always find simple pieces really difficult because there is nowhere to hide. Your phrasing and tone were very good. Great job.
Your 'audience' (behind you) seems very attentive and respectful :) Or is that your security detail?
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Jack Stewart ha! Security detail! I like that!
They are the best security detail, because no one would suspect that that's what they're up to! 
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Coste - Andante Menuet Op 51 No 12
Okay, I promise this will be my last Coste post (at least until I post another one
). I love the dramatic third section of this piece, culminating with the high E on the first string. Then, when the A section repeats at the end, the energy is pulled back, like I'm exhausted from playing the previous section (which, of course, I am). Great stuff! -
Eric Phillips This was really beautiful Eric! So simple (though I know not easy), and yet so rich in texture. I feel like Tarréga must have been influenced by Coste to some extent. This reminds of Tarréga's Marieta.
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Eric Phillips Great, Eric. Your feel for this music is really impressive. Your phrasing and use of rubato is excellent.
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Steve Pederson Thanks, Steve. I don't know for certain whether or not Tarrega knew much Coste, but i wouldn't be surprised. They both have that Romantic flair and great understanding of the instrument and how to write for it.
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Jack Stewart Thanks, Jack. I could play this kind of music all day.
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Eric Phillips And I am sure you do.
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Jack Stewart I do stop to sleep and eat a little.
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Carcassi - Moderato con espressione Op 26 No 3
This comes from a set of six caprices by Carcassi. They are all quite fast and virtuosic, except for this one (which is why I picked it). This piece is all about right-hand arpeggios, and I am not too good at those. I have a tendency to miss a lot of the inner voice notes, especially with my i finger. In an effort to play them quietly, I often miss them completely (he swings ... he misses ...
). I think I will make this my last post for this week one from Paris. The challenge now moves on to much less familiar ground for me in the next two weeks.
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Eric Phillips Well done on yet another performance!
We'll see if you have the discipline not to record another video before tomorrow.
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Jack Stewart Another thing I'm not known for - discipline!
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Eric Phillips Beautiful! It reminds me of his Etude in A. Good arpeggio work.
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Steve Pederson Thanks, Steve.
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Sor Op. 6.8 Etude
This is one used to play years ago and have always meant to reclaim it. It is still not how I want it. I must have recorded this 20 - 30 times I find this piece really difficult to interpret. I will try to re-record it after I put on new strings.
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Jack Stewart Beautiful, Jack! I love the dynamics and articulation.
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Jack Stewart That was great Jack, beautiful voicing! This in one of my preferred one and you just gave me another reason to play it
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Eric Phillips Thanks Eric. That is high praise from someone who has such a wonderful recording of this etude.
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Blaise Laflamme Thanks Blaise. This has always been one of my favorite of Sor's etudes. It's challenge is to separate the voices. Sometimes I get it, sometimes - not so much.
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Jack Stewart I would make a mess of it if I tried playing it at your speed.
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Jack Stewart indeed the voicing is hard in that piece, I personally think about this piece as legato chords like a sustained string quartet would do.
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Blaise Laflamme Roland Dyens made a wonderul string quartet arrangement of this piece. you can find it on YT
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Jack Stewart Sor good Jack!
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Steve Pederson Sor good? Are you a dad?
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Jack Stewart
Busted! You got me! Yes, I am a dad, and my daughter says "sor good" all the time.
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