WEEK 3: Mastering Carcassi's Etudes

Welcome to the Main Thread for the first week of the Carcassi Etudes op.60 challenge! 


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 assignments and questions! ↓

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  • Got a little sidetracked this past week but was able to work on a few Carcassi Etudes.  Attached is my audio recording of Etude #3.  I love this Etude and worked on bringing out the melody.  Hope you enjoy and welcome feedback.  

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    • Dale Needles That was so beautiful, Dale! Thanks for submitting it. Do you play left-handed, or was the picture reversed?

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    • Eric Phillips Thanks.  Photo was reversed.  Definitely right-handed.

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    • Dale Needles Okay. You don’t meet many left-handed classical guitarists.

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    • Eric Phillips I met one. It’s ok, but quite unpractical in an ensemble

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    • Dale Needles that sounds really lovely. I enjoyed listening.

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    • Dale Needles beautiful, loved the bass line in particular! thank you for posting!!! 

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      Dale Needles This is beautiful, thank you, Dale! What a beautiful duett between the bass and the melody! 

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    • Dale Needles So beautiful.  Really enjoyed listening to this.

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  • Hello everybody, here goes my recording of number 16

    the most difficult part is the right hand, and the good practice  of the a apoyando throughout the melody, also some jumps and to avoid nail sound ….

    Easy because it is short and beautiful, a joy to practice 

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      • Peg Barrett
      • I am a guitar instructor and a member of the Pensacola Guitar Ensemble.
      • Peg
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      Emma Very nice!

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      Emma So beautiful! I see you use some very good fingerings there (hehe). Your left hand is impressively stable! Maybe you find something to connect the last two positions even better?

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    • Emma beautiful. Very well played. It sounds so romantic. 

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    • Emma Gorgeous, Emma! The apoyando sounds so good!

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      • Brett Gilbert
      • Piano and classical guitar
      • Brett_Gilbert
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      Emma Nice to see another performance of 16, wonderful!  I'm working on this again to try to use Martin's fingering on last few chords which he alluded to above from his video last week.

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    • Martin thank you! I will check that last connexion tomorrow in your video again! Oops…

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      Emma Haha, you play it beautifully, I am just nitpicking (my regular modus operandi when I talk about music 🤓)

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  • Emma Beautiful.  I like the way you bring out the melody with the "a" finger.  Have you watched Sabrina Vlaskalic's lesson on this Etude on Tonebase?  She has a great approach to bring out the melody with the "a" finger.  It is very similar to what Carlevaro teaches.

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      • Dale Needles thank you! yes I did, she makes a beautiful sound. I will keep working in those circles but it is true that it feels less stable with the thumb free. Learning the way… 
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  • It has been quite a busy week, but for Week 3 I intend to do a major push and hope you will follow through with me! 🚀

    Here I am noodling around with Carcassi's Etude no.2! I am not at all happy with my right hand sound, but I took Brett Gilbert advice and found myself a new string vendor, wich means I will get my personal set of strings delivered quite soon!

    Let me know what you think of the fingerings and dynamic decisions (I haven't made too many, only one important one in the melodic climax).

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    • Martin It's great to see you participate in the challenge, and not just direct it and coach all of us. I like your sound very much, and I suspect you would sound good with any strings at all on your guitar. 👋🙂

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    • Martin thank you!! I will go back to my no 2 and try your fingerings. Your sound is so good!!
       

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      • Brett Gilbert
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      Martin You've inspired me to work on this one now, which is within my ability.  Glad you found a local string vendor.  I just changed my strings (right now just d'addario ej45 strings while I wait for your recommended trebles) and it made such a difference in sound as I've been using same strings for 6 months.  I guess I need to change more often.  Thanks for posting this, I always learn so much for your tips.

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      Brett Gilbert I was so excited that I forgot to order the 6th string 🤦‍♂️

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      Brett Gilbert In my study and competition days I changed the strings twice a month, cleaned them with alcohol, turned them around, everything to get every last bit of sound and save every penny I could 🤓

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      Eric Phillips As long as strings are on the guitar, haha (crying a little bit inside as I ordered strings and forgot to order the 6th string 🤦‍♂️)

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      Emma Thank you so much! 🤓

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    • Martin Thank you for posting this nice lesson on #2.  I am struggling so much with the left hand fingering and the pima mimi.  Will try the different fingering and pima mama.  That barre on the 5th fret always gives me trouble when I want to move to the next chord.

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      • Brett Gilbert
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      Martin I just came upon this post (I missed it last week as there was so much going on), but thank you for posting the exact strings you use to verify I ordered the right ones.  Mine should arrive this week and I'm going to give the trebles a try!  Sorry you forgot the 6th string ☹️ 

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      Brett Gilbert That's not the first time that something like this happens to me, so I am not too sad about it 😂 I still have some other strings, those will do for the beginning for the next challenge 🤓

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  • Ok, Martin, I accept the challenge. Quite busy weeks, indeed. But these wonderful submissions you all posted here were really inspiring. So, I did also spend some time to practice and even learn a few studies I never played or even heard before. I have no time for editing and no equipment for really good sound, so I hesitated to record them, but I finally did a few with my phone.

    #11 (agitato)

    What I like: the dialogue between the 2 voices. Alternating 4-note motifs of either diatonic or harmonic material, chasing one another.

    What I found easy; understand the phrasing and harmonic structure; and it’s a short one…

    What I found difficult : the agitato thing, so I took a moderate tempo; also quite a hectic job stopping the notes as indicated. I tend to leave the top voice longer than the bass.

    I feel like playing the harmonic motifs sort of staccato to avoid ringing middle voices (esp. 3rd and 4th strings)


    https://youtu.be/O9VWhLdd3JM

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      • Brett Gilbert
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      joosje  I hadn't heard this one yet and it sounds wonderful.  Playing a light staccato on the accompaniment notes is very effective.

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    • joosje Wonderful, Joosje! I think it has the agitato feel. Your dynamics really help to present and clarify the harmonic progression of the piece for the listeners. I'm glad you decided to submit this!

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    • joosje bravo Joosje, I love your playing and sound. Thank you!!!!

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      joosje back in town!!!! So glad to see you participating, wonderful! And what an impressive work, I really didn't want to touch this as it require meticulous fingerings to make it work, you did such a fine job!

      I really enjoyed that you were leaving the top voices a little longer than the bass, it gives the piece a beautiful texture. You might even experiment to connect some of the bass notes a bit more and texturize them a little bit as if you were playing with a bow! 

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    • Martin thanks for your comment. I’ll post an update with slightly different interpretation in that direction. Hope tonight. 

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    • joosje or tomorrow. It’s late. 

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  • Here is my take on Etude #8 without the slurs.  Yes, I know it is a slur study but I kind of like it without slurs, although I keep one slur for the very end.  I am using Carlevaro's fingering and edits in which he takes out the slurs and adds some base notes.  Let me know what you think.

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    • Dale Needles That was really interesting, Dale! I never would have thought to play it like that. The bass line really stood out for me, as I had never paid to much attention to it in the past. You made it sing!

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    • Dale Needles bravo Dale!!

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    • Eric Phillips Thanks, definitely a different approach and thanks for the comments on the bass line.  As you may notice, my thumb stroke is primarily done with the flesh of the thumb and only for emphasis will I use nail. 

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    • Dale Needles bravo. Thanks for this interpretation. The extra bass notes have a nice effect. It’s true that it sounds less etude-like without the slurs. 

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      Dale Needles beautiful, once a again, such a defined texture! As joosje mentions, it sounds less like an etude and more like musical piece! 

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  • Study 19.

    I am still working on Study 24 (though a bit less as my job is picking up). Just to keep things fun, though, here's a recording of #19.

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    • Eric Phillips beautiful …….

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    • Eric Phillips Nicely done as usual!

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    • Eric Phillips that’s really beautiful Eric. Keep going! ’m happy you submitted this one It’s one of my favorite warming-up pieces. Your interpretation is great and your sound is super, only a bit more nail clicking than before., I guess the (phone) recorder is very close to your right hand/sound hole ..

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    • Emma Dale Needles joosje Thank you all!

      Good catch on the sound change, Joosje. After I recorded it, I noticed my mic was in the "omnI" mode and not my usual "cardioid" mode. I didn't feel like recording it again, though.

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      Eric Phillips Awesome, you gotta love the drama of the piece, enjoyed that very much! I suspect the omni pattern picks up more of the harsh reflections which Is what makes the sound somewhat hard and clicky! But good job, transparent and with direction!

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    • Martin Thanks, Martin!

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  • Here is my nr 12. I love the harmonies and the arpeggio chord lines going up and down.

    ii found it difficult to balance the bass and upper voice. I wanted to do more planting in this one, but I somehow forgot (recording stress?)

    https://youtu.be/CKIWY5UqT6k

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    • joosje Well done, Joosje! It is a surprisingly beautiful harmonic progression. I've been using it as a bit of a warm up this past week.

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      joosje Again, this is beautiful! I especially love the chromatic bass accents that you did! I personally would try to avoid sliding with the small barree as some ghost notes tend to creep in!

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    • joosje Very musical!

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    • Martin thank you Martin. I see what you mean. I’ll work on that….

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  • This is me presenting one of the cuter etudes from the cycle, the beautiful slur/trill exercise that Etude No.10 is! It's so simple in its harmonic progression and so focused in its technical approach that its just a lot of fun read an play!

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    • Martin Thank you Martin! It was great to see you playing with such joy!

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    • Martin thank you for the inspiring introduction and for bringing our attention to all the details in this charming but tricky etude.

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      • Brett Gilbert
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      Martin This looks somewhat "easier" (relative to others) I could eventually play but I'm running out of time...  Always great to hear your insight on these and your playing.

      Funny, I just came across your livestream about recording on the piano side.  Great to see you playing Bach on the piano!  

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      Brett Gilbert Oh, you still can play around that, the challenge will never end 💃

      Yeah, that piano recording was a fun one! We are actually thinking of doing some cross-over streams on both platforms, could be fun to have both guitarists and pianists in the same chatroom!

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      joosje charming, that's the word I was looking for! Yes, it is charmingly cute! 👸

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      Eric Phillips 🕹 (I was looking for a "Joy" emoji, the first one that popped up was the joystick, haha).

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  • Study 24 update.

    Here is #24 after a couple more days practice, and some help with Martin regarding fingering in the coda.

    Note to Martin - the big glissando in measure 35 (almost at the end) is especially for you! 😁

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    • Eric Phillips I love this. Really beautiful. It’s so inspiring (I’m working on this one now). Thank you for taking us along your voyage with this etude.

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    • joosje Thank you for going along with me. I have really appreciated your encouragement and suggestions along the way. My plan is to keep working on it and post a final video this Friday, but we'll see. I'd love to hear you play it as well! 🙂

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      • Brett Gilbert
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      Eric Phillips Just amazing.  I think this is my favorite etude and love the way you play it.  Looks like you memorized it as well.

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      Eric Phillips Wow, I love the contrast to the animato !

      And then I listened to all of it and I loved all of it! Bravo, that was surely a lot of work and it payed off, this is a beautiful repertoire piece! 

      And man, that glissando ❤💃🎻

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      joosje I'd love to hear your version, too!!! 👑

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    • Brett Gilbert Thank you, Brett, it’s my favorite too. It’s basically memorized, though I did glance at the score for a bit of the coda just for a bit of security.

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    • Martin Thank you, Martin! This piece is like putting a bow on the wonderful gift of this summer. I have LOVED sharing and learning about the incredible music of Tarrega, Assad, and Carcassi with you and all of the TB community.

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    • Eric Phillips Nice job on this and the many other Etudes you've submitted.  I've had limited time (Life stuff...)lately to respond, but I'm so happy to see and enjoy your performances.  Your playing continues to get better and better. Bravo!!

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    • Barney Thank you so much, Barney!

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  • Hi All, here is my take on Etude #13, a very simple and beautiful Etude.  Check out what how Carlevaro's edits have done to the bass line.  

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    • Dale Needles nice, Dale. I like the bass line. Also the way you play that tremolo motif. very clean and sweet. It’s a challenge to keep that open e string quiet.

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      Dale Needles That's such a sweet tone you have, especially in the upper texture!

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  • Here is me working on no 24. lovely piece! 
    it’s very fragile and a lot of practice needed on the details. 
    i was finally ready to record a first draft then some heavy traffic came by… so 
    this is only part 1, I’ll give it another try later (there’s a lot of noise around the house these days)

    https://youtu.be/h5TMWM3f4c4

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    • joosje Spectacular, Joosje! Beautifully phrased with a wonderful, singing melody line, and clear dynamic shaping.

      Have you always had a seven-string guitar?

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      • Brett Gilbert
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      joosje Enjoyed that.  I hadn't noticed this was a 7 string guitar until Eric mentioned.  I had to search to learn about this type of guitar, very interesting.

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    • joosje love it!!! I want to play this one too!!!!!

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      joosje Wow, bravo! So elegant! I love how you try to emply a vibrato at almost every possibility, something that a violin player always does and Marco Tamayo emphasizes a lot! When correctly executed, it loosens up the left hand in complicated passages! 👑

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    • joosje wonderfully beautiful Joosje! :)

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  • Btw I recorded a second version of No 11 , it’s not getting any easier. This time no staccato. It’s complicated to decide on damping…. It needs better study and notes in the score. (And sorry for the poor sound quality, I have work on that, too…)

    https://youtu.be/fLmTA09xyPI

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    • joosje Loved it! You are very good at controlling articulation and damping with your right hand.

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    • joosje beautiful maestra!!!!

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      Eric Phillips joosje and what an agile thumb! I notice that your right hand is somewhat flatter lately, do you actually prefer to play with the flesh rather than the nail?

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    • Martin I have some problems with my nails, lately. I can’t get them right somehow. It’s frustrating, I have ‘lost’ my own familiar tone, and can’t seem to find it anywhere. First thing I’ll do is change my strings. The last set was knobloch nylon and I think they don’t go well on my guitar. I’ll change back to Savarez/d’Addario.

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  • Study 6.

    I thought I'd give a play to #6 today. I love the way this one takes the same material, but reverses the voices.

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  • Eric Phillips Been reading about the flooding in NY, hope you are safe up in Rochester. 

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    • Dale Needles Thanks, Dale. Rochester is about a seven hour drive away from NYC. We didn't even get rain here in the last few days, let alone flooding or tornadoes. I do have some family down there, but I guess they are all okay. Thanks for asking.

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  • I worked on etude 17. I’m not a very diligent student when it comes to octave and 6th scales. That’s why this one was a real challenge for me. I like the dramatic character though, so it was fun to practice.

    it’s not too difficult to find the notes, it’s basically 2 voices  and some easy chords, but it needed quite a bit of practice... 
    https://youtu.be/5Y7QvYhDY8M

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    • joosje Very well done, Joosje! I’ve never played that one but might have to give it a try. It looks like it is very active in the left hand.

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      • Brett Gilbert
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      joosje Looks a like great etude, perhaps one of the more difficult ones.  Sounds wonderful.

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    • joosje Beautiful playing Joosje!  It's great you have selected some etudes that are played less often, for us to enjoy.  As usual, wonderful tone and execution.  I have really enjoyed your recent submissions.  Thanks!!

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    • joosje Excellent!  I really like how you play this Etude.  Very strong bass line.

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    • joosje so so good and crisp and with energy… we need 3 more weeks to go through them all

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      joosje Wow, so  good! And as Barney it's great to see you choosing some of the unique ones (okay, all of them are unique, but tend to focus on a rather defined set). I am so happy that you joined us for the last week!

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      Emma Hahaa, right? You can always continue to post in the forum threads, but after a break of one week we will be back with a new challenge!

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  • Etude No. 16 (again) - Take #2!

    • Things you found easy: This was so difficult for me at the beginning of the challenge but I tried this again having not played it for a week and it was so much easier!  I realized I have it memorized now which makes it easier to play without looking at music.
    • Things you found difficult: One of the reasons I wanted to try this again was to get the final chord sequence recommended by Martin .  That took a lot of practice and it's still a stretch but I think I got it.
    • (Optional): a video of you performing it! The lighting is better in this video than the first since it's daytime, also I have a new set of strings (in first video I had pretty old strings).  Strings are still settling in so it sounded a bit out-of-tune by the end...

    I continue to work on #2 and #10, but not sure I will be able to get them "video ready" before Monday.  As Martin said, the challenge doesn't end this week and I will continue to practice these for years to come inspired by all of your videos.

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    • Brett Gilbert Coming along very nicely.  I like how you bring out the melody line with your "a" finger.  

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    • Brett Gilbert Sounds great, Brett! I love the little glissando you put in there!

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    • Brett Gilbert very nice , Brett. I like this tempo, and I agree with Eric for the glissando., great update

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      Brett Gilbert Beautiful Brett!! I really enjoyed your dedication towards bringing out the melody with the ring finger and of course that you took up the challenge to find a solution for the last chord, Bravo! I especially enjoy the slightly higher tempo and the fluidity you perform with! Playing a piece by heart really makes a difference! 👑

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  • Here's another try at Carcassi #2.  It's just the first few measures.  I'm struggling with both the transitions between chords and the pima mimi.  I want to try some other fingerings and pima mama.

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    • Elizabeth Uyehara Nicely done.  I like your tone and I thought the transitions went well.  

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    • Elizabeth Uyehara That's sounding really good, Elizabeth!

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      • Brett Gilbert
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      • Brett_Gilbert
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      Elizabeth Uyehara Very nice.  I've been working on this as well and playing with different fingerings. I assume you saw Martin's video recently on this...I found it very helpful.

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    • Elizabeth Uyehara beautiful. I liked listening, so keep going with this lovely etude. Thank you for sharing your progress….

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    • Elizabeth Uyehara well done!!!! Very nice! 

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    • Brett Gilbert Yes, I watched Martin's video and I'm looking forward to trying out the different fingerings and mama instead of mimi.

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    • Emma joosje Brett Gilbert Eric Phillips Dale Needles Thank you everyone for the encouragement.  It's inspiring to watch all of you more experienced players!

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      Elizabeth Uyehara This is so, so good! Your tone and left hand improved so much since you took part in the beginner challenge, but the energy with which challenge yourself with new techniques and repertoire is still the same which is absolutely a joy to watch and inspiring! Thank you, great submission!

      pimamama is definitely a challenge in itself, but I find it to stabilize the hand very well once we got control over our a finger!

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    • Elizabeth Uyehara you have improved your left hand transitions a lot Elizabeth. It sounds very good. Congratulations! Keep on the good work! :)

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  • I wanted to include a study that contained Scales, so here is Etude #1.  I forgot how much attention this one really needs to play well.  Needless to say, I should work on this more to clean up some rough spots.  Sorry about the camera position for the right hand;  I only had time for one take and did not want to wait to send it to you guys.  

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    • Barney Very well done.  You did a great job with those scales.

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    • Dale Needles Thanks Dale!

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    • Barney That was great Barney! You used some excellent fingering choices to keep things legato and consistent.

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      • Brett Gilbert
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      Barney I also enjoy watching #1 played at speed, very smooth with the scales and shifts.

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    • Barney that’s fantastic, Barney, I haven’t heard this etude played with such regularity and smoothness  of tone, and also the wavelike cresc/decresc. And the beautiful sound of your recording, as always. Thank you for submitting 

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    • Eric Phillips Thanks Eric. Yes and tried ( not always successfully) to mute where appropriate along with switching Rest and Free strokes, while beginning phrases with correct RH fingers.  A bit more challenging than expected for a study like this.

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    • Brett Gilbert Thanks Brett!  btw, I watched your Chopin piano recording and really enjoyed it!

      I often listen to my CD of the 19 Nocturnes of Chopin recorded by Arthur Rubenstein.  I love every one of them.  If you record any others in that series, please let me know.  Thanks!!

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    • joosje Thank you Joosje!!  I appreciate your kind words.

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    • Barney well done! Good speed and beautiful sound! Beautiful

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    • Emma Thanks Emma!

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      Barney Wow, fantastatic!!! As joosje we rarely hear this piece so nicely worked and presented! I especially enjoyed your tiny pause/fermata at the climax in the last phrase! Recording quality is top notch again as well, no more crackles!

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    • Martin I appreciate your kind words, thank you!!

      Also,  thanks again for solving the recording "crackles" problem with the buffer adjustment diagnosis.  (Thanks "Doc")

      I played that "tiny pause/fermata"  instinctively; when listening back to it, I wasn't sure if you would find it acceptable in this type of study which is so metronomic.

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      Barney I loved it!!!

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  • Hi everyone. Since I’m leaving tomorrow for few days travel, I decided to submit my second  (and still far from satisfactory) recording of etude 24 ( incl. repetitions)

    it seems to me this is not really about one specific guitar technique , so I take it as an exercice  in bringing together different elements of musical interpretation, tempo changes, phrasing and articulation, accentuation and rubato. That’s a lot to work on! To analyze, choices and decisions to make… it takes more time, so I will keep this etude on my list for a while…. No problem, it’s a rewarding, elegant repertoire piece ….

    https://youtu.be/MvAXL5T8EPQ

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    • joosje Very beautiful Joosje, and nice warm sound!  In addition to the elements you mentioned, an added obstacle to more comfort in expressive playing is having to read from the score while playing.  Until memorized, I find it quite limiting as I'm forced to focus partially on looking at the score.  You are able to achieve it all, so Bravo!

      Safe travels!!

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    • joosje Amazing, Joosje, and so beautiful! I had to listen to it twice in a row, just to take it in. Right now, a couple of things really strike me. First, you play the animato section so nicely, and you seem very "in control" there (whereas I always feel a bit out of control in that section). Second, I loved the fingering choices you made in the coda, and will try them out myself. Very well done! 👋👋👋

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      joosje So, so good!!! Eric Phillips and me had a cool session about the coda in the last interactive class, so it's super interesting to see the solution you came up with! Fantastic! 👑

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    • Eric Phillips about that fingering:  I thought it wasn’t possible, until I saw Martin mention it at the interactive session, and had to try it. Quite uncomfortable at first, but once you get used, you are in a perfect position for these fantastic dramatic chords. Have fun…

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    • joosje I agree, it sounds great and looks very secure for you. I admit that with the fingering I am using, I do like the glissando up to those chords, but maybe I'm just a bit sappy and over-Romantic. Your fingering is definitely more comfortable and secure, and sounds great too! I'll probably change my mind about it 20-30 more times today!

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  • Study 24 final update.

    This piece has been such a joy to work on, and I hope to continue working on it forever. I'm going to make it my final post of the piece for this challenge, however.

    BTW, does anyone else find that, when recording a piece, as you get toward the end, the only thought in your head is, "Don't make a mistake! Don't make a mistake!" At the end of this one, my hands were literally shaking through the coda as that thought went through my mind. And of course, I made mistakes!

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      Eric Phillips Oh absolutely, recording can be super nerve-racking, especially towards the end of a good take! The only solution for that is recording, recording and more recording! Getting used to the process, use it as a tool for analyzing will create ultimately better recordings. You want to forget that there is a recording session happening. 

      When I do classical recordings with other musicians I sometimes don't sit behind my desk but in the recording room with the musicians just to make them feel like they were performing for a friend in a relaxed environment! Play for your dog 🐶

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      Eric Phillips By the way, I had a recording session with a flutist who could only play when here dog was around her. Now she has a recording in which we can here a dog snoring 🤓

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    • Martin That's so funny! My dog would likely get up and try to play with me.

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      Eric Phillips "wraff wraff more rubato at the end of the phrase and what's that tone of your apoyando there wraff wraff anyway take me for a walk was that a cat?"

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    • Martin 😂😂😂🐶🐱

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    • Eric Phillips I think we all have that experience with recording,, Eric! But for me it was worse  with this piece than others, because you know that at the end there is this tricky passage. Although, sometimes it’s just these easy final chord that does it….

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    • Eric Phillips btw you make it sound so lovely and romantic. It’s really a joy to listen 👋👋👋

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      • Brett Gilbert
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      Eric Phillips I totally relate to your comment about being nervous near the end.  For the guitar piece I worked on it was short enough where the stakes of restarting are lower but I still got nervous towards end.  I'm trying to complete the piano challenge and playing the entire piece takes almost 6 minutes.  I constantly mess up near the end as I keep thinking "don't mess up!".  I can't imagine the pressure for a pro performer in front of an audience.  Also, your piece sounds amazing. 😉

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    • joosje Thank you, Joosje. And you're right, this piece in particular made me anxious at the end. And like you said, when I get that way, it's the simpler things that I usually mess up.

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    • Brett Gilbert Thank you, Brett! While in some ways, being a professional musician would be my dream, in other ways, it would be my nightmare. Thankfully, I'm not good enough to consider it! 🙂

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  • I am still with 21, now it is memorised and almost good! The mordents with different fingers are coming along. The one that I like less are the ones that start with an open string, sometimes here the sound goes wild! I am trying to look at it very in-depth checking the different movements slowly, try to get a better sound. Not ready to record, tried yesterday and well…. I need to practice them a lot to get a decent recording, it is like a tell all the mistakes! But all in all I am very happy’ my fingertips are again hard and rough after the the less practice I had during the holidays and I feel ready for more hard work. Thank you all!!!!

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    • Emma Thanks for the update, Emma. I hate pull-off to open strings! They are so hard to make sound nice. I hope we get to hear you play it!

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      Emma Fantastic! I find it very relaxing to play through pieces in slow motion. I feel like David Russel when I am i absolute control of every movement, the problem starts when I start to speed up a little to early 😂

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  • Been struggling for time this week - away last weekend and then child minding Tuesday, Wednesday  and Thursday. Managed some early morning practices continuing work on numbers 1, 3, 7, 10, 16 and 19. Started working on the videos this morning but we're having some work done in the front garden which started to get a little noisy.

    What I found easy and hard are the usual problems! Trying to get a decent tone with my 'a' finger is a continuing problem, although my nails are a little on the long side.

    Videos of 3 and 7 attached below.

     

    Interesting - when I uploaded the video of no 3 Youtube said there was copyright material in the video. I don't know why but I disputed it. Anyone else had a similar problem? Can you think of a reason why Martin?

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    • Derek Good work, Derek! I wish I could do preparation in the right hand as well as you!

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      Derek Thank you for the update, Derek! The a finger always need some special attention, I think by angling the hand a tiny bit more you can create a longer ramp and deepen the stroke a little bit! I've talked about this in my livestream about Tone Quality yesterday !

      Uff, fake copyright claims are the greatest b******t in the youtube world, I know several youtube creators who are being held hostage by those fake claims. Sadly, there's not much one can do, as long as you don' intend to monetize your videos you don't need to worry about it, but I really cannot understand how such fradulent practices are allowed by YouTube.

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    • Derek that’s very nice Derek. You control both pieces so well. Especially no. 3, where you don’t need the score and you are more flexible, free and secure. No. 7 has some tricky passages in the second part, you manage to play it with great control. . 

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    • Eric Phillips Thanks Eric - it must be due to Mircea's right hand technique exercises that I practice everyday. Having said that I have been teaching someone who has learning disabilities, looking at Brouwers study no 2, I told him the other week to keep his 'a' finger on the 1st string throughout the first few bars. This week we looked at the next few bars and he noticed that I didn't have my a finger on the string! Practice what you preach!

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    • joosje Thank you Joosje

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  • Study 15.

    For the last few days of the challenge, I wanted to try something nobody had done yet, and I settled on number 15. Here I am playing through it after making some fingering choices.

    What was easy: It's very straightforward, with a simple structure and texture throughout. With a few exceptions, the left hand fingering is pretty clear.

    What was difficult:

    • In measures 34-39, I debated the fingering a bit. I decided to change the finger I used for the low C, instead of keeping it the same throughout those measures (third finger). It's a bit less legato, but the other way I find very awkward and prone to string squeaking.
    • Measure 41 (the second to last measure of the whole piece) has a big C chord with barre played at the 8th fret, and I don't know how to make it sound in tune, due to intonation problems. Is there a way to do this?
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    • Eric Phillips oh, that sounds so nice. When I tried it , it felt a little boring, but it’s actually a charming study. You play it it so well already, with really good balance between thumb and fingers

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    • joosje Thanks, Joosje. Charming is a good word for it. Another good word for it right now is slow, but I'll work on that.

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  • I wanted to talk a little bit more about a certain fingering I did at the end for the first section of Carcassi's No.3, but overall it's a small little video about Philosophy of Fingerings! I hope you enjoy my little 5min session on only 2 bars of this cycle 🤓 Let me know what you think and keep on challenging! 🙌

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    • Martin 

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      Eric Phillips There is one major difference to your way of fingering that position and mine: I play the barred finger over all the strings (I tell my students to play the barree over all 7(!) strings, haha) instead of only 5 strings, I feel that makes it much easier to fret the 3rd string! Maybe that might help you? 🧙‍♂️

      But it is an awkward fingering and even harder to make it feel comfortable and secure. The extended wrist has the potential to hurt you if you overdo that, so try that very carefully and if it just doesn't do it for you then it is absolutely fine if you transition works musically and technically! Your hand doctor doesn't want to hurt you! 👨‍⚕️

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    • Martin Thanks, Doc! It is definitely easier to make the third string ring clearly by barring all six (seven!) strings - what a great tip! I do still feel the pain in the forearm, I assume due to the extended wrist. Another thing I found is that when barring all the strings, my right hand thumb instinctively goes to play the sixth string instead of the fifth. It's amazing how connected everything is in our bodies.

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    • Martin I enjoyed that indeed, great to hear how you come to your fingering choices. Your presentation inspiring as always. Thanks!

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