Week 1: A Fresh Start 
WELCOME TO THE "A FRESH START" COMMUNITY CHALLENGE!
Embark on a musical journey with our latest challenge, "A Fresh Start". It’s time to dust off that sheet music you’ve been eyeing and dive into a brand-new piece!
CHALLENGE TIMELINE
- Challenge Start: Kick-Off on April 15th!
- Duration: April 15th to May 13th
- Watch Party: Join us on May 13th at 11 AM PST to watch selected submissions!
WEEK 1 ACTIVITIES
- Choose Your Piece: Select a new piece of music to work on. Share your choice in the thread below and inspire your fellow musicians!
- Video Submission: Submit a video of your practice this week. Highlight your favorite passage from the opening bars to showcase your progress!
GET INVOLVED
Let’s kick things off with enthusiasm! Share your progress, encourage others, and explore new musical horizons together. Can’t wait to see what everyone chooses!
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Hi, everyone!
My name is Leonid, and I am new at Tonebase.
I had decided to learn "Invocation y danza" by Joaquin Rodrigo, but I wasn't sure which revision I should follow. There are many different revisions: Graciano Tarrago (1962), Alirio Diaz (1973), Pepe Romero (1993) and Pepe Romero (1997), and couple of others, for example, Jorje Luis Pastrana (2001) and João Diogo Rosas Leitão (2014). And there are so many differences between them... But, fortunately, I have found edition with Rodrigo's manuscript (it is debatable is it true manuscript, but likely, yes), it was published in scientific article “Invocación y Danza – Homenaje a Manuel de Falla” - a new light on the piece brought by the manuscript by João Diogo Rosas Leitão (2014). I am not sure about copyrights, so I won't post it here, but it can be very easily found in Internet.And yes, this version is pretty unplayable;) Firstly, in the beginning there are harmonics also in the bass line. In the arpeggio section there are sextuplets, not quintuplets. And everywhere there is extreme stretching.
But I don't want to give up!
I retuned not only 6th string of my guitar to D, but also 5th string to G, because there is one bar, that cannot play by another way.
And I use a lot of alternative techniques: my left thumb, my lips, and my right index finger to pressing on the strings. They are not very common techniques, so I can share some videos, how another guitarists can manage them.
Lips technique by Mehrdad Mahdavi: https://www.youtube.com/watch?v=F88ci6ggp5IRight index technique by Paulinho Nogueira: https://www.youtube.com/watch?v=5E6Bkz4W2YA
So... It was only the first week of this journey... I hope, someday I will handle it...
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joosje See. If I had thought to check I would know that.
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leonfazulin Welcome! You have certainly elevated the technical level of the community with this. I look forward to hearing your progress.
I was fortunate enough to be present at a masterclass with David Russell a few weeks ago, and the first performer played this piece. I was blown away first by the performance, but then David zeroed in on some immediate ways to improve it, helping the student to see the big picture more clearly. Just watching it was a magical musical moment that I will never forget.
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Eric Phillips Wow!!! Being present at a David Russell Masterclass. I have watched some of his on YT. They always seem to be wonderful experiences. Glad you had that experience.
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Jack Stewart Yes, it was excellent. I only wish there were some performers at my level. They were all way beyond me. It was still enjoyable and informative, though.
His performance the night before was outstanding. Perhaps most impressive was his memory. Without any scores, he played two complete Baroque suites, the entire set of Torroba's Castillos de Espana (14 pieces?), and two extended modern pieces (and there may be some others that I just can't remember right now). I have trouble memorizing one simple little tune!
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Eric Phillips Jack Stewart Great experience that you had attending David Russell's masterclass and concert. And, I would disageee, you are definitely at the level to have performed for him. Here is a short anecdote. I met David Russell in 1978 at the San Francisco Conservatory of Music and was able to perform for him in his first San Francisco Masterclass (possibly his first US masterclass). As you might have guessed, I performed a Carlevaro piece, Preludio 1 (Evocacion). David was a young pup as was I, but I learned a lot from his class. I met David again that year in Madrid at a Carlevaro Masterclass where I played the same Preludio for Carlevaro. David congratualed me afterwards, and I can truly say playing for David prepared me for playing for Carlevaro.
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Dale Needles What a series of experiences! David Russell must have been in his mid 20's when giving that masterclass. It is interesting that he also attended the Carlevaro masterclass then as well.
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Eric Phillips I memorized a piece once - I just can't remember which one.
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leonfazulin Amazing start Leonid for just one week of work on this! Can't wait to hear what you'll do by the end of the challenge!
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Jack Stewart Who are you?
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Eric Phillips I'll have to get back to you on that.
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Yesterday practice with the Alaska picks. I tried two pieces I learned last year.
Andantino in C major, Op.59 - Matteo Carcassi
and
Fernando Sor, Op.60 no.2
This time, I think the sound is better. I can also feel I am getting more comfortable using the Alaska picks.
I will keep practicing with the picks on other pieces and post more videos later this week.
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Andre Bernier Very nice, Andre. The recording quality is a bit better this time. The picks give a good sound, but I do think I prefer the sound of nails. I am curious if the picks allow you to change the timbre by changing the angle of attack, like one would with nails?
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Eric Phillips Thanks Eric. You are raising a very good question and from what I have experienced so far, I am sure that you can change the timbre by changing the angle of attack. This is what i experience when I change the angle of my right hand. I guess this is like with natural nails. You need to find the proper picks shape that will generate the tone-timbre you are looking for. At least you do not have to wait for them to grow to test a new shape or angle
just buy a new box set. -
Andre Bernier very well played Andre, especially the first one, really soothing and nice rhythm.
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Andre Bernier This sounds really good, Andre. Your sound is indeed better and your playing has much more confidence and musicality, especially in the Carcassi. The Sor is also sounding very good. Your progress is inspiring .
You seem to get a pretty good sound using the Alaska picks. I might give them another look at some point.
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Andre Bernier can’t agree more with all that was said here by others. You are making impressive progress. It’s great to see and hear this. Carcassi is very nice, and I’m sure the Sor piece with a bit of time will be just as good.
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Nijwm Bwiswmuthiary Jack Stewart joosje
Thanks all for your comments. When I listen back to my recording; I am never very happy with my performance. Your supportive comments tell me that I have to be a bit less critical of myself and focus more on the progress I make.
I had a great experience yesterday attending a concert of Miloš Karadaglić playing with the baroque orchestra '' Les violons du Roy'' (The King's Violons). I was in the first row at about 12 ft. (3 m) right in front of him. He is indeed an absolutely incredible player but despite this I was able with my little experience to hear and notice a few mistakes like I am doing myself. I could also read in his face when he was making a small mistake. Despite this; Wwhat makes him a real virtuoso is the amazing ability he has to keep playing like nothing happens.
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I started working on the Ponce Sonata Classica. Let's see how this goes!
