Technical Passage Mini Challenge

Greetings, tonebuddies!

We are delighted to introduce the Technical Passage Challenge, an exploration of the intricate facets of classical guitar music from around the world.

CHALLENGE DETAILS:

This challenge invites participants to share a score passage or a video performance of a selected classical guitar piece. While the emphasis isn't necessarily on the piece's difficulty, it's about illuminating the technical subtleties and nuanced interpretations of ostensibly simple compositions.

PARTICIPATION GUIDELINES:

  1. Record your interpretation of a chosen classical guitar piece.
  2. Upload your performance video to a platform of your choice (e.g., YouTube, Vimeo).
  3. Share the video link in the designated comment section, accompanied by a brief description of your chosen piece and any technical insights you've gained from practicing it.

ADDITIONAL CHALLENGE:

For an added layer of engagement, participants can also share a link to a renowned guitarist's rendition of the same piece, allowing for a comparative discussion on different technical approaches.

ENGAGE AND CRITIQUE:

This challenge provides a platform to connect with fellow guitar enthusiasts. Participants are encouraged to comment on others' performances, offering constructive feedback, and celebrating noteworthy interpretations. Through this collective engagement, we aim to foster a deeper understanding and appreciation of well-known compositions.

CONCLUDING NOTE:

We keenly anticipate your submissions and are eager to delve into the intricate details of familiar pieces through your performances. Let's join hands to uncover the depth and technicalities concealed within renowned classical guitar melodies!

Engage, Analyze, and Celebrate, tonebuddies!

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    • martinTeam
    • LIVE
    • martin.3
    • 5 mths ago
    • Reported - view

    Here's my little musical chess game of fingerings with Bach's BWV 996!

    Like 1
      • Debbie
      • Debbie
      • 5 mths ago
      • Reported - view

      martin I agree with you Martin! I also prefer to not play the barre in that passage. It is definitely the trickiest part of the piece. And I like your ornaments. They sound very nice.

      Like 1
      • martinTeam
      • LIVE
      • martin.3
      • 5 mths ago
      • Reported - view

      Debbie I know, right? Why do composers always write the hard stuff at the end of the piece?! 馃槅

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      • Debbie
      • Debbie
      • 5 mths ago
      • Reported - view

      martin 馃槀 because they love to watch us squirm! On the other hand I have pieces where the hard stuff is in the middle and the easy stuff at the end. After being so relieved to have made it through the hard stuff I let down my guard and mess up at the end on the easy stuff 馃槀

      Like 2
  • martin can you share your fingering for this Bouree in E minor. Different and a lot more melodious than the fingering I use :-)

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      • martinTeam
      • LIVE
      • martin.3
      • 5 mths ago
      • Reported - view

      Srinath Subrahmanyan I don't do anything super fancy, I have this edition for my students that has already decent LH fingerings!

      Like 1
    • martin thanks.  Will shift to this.

      Like
    • Jack Stewart
    • Retired
    • Jack_Stewart
    • 5 mths ago
    • Reported - view

    BWV 1009 (Cello suite #3) Prelude Dominant pedal

    I am trying to revive a long dormant and neglected Prelude from the 3rd Cello Suite. I used to play this years ago and wanted to bring it back for the Transcription Challenge. I originally played it with a low 'E' pedal - in mm. 44 - 60.  I am now using a transcription by John Duarte which has the alternating 'E's pedal (between the low 'E' with an octave higher). This is proving to be more challenging than what I used to do but I think it is more effective. Alternating the E's raises a lot more fingering issues.

    This is not very engaging musically but hopefully it gives an idea of what I am doing and the challenge it presents me.

    Hopefully I can post a completed version in the Transcription Challenge.

    Like 1
    • don
    • don.2
    • 5 mths ago
    • Reported - view

    This is good timing for me. Im now learning the Bach Cello Suite 1 Allemande and I run into some fingering issues in Bar 5 leading to the Trill. There isn鈥檛 a good fingering that I can think of. Hopefully some one can offer a good solution. Thanks!

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      • Jack Stewart
      • Retired
      • Jack_Stewart
      • 5 mths ago
      • Reported - view

      don Hey Don, I have never played this piece so take my suggestion with a considerable amount of salt! I probably wouldn't worry about maintaining the tied 'b' (4th finger) since it probably wouldn't sustain unless you play it again at mm5 beat 1. On the 2nd beat of m.5 my inclination would be to try 2 on the 'd' followed by 1/3 - 2/3 - 1/4 - 3/2 and cross string trill 'b' open and a#.

      It does look tricky and I don't have the score to this so I'm not sure if what precedes it would affect my options.

      The other suggestion would be to see if any YT videos show performers fingers at this point.

      Good luck with this.

      Like
      • Jack Stewart
      • Retired
      • Jack_Stewart
      • 5 mths ago
      • Reported - view

      Jack Stewart Another suggestion - if doing the trill is the biggest problem maybe just do an appoggiatura instead. I frequently do this and it can be quite effective,  especially for the initial time and then add a more elaborate trill on the repeat (when it is up to speed).

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      • don
      • don.2
      • 5 mths ago
      • Reported - view

      Jack Stewart thanks Jack. I actually don;t know how to play cross string trill and i did google on youtube and tested it on this passage. I think it works. Thanks! I get an opportunity to learn cross -string trill too. 

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