This was the 4th song i ever learned to play. I I actually just relearned it a couple of weeks ago I had let it slip. I think this one really makes you work on your time values for the notes. I am glad you posted it I am sure I will learn something new.☺
I always thought the purpose of this etude was to learn bass muting technique. But since most people let those eight notes ring, I thought I didn't get something. Thanks Gohar for mentioning it.
I love the D# - I first heard John Mills do it. On a slightly related subject, do you have any videos on how to improve left-hand stretch? My small hands do depress me at times; fingers two and three just never get further apart! I often have to resort to re-fingering chords or revoicing them.
No, I haven’t done any videos on stretches. There are lots of exercises, like Evangelos Boudounis books Volume 1 and I think 5 for example that have lots of stretching combinations.
This is Estudio 6 in Segovia's collection. I notice she is not using his fingerings. Some of the damping requirements she challenges the student to accomplish for the bass D can be implemented by the left hand but the open A still needs rh damping for both. Segovia fingering also a bit harder for the lh, and there is a positional shift to VII. Maybe he was only trying to make it more technically challenging. I am considering both but use as my criteria note value precision and melodic voice legato as Gohar instructs.
As Sor composed these etudes he rarely left comments about the objectives of each etude ( occasionally he did write a paragraph) I think it’s safer to stick to the teacher’s (Fernando Sor) fingering. Rafael Elizondo does in depth comparisons between Sor’s editions and Segovia’s on different pieces. He almost always concludes that of course Sor’s is superior.
I listened to your music with a great pleasure from the beginning till the end , thank you very much for sharing with us , love , peace , health and happiness always to you , warm greetings , Meghna.
Thank you for the lessons. You are a great teacher, a great classical guitarist. You are my favor classical guitarist today. I listen to yepes, williams, romero, but I think you are much better. I send you a respectful hug ans a kiss.
Muting, rests, and Sor. There's something going on in early 1800s CG music that we don't fully grasp 175-200 years later. Consider how many otherwise "simple etudes" have very challenging rests or short note values assigned, this one is a good example. Fully playing or articulating these rests and short note values greatly increases the complexity of the performance. For example, Sor Op. 60 #6 is a minefield of rests, which are rests for consonant notes and therefore not cleaning up harmonic clutter. But are the rests only "mathematical place holders" for the written scores? I don't know! As for only holding notes for their designated values? Try that on nearly any arpeggio exercise (Sor Op. 35 #22, Carcassi Op. 60 #3, Villa-Lobos Etude #1) and you immediately see the folly of trying to play that way.
David Norton i think there is a balance. Sometimes you just have to let notes ring, no matter their mathematical value, like in arpeggios... you can’t cut those notes. When it comes to bass notes, there are instances you can do it both ways. Each way will sound different. If I stopped the bass notes, it would probably have a different effect. I tend to not get to take the more... “does it sound good” road... lol
what written of musical notation maybe just a rough guide...subject to the player to interpret them. unless we can heard F.Sor playing his own music composition...and his guitar also a small body and the sustain of notes were not so sustained duration.
Op.60 no.6 surely has dampening as an objective. I think that’s why it has as you say minefield of rests. It’s an important technique and thankfully we have beginner studies to work on these so we can clean up our technique before getting more advanced. Giuliani in opus 1 has some. I’ve actually compiled a list of them and yes this study is on there. When you hear it with vs without there’s a world of difference.
These lessons are so great. I'm working on two Sor pieces and two Carcassi pieces for my grade 5 on classicalguitarcorner.com. I have your lessons saved as a playlist so I can reference them.
Wonderful! Thank you 🙏
This was the 4th song i ever learned to play. I I actually just relearned it a couple of weeks ago I had let it slip. I think this one really makes you work on your time values for the notes. I am glad you posted it I am sure I will learn something new.☺
Thanks! I enjoy your masterful performances and lessons enormously. Cultural gems.
Thank you for all !
Merci pour tout !
I always thought the purpose of this etude was to learn bass muting technique. But since most people let those eight notes ring, I thought I didn't get something. Thanks Gohar for mentioning it.
Narciso Yepes plays it that way.
Beautiful!
I love this song.
I love this etude and you really make it sound beautiful. Your lessons are wonderful and very helpful.
I'm currently learning op 35 no. 22 in b minor Thanks for this.
Kenneth Olofsson Sweden thank you for very very good and beautiful playing and pedagogical lessons.
I love the D# - I first heard John Mills do it. On a slightly related subject, do you have any videos on how to improve left-hand stretch? My small hands do depress me at times; fingers two and three just never get further apart! I often have to resort to re-fingering chords or revoicing them.
No, I haven’t done any videos on stretches. There are lots of exercises, like Evangelos Boudounis books Volume 1 and I think 5 for example that have lots of stretching combinations.
@@GoharVardanyan Thanks, Gohar - I will work hard and report back!
Great ,as always ,good advice ,it's one of my favorite studies ,which I play .
Thank you for this lesson. It's helpful.
This is Estudio 6 in Segovia's collection. I notice she is not using his fingerings. Some of the damping requirements she challenges the student to accomplish for the bass D can be implemented by the left hand but the open A still needs rh damping for both. Segovia fingering also a bit harder for the lh, and there is a positional shift to VII. Maybe he was only trying to make it more technically challenging. I am considering both but use as my criteria note value precision and melodic voice legato as Gohar instructs.
As Sor composed these etudes he rarely left comments about the objectives of each etude ( occasionally he did write a paragraph) I think it’s safer to stick to the teacher’s (Fernando Sor) fingering. Rafael Elizondo does in depth comparisons between Sor’s editions and Segovia’s on different pieces. He almost always concludes that of course Sor’s is superior.
I listened to your music with a great pleasure from the beginning till the end , thank you very much for sharing with us , love , peace , health and happiness always to you , warm greetings , Meghna.
Thank you for the lessons. You are a great teacher, a great classical guitarist. You are my favor classical guitarist today. I listen to yepes, williams, romero, but I think you are much better. I send you a respectful hug ans a kiss.
Thank you very much^^
Muting, rests, and Sor. There's something going on in early 1800s CG music that we don't fully grasp 175-200 years later. Consider how many otherwise "simple etudes" have very challenging rests or short note values assigned, this one is a good example. Fully playing or articulating these rests and short note values greatly increases the complexity of the performance. For example, Sor Op. 60 #6 is a minefield of rests, which are rests for consonant notes and therefore not cleaning up harmonic clutter. But are the rests only "mathematical place holders" for the written scores? I don't know! As for only holding notes for their designated values? Try that on nearly any arpeggio exercise (Sor Op. 35 #22, Carcassi Op. 60 #3, Villa-Lobos Etude #1) and you immediately see the folly of trying to play that way.
David Norton i think there is a balance. Sometimes you just have to let notes ring, no matter their mathematical value, like in arpeggios... you can’t cut those notes. When it comes to bass notes, there are instances you can do it both ways. Each way will sound different. If I stopped the bass notes, it would probably have a different effect. I tend to not get to take the more... “does it sound good” road... lol
what written of musical notation maybe just a rough guide...subject to the player to interpret them. unless we can heard F.Sor playing his own music composition...and his guitar also a small body and the sustain of notes were not so sustained duration.
Op.60 no.6 surely has dampening as an objective. I think that’s why it has as you say minefield of rests. It’s an important technique and thankfully we have beginner studies to work on these so we can clean up our technique before getting more advanced.
Giuliani in opus 1 has some. I’ve actually compiled a list of them and yes this study is on there. When you hear it with vs without there’s a world of difference.
Браво!!
BRAVA e GRAZIE
A thousand thanks won't be enough. What a wonderful present for Us, Master Gohar.
Guitar perfection!!!😀
非常动听，讲解也很好。
Браво!
Simplemente hermosa...
These lessons are so great. I'm working on two Sor pieces and two Carcassi pieces for my grade 5 on classicalguitarcorner.com. I have your lessons saved as a playlist so I can reference them.
3:10-3:16 No singer?.....Bobby mc Ferrin makes those jumps and even over two octaves , I wonder how it would sound when he would sing this etude.
Narciso Yepes is the only one that mutes the bass. That's why his version is beautiful but at the same time, so dificult.