Sor Andante 1 p.72

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Sor Andante 1 p.72

Postby rjdplay » Thu Aug 27, 2009 10:08 pm

Hi Jamie,
Hearing the Sor studies for the first time is what broght me to classical guitar. So here is my first version (attempt) of Sor's Andante I:

http://www.youtube.com/watch?v=YwnNkjEzQH4

On this one, I also took Ney's previous advice and threw away the mn (after I worked it up of course) and tried to get the rhythm and the feel.

Looking forward to your wonderful critique.
Ray
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Re: Sor Andante 1 p.72

Postby polydorus » Sat Aug 29, 2009 5:50 am

Very nicely played Ray, as usual.

It's much more convenient to watch on YouTube, but you had quite a bit of back lighting which made it hard to see what you were doing.
Simon
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Re: Sor Andante 1 p.72

Postby rjdplay » Sat Aug 29, 2009 7:22 am

Thanks Simon. I did notice the poor quality and didn't know why. I'll remember that recording tip.
Ray
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Re: Sor Andante 1 p.72

Postby Jamie » Sat Aug 29, 2009 9:21 am

Wonderful Ray, and played with your usual aplomb!
Best,
Jamie
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Re: Sor Andante 1 p.72

Postby rjdplay » Sat Aug 29, 2009 4:46 pm

Thanks Jamie.
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Re: Sor Andante 1 p.72

Postby N E Y » Sun Aug 30, 2009 11:06 pm

Well to my mind that was what I like to hear!...... In terms of musical discourse I would perhaps suggest that you isolate the little chromatic triplet run for a practice session and make it as articulate as the rest of the piece in terms of dynamics....just a bit louder, not much needed there really ....just to make it totally consistently projected on the same level as the rest of the work since it is the culmination of the piece. Make it really sing. Perhaps more feel into it. Dont look at it as a run but as a musical melody and see it if it makes you do it differently?

Now of course you might completely disagree with my musical conception here :D :D and that is completely alright....it is to me a only matter of interpretation and phrasing which varies from artist to artist and my view is just one way ,among others, to conceive of it based on what I hear and how I perceive the flow and culmination of a composition.

The technique is "down" though. If you feel strongly inspired about it, musically speaking, as it is , then of course follow your vision and keep it as it is. Working with the metronome and then trusting your vital time pulse without it , takes guts and mastery ( now you know exactly what a master goes through for great time keeping! :D ) but it really infused life into your rendition!

To me personally it was : A great job! and Excelent time feel! and drive!



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Re: Sor Andante 1 p.72

Postby rjdplay » Mon Aug 31, 2009 9:29 am

Thanks Ney for the wonderful critique. Another post of yours I just had to print and keep. I review quite regularly, so I'll have your post next to me, to work on that melody.
Ray
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Re: Sor Andante 1 p.72

Postby N E Y » Tue Sep 01, 2009 11:00 pm

rjdplay wrote:Thanks Ney for the wonderful critique. Another post of yours I just had to print and keep. I review quite regularly, so I'll have your post next to me, to work on that melody.
Ray



You are very welcome Ray,

I would like to perhaps add that every-time we as artists* make a completely heart-felt artistic decision we are connecting more and more with music itself and thus we cannot "go wrong" . A "connected" decision is what brings forth inspired performances and compositions. In simple terms it is what imbues your music with "soul". And "soul" has to be there for it to be alive , be it Beethoven or Dillinger Escape Plan.

This is not the same as forced emoting and fake emotional mannerisms of mediocre but clever performers. Clever is not enough in music. You actually need the thruth which is what has the power to transform us when we listen to it. Clever and shrewd audience manipulation cannot deliver a great perfromance, just a showy one. In this way , if the music is real it does not matter if the performer makes faces or not, if he contorts his body or not. He may or may not do so depending on his/her personality; but one thing is sure : If the music is real you will feel it in your entire being!

To do that we have to make the final decision based on what we KNOW to be THE true choice(s) for US and no one else's opinion or critique matters unless it makes us aware of something we had not noticed before and which we very much would like to improve. This is another one of the crossroads where the artists get separated from the non-artists: The artist will change according to external suggestion/critique ONLY if it improves or clarifies what he/she ALREADY feels is right. The non-artist changes his vision just to please another. He is only pretending to be a musician but has no integrity and no sufficient amount of basic courage to represent music truthfully.


Note:
*Here by "artists" I mean you and everyone who plays music for the love of music itself instead of the love of money and praise and to receive adulation. You will notice that the professionals who matter artistically always have their priorities set in this way. They don't change their vision to make more money and get more popular.They change it when it is right to change it in musical terms.

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Re: Sor Andante 1 p.72

Postby rjdplay » Wed Sep 02, 2009 10:01 pm

Thanks again Ney. I see the Rubicon on the horizon!
Ray
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