I know you have a million things to do. I appreciate the update. I have a hard enough time just figuring out the schedule when adjusting for my time zone, and I’m only an hour behind you!
Glenn Shell replied to the topic Live Seminar #65 [Sign Up] Sunday, October 20th, 4pm NYC time in the forum Live Member Events 11 hours, 21 minutes ago
I would like to play Giulio Regondi Etude #1, Wild Mountain Thyme, Tarrega’s Prelude No. 1, and Pasaje Abierto, too.
But since I am still struggling in Grade 2, those are just pipe dreams. So, I would like to sign up and am going to attempt to make it through Andantino by Carcassi from the Grade 2 Repertoire. This is more an exercise in trying t…[Read more]
A bit behind on my posts again, so I thought it time to at least provide a quick update. And, in honor of my wife, who supports my CG addiction and listens to the same repertoire or exercise a mind-numbing number of times, I thought it would be fitting to post a recording of Sor’s Six Petites Pieces, which he dedicated to his…[Read more]
Welcome James! Simon, just for clarification, since the Coaching Calls page still shows Connie and shows Dave in the slot James is taking (and, you left poor Niki off the page completely!), can you add to this post and specify what the specific four slots are and who covers them?
My impression is
James 7am – 9am
Niki 11:30am -…[Read more]
When I read it the first time, I slipped into almost singing it to “Do You Hear The People Sing” from Les Miserables. It evokes the same sentiment, and, based on all the revolutions in Europe at the time, that would make sense. Which, could lead one to ask if Boublil and Schonberg new of these lyrics when writing the musical.
Well, that explains a lot! I was on You Tube and this video popped up. And I kept thinking to myself that I didn’t remember seeing it on the site, but it looks new. Now it all makes sense!
I think this is a great idea, Simon. I truly appreciate the fact that you are always thinking and working on ways to make the school better.
I do agree with…[Read more]
As noted before, Sor composed for more than just the guitar. He wrote six songs with words in French. One of those is Le Dernier Cri des Grecs, The Last Cry of the Greeks, about the Greek War of Independence from the Ottomon Empire. The lyrics were provided by Emile de Tarade and begin:
Marchons, amis, avançons en silence,
Et pour jamais brisons…[Read more]
Very nice, Drew. Very expressive. You look so relaxed and it showed in your playing. I really enjoyed it. Likes seeing Archibald, too!
Thanks for posting this.
It is amazing how Dave and Simon can always spot things and provide spot-on recommendations.
I am sure you will implement his ideas as you progress through Grade 3 and your Grade 3 submission will show it.
Michael, @michaelc and Steve, @sbattazzo are correct about Sor’s frustration with having to write pieces that were too easy or simple. His Opus 43 dedication is “…to whoever wants them.” Op. 45, Voyons si ç’est ça, is dedicated “to whoever has the least patience.” Sor noted that these are simple pieces “whose aim is to lead gradually towards wha…[Read more]
Great update Roger. As far as not practicing as much as you normally do, was it Segovia who said, “If I skip practice for a day, I know it. If I skip practicing for two days, the critics know it. If I don’t practice for three days, the audience knows it.”
Keep up the great work and thanks for the pics.
Just a quick post to add some local (for me anyway) flavor. This performance was recorded here in San Antonio, Texas on a guitar made by Lucio Nunez, a local luthier.
Tom Sprayberry performs Les Adieux Op 21 by Fernando Sor.
Nice playing. I think you have a good plan. Why stress over pushing a deadline you aren’t ready for. I realized early in the Summer I wouldn’t be ready to submit Grade 2 last month so I stopped stressing over it and decided to relax and focus on getting things right for a Spring submission (turns out, the way this Summer went, that was a good…[Read more]
Can’t wait to hear that recording, Mark! Although, I have to admit that I a bit more like my father when it comes to Opera, I like the recordings of Opera without Words. Love the music. Not big on the vocal parts. But, that’s just me, and I am sure once I hear Narayan’s vocal performances, I will totally change my mind.
I agree with Ian’s comments. As far as the chair, it took me forever to find a chair at the right height. I am 6’2″ tall and finding something that would work, that I was also comfortable with, was a challenge. I finally found a piano/keyboard bench that works perfectly. The key is, you want your upper legs to be be parallel to the floor.…[Read more]
Compositions – Opera, Ballet, and Seguidilla Boleros
Sor’s first major composition was not for guitar. In fact, most of his early compositions were not for guitar. As noted before, he was born and raised in Barcelona. Music in Barcelona at the time was dominated by Italian Opera. After hearing and watching several operas performed, Sor dec…[Read more]
Glenn Shell replied to the topic Guitar supports: Guitarlift, Ergoplay … what works best in the forum General Discussion 1 week, 1 day ago
Still another vote for the Sageworks. I should say I have not tried any other supports, other than a footstool.
I do agree with Brian’s comments about the smaller area on the leg and being careful with you attach the support. I would like to have contact area with the leg to be a bit bigger. But, then again, I really like being able to collapse it…[Read more]
Fantastic, as always!
Thank you for putting this together. Two of my favorite instruments. Steve, not only did you add a new touch to the duo, but your moving artwork is, well, moving!
Great job by all three of you.
Richard and Michael, thank you for posting your videos. I am a bit behind on starting the compositions phase of the thread, so I appreciate you helping get this started.
I hope to add to the discussion tomorrow, but first, I wanted to throw in a couple of items about Sor’s technique. Particularly as this addresses comments and questions from…[Read more]
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