Just some analysis on the practicing and
the performance of the number four from
44 progressive pieces by Fernando Sor.
Or the one I like to refer to as the
Raiders of the Lost Arc theme.
[LAUGH] the measures three and four sound
exactly like the John Williams theme.
So, the, what this is really great for
is it's introducing it's introducing a
little bit of counter point so
that the bass line has at times, a, a very
And, and so this is a very, and it's
particularly in measures 16, 17, 18, 19.
That's, that's something that Bach could
have written in terms of that,
The contrary motion of the two voices.
The bottom line being as melodic as the
So just taking you through it a little bit
before you get to work on it.
You'll also notice
maybe in the performance that I'm using
some, some rest strokes.
Those rest strokes help for melodic
inflection and emphasis on certain
notes that are stronger but also to help
damp, a right-hand damp.
They serve as a right hand damp for
melodic notes that came before it that
should be damped.
So, for example, right in the beginning,
Right here, there's a G to C, you know?
That rest stroke on the C
gives a good start to the piece with
a nice accent, but it also knocks out the,
the rest stroke of the,
second string C knocks out the third
And then the next two melody notes
I have a left-hand damp, or
what I like to think of as a lazy two in
the left hand.
Again that's something I showed you in one
of the previous examples in this series of
That if you have a melody note
open B string
going to A on the third string with
the second finger it's, you can, if
you're, of course if you're being
very good about your technique and your
mechanics and being right on your toe,
on your toes if, if you will right on the
tips of your finger.
Those two notes are going to actually run
Musically, it's not as desirable as,
like this, so
the best way to do that to make that in
melodic style as we say,
to play those in melodic style is to just,
when you place the second finger,
to actually be a little quote-unquote lazy
I tell my students, and I'll tell, I'll
tell you guys, like, lazy-two.
And that'll knock out the second string.
So right there in the first two measures
is an example of a right-hand
dam using a rest stroke to keep the melody
in melodic style.
And then immediately after in measure two,
a left-hand damp to keep the melody in
So, the fingerings, of course, will help
you navigate this.
This is a tricky piece.
This is really not as easy as it, as it
looks, because there's a lot of content.
A lot of counterpoint going on here.
In the second repeat, you have.
Right there in se,
in the measure ten.
In measure ten the downbeat that rests
there, I recommend when you
damp that rest with your thumb, you not
only damp the fifth string,
but you, if you place the thumb in-between
fifth string and
the fourth you will simultaneously damp
the open A string.
And at the same time set yourself up, for
you next base note, which is played on the
fourth string, and
that's an example of a damp you can use to
either, you know, in this case for a rest.
But, one where you can actually combine
two moves in one, and
that's an important thing.
Moving forward for your left, for your
right hand base stamps.
Once again, I'll ext, I'll go slowly here.
on the downbeat of measure ten.
I've got the thumb here, right there.
It's stuck right in between the two.
My contact point of my thumb is on the
fourth string ready to play the open D
but it's simultaneously the back of the
thumb that's knocking out the fifth.
That's a more advanced damp that you're
going to use.
Not going to use it all the time.
You're not gonna, you know, 90% of the
time when you're doing bass damping in
order to keep the bass in melodic style,
you're going to do stuff like this.
You're going to do the whole,
you know, play the next note then come
back to damp the ringing previous note.
But this is just a special damp that you
will use a lot as well.
Okay, and then, going on to the
counterpoint section here where the two
voices are in counterpoint, that's measure
18, 17 16.
You'll notice here that in measure 16 I'm
playing the third eighth note of the
A closed G on the fourth string and then
sliding that voice down three,
we're using the left hand fingering three
and then three sliding down to the F.
Now why wouldn't I just play that G open
on the open third string?
Well because that particular G is not the
even though it's in the same register, as
the following open, as the following G.
The G on the fourth, eighth note of the
measure is a melody note, and
so to distinguish for the listeners ear
the difference between those two notes,
you'll see them actually visually look
like they are right next to each other.
It's it's good to play the other one on a
different string because
it gives it a different color and and so,
So they'll not only here,
the F is being part of that same line,
the, the stem down line.
They'll also hear
the, the next open G as being part of
the the stem up line.
And so that's why I do that there.
In fact, Sor recommends that very finger
in measure eight,
where you see two adjacent Gs in the same
One of them is a closed fingering on the
fourth string with three, and
the very next one is an open third-string
He's doing that for exactly the same
He's trying to tell you that the stem down
that's a stem-down G followed by a stem up
And so, that's a, a way for
the listener to get them to hear where
those voices belong.
This is another one of those examples that
tab will not show you.
[LAUGH] And this is why music reading is
There'll be a, there'll be a a
lecture-type lesson on tab versus music.
Thank you very much and enjoy the