That was Number 6 from the Opus 44
Progressive Pieces by Fernando Sor.
He now goes into G major.
Obviously at this point he's, he's done
five pieces in C major and
now he moves to the next key signature
One sharp, so now in G major.
And with each of the key areas he usually
starts out in this series with just
a simple one line one note at a time
Although, they're really not that simple.
And, and as they go along, they get less
and less simple.
So with this one, you'll notice in the
fingerings that I have
that I some of the fingerings that I
suggest for it that, for
example, in measures 1 if I play measures
1 through 4.
I have you coming down for the scale that
starts on the sixth string, but I have you
coming down and starting with I, M,
and completing the whole scale from sixth
string all the way up to the first string.
And this actually harkens to another
concert piece that's in the curriculum
Guardame las Vacas
by Luis de Narvaez and there is a lot of
scales in that which they
start on from the low string on up and I
have them fingered where I,
you just start the scales in your
In, in my case it's IM and most players
case it's IM.
So this is really where we start to break
this kind of tradition
[LAUGH] that we started early in the
curriculum of having thumb on bass notes,
like in the Carcassi method.
And really start to get you moving around
to where you actually start a, a figure or
Alternating with I,N,M right on the lowest
And so just remember that when you're
doing that try not to keep your right hand
locked or in one position.
Allow the right hand, see, just like this,
if I'm starting here with M, M, I, M, I,
So at this transition here,
so here, maybe even after this second beat
of measure two, you may even want to
lightly plant [SOUND] the,
the I finger on the sixth string like
Just before you start playing to just give
yourself that, that kind of thing, but
did you notice my arm is actually coming
I'm just allowing, my arm is essentially
taking my hand to the spot.
I'm not locking my arm and then forcing my
my hand to play what would totally feel
like a different hand position.
I want to keep this same hand position
that I started up here.
The same kind of bridge, the same distance
of the, of the wrist.
The right hand wrist to the, to the
And that same angle of attack the middle
knuckle being above the string that I'm
playing the middle knuckle being above the
string that I'm playing free stroke with.
So if I start here M I and my orientation
Then when I start the scale that
orientation should feel the same.
So that's really like the one thing to,
to, to look for.
You can, you know, there's many fingering
combinations as you'll see
when you study this, that you could use.
And feel welcome to use that.
You know, for example the last four
measures I have.
M, I, I'm sorry, I, I, M, I, M, P, I, P,
I, P, I, P, I.
But if you wanted to do I, M, I, M, I, M,
I, M, then P, I,
P, I, it, it doesn't really matter.
You know, it's just those are just a
suggestion at that point.
So, enjoy, number six from Opus 44.