Opus 44 of
And as what happens with each key as we go
through it, each key starts out
with a more simple piece, and then more
difficult things are introduced.
In this case, the main challenge is
keeping your shifts of these double
stops very relaxed, cuz there's gonna be a
lot of, you know,
moving back and forth with the left hand
from the first position to the third.
You also notice in the study materials in
the fingerings that I've chosen,
I've changed some of source fingerings.
I'd like to think in an, in an effort to
make them fit a little bit more for
the modern guitar and also to preserve
some of the voicing that he has there.
It's, it's basically written in three
So although it sounds very simple, its,
its, its actually has three,
three layers to it.
We have a Soprano voice and an Alto,
And then this lower voice underneath,
you know, kind of
acting as something a root.
It's kind of like a rhythmic but also
a G major pedal.
So, right here in measure seven it is one,
two, three, four, five, six, seven.
In measure seven
And measure eight, I'm,
I'm suggesting an alternate fingering to
have that D,
of that lower voice [SOUND] On the fifth
because then it will allow the same
texture to, to, to remain in tact.
[SOUND] The the Soprano and Alto
See if we have this in measure eight then
it ends up you're sort of killing the the
This is kind of an interesting thing
fingering switch in measure eight to watch
[SOUND] And then back there so two.
And do a little switcharoo there to
get you back to your original position.
Also notice in measures one through eight
and the repeat of that same phrase,
from measures nine through about 13.
I'm also recommending a fingering change
You can, you should practice it with the
original fingering as well.
This kind of half-bar here.
Two string bar, two, one, one.
Like this, but I, if I were to perform
this piece in a concert, I'd like
the three one so that I'm not you know,
crunching a bar down the whole time.
And then switching to two here
for the for the final part of that phrase.
Make sure that each of the the first
third, second third measure drives
toward this direction note on the downbeat
of measure four, musically.
[SOUND] So that we get something of,
you can start it fairly strong, but
Really make a push toward that four that
downbeat of measure four, [SOUND] And
Then of course in the middle section here,
Again the, the fingering recommendation by
Sor is for an open D-string the whole
But as you'll notice, as you may notice
that it disrupt a little bit of
the texture that I mentioned earlier of
the, at Soprano line and
Alto being able to ring over consistently
over this pedal D.
So I've suggested a fingering that
Where that D is on the fifth-string,
[SOUND] Fifth-fret, play with the fourth
finger of the left
Then you can lift
If you want, for
the measure 18,
19, [MUSIC] And
Then return in measure 20 to
the closed fourth fingering.
But you'll see those, you'll see all that
in the study material for this.
So if you're wondering, you know, if you
may have been wondering,
well why is he switching off on that same
Note D, between zero and four.
It's a, it's just a nice a nice way to
the the linear texture there.
And that's it.
That's number eight and I look forward to