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Classical Guitar Lessons: Sor: Progressive Pieces - Opus 44 No. 9

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This is one of my favorites really
beautiful beautiful melody and
very nice subtle, but very effective
middle voice in there.
So pay close attention to, to that middle
It's it it, a lot a, I like how it
actually kinda comes
in on the off beats on beats two and four
in measures one and two.
That is something nice to, to, to notice
there and
it's continuing on and then it joins the
the main melody a third below.
That's a very nice effect.
Sor as you'll find out,
the more you study him every note actually
belongs to somewhere.
So there are very few instances of when
she has arbitrary notes
that he just throws in to join a chord for
some reason.
It's always very, very very exact part
Almost like he's writing for a string trio
or a string quartet in some case.
So, just, keep the mood very pensive, and
and, I like,
you know, personally I like more Tasto,
type of colors, warmer colors for it.
And, also notice some of the fingering
choices I have for the bass line.
The bass line can be really quite melodic
here in some spots too.
For example, measures four to five.
See, rather than use the open [SOUND] You
can use that if you like, but also, see
how it sounds on your guitar?
I like the sound of
The bass staying on a wound steel,
steel wound string.
Especially since the next G is actually
a harmony voice in the middle that doesn't
belong to the bass line,
therefore that's being played, that has to
be played open.
And so I like this G [SOUND] To sound
different from,
this base G [SOUND] To sound different
from [SOUND] This harmony G.
Same register but different function and
we've covered that in other lessons before
Or even in this series on Opus 44.
Same thing here.
Measure six the
And also be, and, and be very good about
lifting that third beat [SOUND] octave G
[SOUND] when you go to the low G, cuz
part of the same voice, that voice is
So, it's a nice, it's a nice early study
in again, counterpoint.
And in playing voices and in playing a
particular voice in melodic style.
Meaning that [SOUND] In measure six,
I would not,
I would not keep [SOUND] This upper G
ringing over [SOUND] The lower G because
they belong to the same melodic voice.
It's a bass, a bass line essentially.
I want to lift the fourth finger as I go
into the G.
And again same thing here,
you'll see this is a measure eight and
let's see, nine, ten, 11, 12,
13, at measure 13, excuse me, 14.
This measure here where we
I wanna call your intention to two
things there.
If you use, if you're working from the
study materials or
from the facsimile version, the original
facsimile, sometimes the,
the I guess, I don't know if you call it
the typesetting back then, but
the proportions or the space between the
notes look very misleading.
In your upper two-voices, the stem up
notes, that's a quarter note.
[SOUND] Half note.
[SOUND] Three.
[SOUND] Four.
[SOUND] So it's, one.
[SOUND] Two.
[SOUND] Three.
[SOUND] Four.
[SOUND] And then going into the next
And in the bass line, it's rest, two.
[SOUND] Three.
[SOUND] Four.
[SOUND] One.
[SOUND] So that's the texture that you're
actually going for,
so that's why I'll play this very slowly
from the previous measure.
So we're actually playing two Gs
together in the same register, bass G.
[SOUND] Harmony [SOUND]
Alto G.
Again nothing no note with Sor is really
wasted, it always belongs to some voice in
the texture.
So there you go, that's an Andantino
number Nine from opus 44.