Por Ti Mi Corazon,
the second of, of this set.
Three popular Mexican songs arranged for
guitar by Manual Ponce,
these are really, this is really a
I've played it, as a, as a encore for
And it's the kind of piece that really has
a very slow pulse.
So I, I wanted to put it in the advanced
For a lesson on time keeping.
And being able to keep a slow pulse.
Initially if it because we you know,
we've, we've heard a lot of,
there are several performances that you
can find out there.
But for me I think the key ingredient to
to a good performance of it is the fact,
that the rhythms [SOUND] that are, are
So that generally, eighth notes are eighth
16ths are 16ths, 32nd notes are 32nd
And and that's if those are played within
a, a with a real sense of
timekeeping from this having this very
good steady slow pulse.
With the faster rhythms like the 16ths and
32nds you can apply a little rubato.
Ju, very little but not that much is
really needed in my opinion.
So you'll, I think you'll hear that in the
performance if you, if you really listen.
For it there's, I'm not really doing a
whole lot to the,
to the rhythms in terms of manipulating
them, or distorting them.
maybe with those 32nds in the first
measure, I may add a little bit of
quickness to them to give
a little bit of a lilt, but
something like that.
That was better.
things like that.
Those little bass fills.
They really help to re-establish the pulse
for the listener, before the next phrase
And two [SOUND] and three.
[SOUND] It's usually in measures like that
one, five where there's some wer,
you'll, you'll, hear some rushing now, and
then with, with some players.
[SOUND] And two, and
so let's find a length
in certain notes like that one.
as you make up the time on the next beat.
[SOUND] Which is right here in measure
[SOUND] six in the second beat.
So on, and so forth.
So I think the, the performance will give
you plenty to, to chew on there.
And then, the other thing to consider is,
what is melody, and
what is, may sound melodic, but is really
a sort of,
a secondary role, or a supportive role in,
in the texture.
And a good example of that is measure one,
two, three, four, five, six, seven.
that as, as the tune.
It's great, it's great sounding it's very,
and it's very melodic sounding too.
It's actually using some of the,
some of the material from the melody.
But try to play that a little bit back.
You'll hear in the performance that I try
to play that, a little bit sort of,
lower in the mix, and even sometimes with
a different color.
A lot of times I'll play that,
if this is, of course,
your principal melody, or
the tune of the singer,
like a soprano.
You know, a lot of times I like to play
that with a little, some, some kind of
And a little bit back.
and then the melody again,
coming back here
with my more general medium tasto sound
to indicate that the melody, that, that's
So color can actually help you to help
your listener make the distinction between
some material that may sound melodic, but
is really more of a supporting role.
And not the main singer, if you will.
And that's, I think that's especially
important thing for
any kind of song transcriptions, or you
know, things like that,
something that would be normally sung by
normally normally done with,
with a singer and a guitarist, or a singer
and and and some kind of group.
You have to recreate that, that kind of
And color is a great way to, to do that.
So, that's [NOISE] Por Ti Mi Corazon, and
I look forward to your video.