[COUGH] That is the very lovely number 12
of the Opus 44
progressive pieces by Fernando Sor.
Just working our way through this series
This is a bit of a long one actually, I
think to this point this is probably
the longest piece in the set because it
has an andantino tempo.
And I actually played the entire thing
[COUGH] This is a piece that if you played
it with repeats,
this is something that you could play in a
Very, very lovely piece goes into the
key of E-minor in which it starts,
it goes into the parallel key of E-major
excuse me, and then back again to E-minor.
Tough spots to watch for for the left hand
at least for me [LAUGH] that I find
measures seven through eight very tough
transition in the left hand, very complex.
Not a lot of planting that you can do, not
a lot of advanced left hand placement.
It's really just, [SOUND] you get this.
So my re, there's no fingering suggested
there so my fingering is recommended, that
I recommend is.
So from the bottom note up, zero, three,
one, four and then two, zero, zero, four,
And then three, one, four.
Then the hard part is getting from the
four, the, the last note of the measure
You have to jump both three and four to
two different strings.
The two adjacent strings next to them,
from strings four and
two to strings three and one, like this.
That's a good breakdown right there, just
a two-note break,
two-note breakdown right there.
Exhale during the shift when you're
practicing your breakdowns.
Make the shift feel as effortless as
All right, I'm buzzed on that one.
Let me try one more time.
There we go.
Put a little roll maybe on this one to
Or play it solid without rolling.
It's a tough spot.
And of course it doesn't sound virtuoso
Source music is, is not like a Juliana
it can be in a lot of instances a, a bit
more refined and not very flashy.
So a passage like seven measure seven to
eight is is not necessarily
going to impress your friends because it's
really just a melody and a accompan,
an accompaniment but it's it's a tough
But it's worth working on it because, you
that, to be able to connect the melody
And still keep it legato and the chord
changes in between legato is
is a much more important skill for many
So let me take you through a couple of the
other hard bits measures 13 to 14.
Here's another one.
No fireworks going off there.
But it's, you have this switch here.
That's where I would break in down right
there, last two notes of measure 13.
To get a nice clean placement on the final
the final triad there in measure 13.
So then augment by adding a note,
maybe add the note before
the two open E's, two octaves apart.
Making a three-note breakdown.
Now gonna add a note on the, on the back
And there you, there you go.
There you, you're done.
You're always trying to keep the melody
the accompaniment in that instance legato.
If, if in measure seven you want to facil,
facilitate the E's of that passage back,
I'm going back I know but to measure sev,
You know put a little [SOUND]
articulation, a shortening of the third
eighth note in measure seven.
I think that's perfectly in style and
Now jumping ahead to measure 25 and 26.
That's pretty tough to do.
There is a much easier passage on the 19th
century guitar, which is about this size.
The frets are a lot smaller.
On a modern guitar
this stretch for,
for some of us is going to be, not easy.
And, and he's.
And then, of course,
you have to play in this little melodic
four note scale there.
Use your arm and wrist if you need to.
If you've got super-long fourth finger
along with your third finger,
my fourth finger's rather short.
Then you may be able to even curve a
little bit and
make this without
something more like that.
But, if it really feels like a reach go
ahead and loosen up the wrist,
loosen up the elbow, move from the
This kind of move.
Kind of like a circular motion that you're
kind of making with the arm, where you're,
you're bringing the elbow in to get the
D-sharp and then out to get the C-sharp.
They don't teach you this in books.
That's kind of that's just something that
kinda goes outside of mechanics or
technique, but it may help you get that
Those are really the three toughest
However, if, in measure 29 and 30 this, if
a little bit with double stop shifts, this
is a nice, you know.
This is a nice passage to work on that.
There are several passages that you're
seeing throughout this opus 44 set.
And just the key to that as always is.
Try to make smaller groups at first out of
the ones where you're constantly moving
the left hand and shifting.
Let the weight of your arm and
let gravity feel as though it's pulling
your hand up the neck into those shifts.
Keep the left hand fingers very light and
your thumb too.
Keep the thumb on the back of the neck
And then add a note.
So you, you know.
Just to there.
This is sort of a larger breakdown but
the measure before 29
Which doesn't involve as much shifting, so
much as it's just moving up the strings.
measured a 30, and then putting
them together measure a 29 and
Now I'm working from my facsimile thing,
I just wanna give you one musical thing
I don't think, in measure 31, if you're
working from the facsimile in the study
materials, you, you'll see that I, I I put
in a tie.
I really don't think that Sor intended.
That's just really just not his style.
He usually when he does that cadence,
he usually ties it.
So I've taken the liberty of putting that
tie in assuming that that was a typo.
So that's number 12 from Opus 44.