[COUGH] Now, the main thing to watch the,
the main feature of this one,
we've had grace notes and, and ornaments
in, in some of the previous pieces.
And some of you may have questions about
that, so with this one, it's,
it's kind of, very strong feature of this
particular, this particular study.
So, the grace notes you should really try,
as you'll hear in the performance the,
really try to play them on the beat.
[COUGH] So, if we're in three eight, and
we have three beats per measure.
I like to set it, I like to wait for
the second beat to come to me, you know.
One, two, three, one, two, three.
Rather than feels like I've gotta play or
place the grace note before the second
beat, which ends up on a guitar.
Being that a guitar is a percussion
instrument, it's sounding like this.
The emphasis, because of the, the,
[SOUND] because you're striking the string
[SOUND] on the grace note.
[COUGH] [SOUND] And then pulling off to
which is actually the principal note.
[SOUND] The problem with, well, the, the
nature of a, of a guitar,
a classical guitar, is that the, the F
sharp is always gonna be stronger,
it's always gonna be a little bit louder.
So I like to play that, especially in
the character of this one, which is a
little bit more forceful I think.
It's good to really just put the F sharp
right on the beat and then very quickly
lightly with the left-hand, just, just,
you know, gently pull off to, to the, the
Measure nine to ten, I'm gonna recommend a
thumb stroke for
the open B at the beginning of, on the
downbeats of those measures.
Because, that's a different voice,
you should hear that as a different voice
from the double stops above.
And a nice, [SOUND] you know,
thumb stroke there will not only
facilitate just the,
the, the passage in the right-hand but
it also kinda provides a different sound,
Cause the thumb can, in most,
in most players hands has a little bit of
a heavier sound than the fingers does.
So again, that's a little bit outside of,
what you may have been studying through
the curriculum, so far.
The thumb coming all the way up to the
second string like that,
in my book is perfectly okay.
And, and you're going to encounter it in
advanced pieces often.
These, all these different moves so,
you'll find that with more advanced
pieces, more of these rules kinda get
thrown out of the window, so.
Then a very lovely sojourn into E major.
So you hear the this,
this nice change in character, and so
that's, that's where you hear me play
Nice lengthening of the,
of the appoggiatura.
I can be accused of lengthening those too
much, that's okay.
And then back to E minor.
And so it's a very short piece, not a lot
of material, say, not as much actual
material to cover, or notes to learn, as
in, say, the one before at number twelve.
So I think you'll enjoy this one.