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Classical Guitar Lessons: Sor: Progressive Pieces - Opus 44 No. 18

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That is a very fun and very challenging
march by Fernando Sor.
It's number 18 from Opus 44.
And so this is the, this is, well,
it's kind of obvious what this particular
I know these are called progressive
pieces, but really I think we should
approach these not just as pieces you
could play in a recital but,
but also each one like a, a group of
Covers a lot of different aspects, and
really through just these 24 pieces in
the set, you really get, you cut, they cut
a pretty wide swath of, of all the things
that you need to be equipped with in your
technique in order to play, any,
basically anything in the 19th century by
Sor, Juliani], Cacassi, even on to Mertz.
Ragani, it starts to change a little bit.
Something, you know, something different.
But really, just the core of 19th century
guitar language is,
you know, kind of in, in microcosm in
these 24 pieces.
So this one obviously more dotted rhythms,
marches being a very popular mode of
composition back then.
And these harmonics including predating
Jacquo Pastorius.
Harmonics on the third fret,
which of course are not quite on the third
They're somewhere like at the bottom of
the fourth fret and
just past the top of the third fret.
So when it says five, four, three, its
really not here.
Which normally you would place just
underneath the third fret for three.
Its really at the bottom of the fourth
fret and
just beyond the third fret on your guitar.
I'm playing that.
I'm actually, just to get a nice clear
I'm actually playing those with my
Again, the, you know, at this,
prior to these pieces are some other
things in the intermediate.
You might not think it advantageous or,
or, or correct to,
to take the alternating fingers and bring
them down to the fifth string.
But this is one of those instances where
personally for
me it just really does the job.
However, I, on the study materials,
I'll have three suggested fingerings that
you could use.
You could use MIP, which would get you
back into thumb playing position.
MIP [SOUND] like this.
Or you hit all thumb.
This, you know, that would be probably the
accepted, most orthodox fingering and then
maybe P I P for
some of you might work really well.
P I P, so throwing just the I finger in
between there to,
to make the fast, those two fast notes a
little bit more manageable.
So, yes, it, it's.
Those are really the toughest three to get
because of,
because of that third fret harmonic that
he marks with three.
But just a really fun, very just a, just a
fun piece to play.
This would have been a great sound effect
piece back in the early 19th century.
So, that's the main focus.
Of course, more dotted rhythms.
If you're playing say in measure, just a
couple fingering suggestions to, just to
give you two examples, three exact, a, a,
actually three example, actually.
Measure one.
Going from measure one B two to three.
That, sensible fingering for that would be
M I M.
In your stem up notes, however then going
to measure
seven I would recommend something else.
If you can do an MAM, that's a good
move to learn in the right hand.
And then, going on seven, eight, nine,
ten, measure ten.
You get MAM.
That's another example, that's a good one
to do.
you know, and measure 12,
that can be M, I, M.
M, I, sorry, I, M, A.
Some players might find that easier.
Or even A and I, so
those are fingerings that I'm generally
gonna leave to you guys,
to see what ends up becoming comfortable
but it's with dotted rhythms I mean,
there's such a huge part of playing music
from the 19th century.
That you should really experiment with all
different combinations to find what's best
for you, and I, and I have to say that,
you know, over, I don't know
how many years I've been playing, I've
been playing and practicing for 32 years.
Something that worked really well for me,
say, 10 years ago, as my technique got
better, there may have been a fingering
that didn't work so well for me, but
as my technique got better, that became
the preferred fingering.
So just something to, to look forward to.
You're not always necessarily going to
feel that,
a certain move in the right hand or the
left hand is always the best one.
As you progress or change, other, other
as they should, may present themselves as,
as viable options for you.
So that's just something to think about
with these dotted rhythm like,
which fingering to choose for the right
hand, that kind of thing.
So number 18 March, Opus 44.
Enjoy, and I look forward to your videos.