This is a public version of the members-only Classical Guitar with Jason Vieaux, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Classical Guitar with Jason Vieaux.
Join Now

Basic Classical Guitar
Classical Guitar Reference Topics
Intermediate Classical Guitar
Advanced Classical Guitar
Special Guests
30 Day Challenge
«Prev of Next»

Classical Guitar Lessons: Sor: Progressive Pieces - Opus 44 No. 17

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials Quizzes
information below Close
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Written Materials +

+Basic Classical Guitar

+Intermediate Classical Guitar

+Advanced Classical Guitar

Additional Materials +
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Classical Guitar

This video lesson is available only to members of
Classical Guitar with Jason Vieaux.

Join Now

information below Close
Course Description

This page contains a transcription of a video lesson from Classical Guitar with Jason Vieaux. This is only a preview of what you get when you take Classical Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
Number 17 from Sor's Opus 44 progressive
pieces, a cantabile.
Again, another one of those really
beautiful slow gems
that Sor, right, I really think he's at
his best when, when writing in this mode.
And there's several examples of that.
Opus 43 Opus 43 number three in the set
before this.
Maison Oui.
And Opus 5 number 5, andantelargo.
If you're really looking for a classical
era piece,
early 19th century with, you know, a
beautiful melody and and
really just, you know, perfectly executed
composition I think.
Those are real great ones to play in
Opus 43 number three and opus five number
This one's a little bit lighter and just,
and short.
It just doesn't have much form to it
because it's part of a progre,
is part of a, of a set of intentionally
pieces to get the student that's you, to
work on certain things.
So cantabile is the, the order of the day
with this one.
And just so you notice I'm playing a lot
of tosto sounds, a lot of warm sounds.
And lengthening by a couple milliseconds
any of those really juicy.
Even applying a role or a broken kind of
sound where you break the, the, some
people call it breaking.
I just call it a roll.
Rolling the base to the treble.
There's another appoggiatura.
When you have it, when you have
an appoggiatura on a closed string,
it's always good to vibrato it whenever
you can.
I'm not sure if I did that in the
performance or not.
That's very nice, and then.
Double appoggiaturas here in B-flat major.
I'm applying a little bit of
articulation there on those measures.
One, two, three, four, five, six, seven,
measure seven.
So a short, short, short, long.
Then that phrase repeats itself.
I don't really do much in terms of color
with this one.
I like pretty much keeping it the whole
time, but
that's a personal decision that you wanna
make there.
This is another,
another arpeggiator.
C dominant seven, root seventh, fifth with
a nice dotted
rhythm to chromatically slide into the
resolution note.
Heavy, very heavy note, a heavy.
A heavier sound.
More emphasis on the dissonant note.
then very nice and light on the quick
With another appoggiatura,
that time in A-major.
Short, short, short, that's what the rests
are there for.
So after these [SOUND] short,
these short chords here.
And, and then immediately after he has
[SOUND] he wants you to play legato with
this next measure.
Which culminates another, yet another
juicy appoggiatura over the two chord,
the two diminished E.
And then a nice dotted rhythm to close.
So that's just kinda walking you through
the, the, the whole contabilare,
What to watch for.
It's a great opportunity to practice your
singing kind of sound,
especially on the appoggiatura notes.
The, the, the, the dissonant note and
maybe lengthening it a little bit,
a, a millisecond is very nice and in style
So I look forward to your videos for the
Contabile number 17, Opus 44.