I like that one a lot, too.
It's got a nice bouncy, kind of, buoyant
energy to it that's very fun to play.
I tell you what.
If you get through these all 4, 24 of
these progressive pieces,
you and your dotted rhythms are true.
When, when you're done with them, you're
gonna be a master of them.
I mean there are tons of dotted rhythms in
a lot of these.
In a lot of these short pieces and it's a
nice six-eight rhythm.
You know, just, I'm just gonna talk you
through a little
bit of just my interpretation in this
I like to keep a warm sound in the A
really try to build those phrases to this
It's just a D major chord
coming up the scale
That's a good opportunity at
the peak to put some vibrato on that.
And then relax the phrase and
then build it again.
We can modify the character a little bit,
put a little bit of articulation in, maybe
It doesn't have to be quite so
You could also do a version.
Actually, I think I like that
better now that I'm playing it.
In fact, Sor has a rest marked at the
beginning of the B section.
Just one rest and then the rest, and
then the remainder of the phrase is, well,
he's implying that with after that rest,
the rest of it.
The remainder of the phrase should be
so just on
the first beat
and then all legato.
So on and so forth.
So, that's a nice opportunity to really
Just also, not just bright and not just
just with a different,
you know I think what helps add to a
contrasting character in the B section is,
it was just more volume, just really
blasting away there.
Then we have a kind of a, a trio-ish, if
a trio-like section which you might find
in a minuet and
just a change in key, goes to G major.
I'm basically playing that
ponticello but with a lighter sound.
Not a thick ponticello sound but a light
ponticello sound and
playing with generally much soft, softer
palette there basically keeping things
more playful there.
And so yeah, it's all in just five lines
of music in the facsimile there,
it can't be more than 24 measures in the
You really have a nice opportunity to, to
have fun and play around with three
different characters in those three
sections, A, B and C.
So that's that's sort of a, just a,
a little bit of a tour through my an
a possible interpretation of that piece,
number 19 from Opus 44.
I look forward to your videos.