Number 20 Andantino from Opus 44 by
Fernando Sor from the progressive pieces.
Another very, very innocent sounding piece
that is fiendishly difficult a particular,
I'm almost considering whether or not to
put some of these in the advanced column.
So if you've gotten this far with this
series of progressive pieces,
congratulations and good luck on number
This is really something because it has a
gentle of course the, the vibe and
the atmosphere of the the piece is very
you know, lots of nice double
appoggiatures and the double stops
which you should really, you know,
make all the more interesting by
lengthening them and
even applying vibrato if you dare.
But the, the, the technical challenge with
this piece is a, it just never,
you never stop moving your left hand.
It's always just shifting and then
into something like that.
There's three shifts in just a three note.
Just the three note melodic,
So, one approach is that you should take
in the music, if you will, and note the
the way that the melodic, phrases are
Of course, they're, they're grouped in,
in, in, just as they are presented in the
beginning, two pickups.
Two pickups going into the strong notes,
the dissonant notes,
[SOUND] which are leading into the
resolution of the, there in A major.
A kinda appoggiatura.
So, actually you can practice each of
these according to their natural musical
And, and just put a healthy amount of,
just for practicing purposes, a healthy
amount of pause in between.
But, you'll notice in the performance that
I actually have those breaths in
the music, and they help to get across
the, phrase structure, which is so
common, to this this century of music.
A short phrase, and then another short
phrase, and then a longer phrase.
You know, so
you have that short fragment.
Then this one.
And then this one.
So twice the length.
So even just that, that measure three to
Just tons of shifts there,
So that's really the main challenge, is,
is, is regular shifting with, with double
So I'm, what I'm suggesting in the lesson
is that you use
the natural phrase grouping and just, and
use your breakdowns,
practice your breakdowns according to that
and just put as much space and time,
in between each of those when you're, when
you're practicing them as, as you want.
And then you just simply like, like that
word guy at electric company.
The old children's television show
You just, you sorta like, you put the two
syllables of the word together and
you decreased the space in between of them
until you got it.
I don't know if that's an, if,
if everybody out there knows the electric
it was a tel, a children's television
program in the early 70 mid-70s.
So I'm showing my age now.
That's another tough spot right there,
we get this and then,
[SOUND] shifting into three-note,
where the bass comes up and
now it really creates a very tight,
[INAUDIBLE] practice spot.
Then, thankfully in the second half,
things get a little bit more wide open and
then a little bit easier to, to play.
More like regular guitar playing,
idiomatic guitar playing.
little bit of a stretch here [SOUND] on
a modern guitar.
Don't be afraid if,
if you don't have the reach for this.
Ideally, a full front reach like that you
should try to curve the finger, favor the
fourth finger side of the hand,
turn the wrist in to give the fourth
finger more room.
If that's still not enough,
then go ahead and flatten the fourth
It's only which is only for that one note,
so not too bad.
[SOUND] Then get it back into their hand,
back into standard playing position
for the nice little chromatics
double stop slide down.
And that's number 20 from the Opus 44.