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Classical Guitar Lessons: Sor: Progressive Pieces - Opus 44 No. 22

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And just some things that are very
I'm not sure if this is the first time
something like this has been introduced
in, in these pieces so far.
We're, we're basically working our way
through all of them here.
And 14,15,16, 17, it measures 17.
An alto voice gets the spotlight a little
And this may be a new thing
in the curriculum if you're working your
way from start to finish.
Measure 17 here.
See, that's a melody that's
We've got that little, sig,
that that syncopation over,
over the bar line into the next measure
with a tie but
that you should become very aware orally
of that, of that melody in your ear.
Because that's, that'd be something like
the violas getting a solo or
something like that if this were a
symphonic piece.
So, technically, that's a very advanced
thing to do at,
for, you know, in general is to, is to lay
back with the other voices.
We're normally used to playing heavier,
with all the stem up notes,
or anything at the top.
Cuz normally they get the, in most cases,
they're the, they get the chief the
And then bass of course you wanna have
varying strengths and sensitivity
in the thumb to, to bring out bass where
you need more or where you need less.
But playing a, a melodic content in the
center or a middle voice,
is for often for many guitarists is a very
challenging thing to do.
So don't oh, you know, it's,
it's something to be very patient with if
it's not, if it's a new kind of thing.
It's really, there's a, there's a, a, a,
an exercise that my teacher, John
Holmquist showed me when I was in college.
And, if you look at measure 17, you have a
bass, you got the middle voice, and
then we have a soprano line which is now
acting as accompaniment.
So if you want that middle line, a bit
louder, this is great exercise.
Play, very lightly plant on the outer
voices, in this case thumb and
A, and then put a heavier plant without
weight to the string on the outer voices,
but add weight to the center.
And then release, release all the fing,
the fingers at the same time and
you should hear a louder middle voice.
The concept being that whatever potential
energy you put into the string before you
release it, if you put more potential
energy or weight that's
W-E-I-G-H-T, not W-A-I-T, into the string.
See and then you release the others.
If the weight on the outer strings is
really light and the one in the center is
heavier, you're gonna hear, you're gonna
hear that open G a lot better.
So that was a really important lesson for
me and as,
as a kind of an exercise and that's
basically what I'm doing when I start.
And then, it's a little easier when
the notes alone that middle voice alone to
bring it out.
The rest of it's
much more manageable.
In measure 18 of course you have it,
You have it a simultaneously with
the upper voice, which you still wanna try
to play light.
And of course all the while,
in terms of your phrasing,
you want the three repeated C's to
crescendo into the, the B, down B, on the
Measure 18,
okay, that's, that's a very,
very challenging passage.
I think really that's the, the, the, the,
the biggest challenge in,
in this piece number 22.
Is playing that melodic content in the
center, in the middle voice.
As opposed to where we normally have more
experience playing it in the bass voice or
the top line.
But again very lovely piece.
It has a lot of the same things at this
point like double stop shifting.
And that sort of thing that you've already
have some experience
with in the previous 21 pieces, so I look
forward to your videos.