The Pavan #1
by Luis Milan.
This is a a piece that many of us
guitarists have played.
And I've encountered it in, so many times
in master classes over the last
20 years and it's a wonderful piece and
it's a great study in playing in for early
development of playing chords
balanced chords with P,I,M,A there's a lot
of P,I,M,A chords in this of course.
The last the last phrase being a whole
series of them.
Sorry, that would be the second to last
But that that's a very good test, final
test after playing all the other
phrases in this piece, of the ability to
And so you will get a challenge out of
There's also a phrase which has a couple
scales in it, which is good.
Nothing too much in terms of the scale
I recommend starting the scale with M, so
that M-I-M-I-M-I thumb.
In fact you can even go ahead and after
since you can't hold on to the base note,
you can even as you start the scale,
have a nice light thumb nail plant on the
M, I, M, I, M, I, P.
So that you can finish the scale with a
thumb, [SOUND] and
then do the exactly the same thing on the
this time planting your thumb lightly on
the fifth string.
[SOUND] M, I, M, I, M, I, P.
And that's usually a good way to go about
Even get some base scales in here.
So there's a lot of counterpoint going
on here, it's a early counterpoint piece
it's from El Maestro collection of pieces
So this is very early counterpoint and
also a very early counterpoint challenge
for, for the guitarist.
So one one last thing I want to mention
we have a lesson on performance where we
see that video
is the suspensions.
This is another of very, this piece
this very short piece has a lot of music
And uh,he final thing is the suspensions
that are in the texture here,
this four voice texture.
They're not that easy to bring out on a
if we go to here,
this phrase here
the second phrase of the piece
This one in
this chord right here,
this D major you'll notice that
there's a tie mark on the A, on the A,
the soprano A mark.
And then that next chord [SOUND] is,
just an open E with no third in it,
[SOUND] because your A is still
sustaining as a fourth re-suspension from
the last chord.
And then it res and
then that voice finally resolves.
The key to being able to sustain that
suspension is to put a little bit of gas,
if you will, put a little bit of muscle
into the, into the high A.
You can roll it, rolling it kind of helps.
then playing the ensuing chord very
If you play that chord lightly enough,
you'll still hear that suspended note.
There's another example a phrase later.
So to make that high A last all the way
over into the next bar you once again,
I'll, I'll do it again.
You'll notice I'll play the notes
immediately afterward it much softer.
So those are really the,
the things to, to look for
in the Pavan number one, by Luis Milan.