Fernando Sor's Opus
35, #1 study.
This is just a very short piece, and, the,
the main thing you're looking for here is
that your I, M and A fingers are getting
a pretty good hopping all over the upper
strings, strings one, two and three.
And it's in two voices as well.
So the, the usual things that you're gonna
hear through this curriculum,
good tone in the bass, good tone in all
But there's, actually, you can practice
this one in two ways.
If you remember from other lessons, we've
covered a sequential planting
when working on your arpeggios.
Like, for example, the Giuliani arpeggio,
studies, and the very, the number two,
This one, the one that goes like this.
And, I, I just played that with,
with sequential planting, and then with a,
with a sweep stroke,
if I play it again but this time taking
off the sequential planting.
To practice how, to practice those
strokes with more of a freedom in, in the
You can also apply, the same kind of
practice that you would
do with your Giuliani arpeggios that we've
covered in, in previous lessons.
The sequential planting and
the sweep strokes, you can apply that to
the study as well.
So, for example if i played just the first
with sequential planting that looks and a
sounds like this.
So a couple notes here and there are going
to sound staccato because you'll be
preparing the stroke a little bit early.
But I really, but it's a nice way to kinda
help get your fingers used to increasing
their accuracy as far as landing on their
contact points and then you can
take that planting off entirely and then
test your right hand on the study.
As far as just the, the, the free sweep
strokes, like this.
Which is eventually how you
want to be playing it regularly.
So here we go, here it is Opus 35, #1.
just to summarize a couple other things
You may notice that I employed a little
bit of color, of a color change there.
That was something that, you know,
it's just something I enjoy to, in doing
So when you have a repeated passage like
You know, the first time through.
That's not a bad thing to even get going,
even at this early stage of the game,
just experimenting with colors.
Once you've really become very
comfortable, with, with playing the piece.
Also notice, in the performance there,
some dynamics that I'm employing as well.
When you have a line that starts here, for
example, in measure, 11, 12, 13.
So when you hear that, that rising
baseline that's a good indication that you
should probably start a little bit softer
and then crescendo.