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Classical Guitar Lessons: Sor: B Minor Etude (Segovia Study No.5)

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The famous B Minor Etude by Fernando Sor.
And in this one, this is a, this is a very
common piece for students
early in their development, usually in
their first six months to a year.
Students are assigned this piece by their
teacher, and, it's a great, it's a great
early study for learning how to play
melody with an arpeggiated accompaniment,
not unlike, Carcassi etude number three,
which is covered in another lesson.
This, piece you can practice
playing the melody note's rest stroke as
as well as free stroke.
I prefer to play the piece with a free
stroke melody.
There's just something about combining
free stroke melody with free stroke
And that challenge of bringing the melody
out in front of the arpeggiation
is a very useful exercise.
Another useful thing musically to get you
to hear the melody
is to actually extract it from the
So I'll just play a couple phrases right
now of the B minor etude.
Just with all the music together.
And so you'll notice that I'm really
pushing the melody out in front
of the accompaniment if you will.
It's almost as if I try to almost image
that I have a mixer board and
those melody notes I'm really pushing up
in the fader and
the other notes I'm trying to play much,
much quieter.
To get yourself to hear those melody notes
it can be helpful to
just play the melody alone like this.
And then insert the melody again back into
the texture.
And I've found that with students,
they hear the melody much clearer when
they do this first step.
Also there, and near the end there's some
tough chord changes and shifts.
Again, a tr, as I've mentioned in other
try not to think of each of those measures
as block chords.
But try to walk your fingers into each of
those chords.
The the passage that I'm thinking of is
near the end here.
It's just about let's see, it's one, two,
three, four, five,
six, seven, eight, eight measures from the
It goes like this.
That's that isn't a very easy passage in
fact you could hear me buzzing a couple
of notes on it.
So, if we really look at it though, each
of those phrase,
each of those measures on their own are
not difficult.
What makes it, the passage difficult is
having to shift to each one.
If you look at the first measure in that
You know that's just a stair case three,
one left hand finger no problem there.
Again the next phrase is really just a
five string bar on the fourth fret.
And then.
Maybe this fourth measure of the phrase is
a little is a little
tougher because you've gotta really be on
You've got to be on the tips of your
fingers for that one.
But each of them on their own is not
really that difficult if you place them
each individually.
So I try to apply a breakdown a breakdown
measure by measure.
And I play, so I'll play the first measure
then I just go to the first note of the
next measure.
Only to practice the shift, nothing more.
Just like that.
And then because there's a note that I
have to fret with my fourth finger
I may add a note.
After that, the rest of that measure's
pretty easy.
All the notes are all ready in your bar.
And then I'll practice from the second
measure just to,
only to the first note of the third
measure, like this.
Like that.
In fact you should probably use a third
finger on that second measure.
Like this here on the E sharp.
Like that, and then in my second or
third repetition I'll add the other notes
to the measure
which at that point once I've gotten to
the shift it's really not that hard.
And again, you see the pattern now, I'll
play the third measure and
just go only to the first note of the
fourth measure.
And so on and so forth.
So those are really just the points in
It really is a beautiful piece,
almost Beethoven-like in it's sound, and
it's really, again a piece, a minor key
piece where you bring out the melody.
There's basically two melody notes per
And also, I want you to notice some of my
phrasing, I try to keep the piece in,
as far as interpretation.
I like to keep the piece a little bit more
subdued initially.
And then when the chords and the harmony
starts to get really interesting in
the middle, I, I start to bring in a
little more dynamic.
I, I try to play with like a deeper fuller
And try to crescendo to the sort of the
climax of the piece or
the emotional peak of this etude.
So rolling all that in together and with
with the shifts good luck and I'll see you
for the next lesson.
But for now here's A25 in B minor.
By Fernando Sor.