from the from The Renaissance Guitar
Collection by Frederick Noad.
And this is earlier stage piece in the
It's anonymous composer.
And this is a very nice for a addition
I think, as a piece for for a little bit
of extra speed.
And it's, it's a good test of actually
your alternation free stroke alternation,
because a lot of the passages or the
variations over the tune have a lot of
step-wise figurations, which require good
right hand alternation technique.
And they're combined with bass notes.
So, you can think of this as kind of like,
as like a a repertoire piece that would be
supplemental with a lot of the things that
you've been studying and working on with
the Carcassi guitar method, and just other
things of that nature with alternations.
So here we go, it's Wilson's Wild.
A couple other challenges that are in
Wilson's Wild are all the bass stamping
things that you have to take care of so
that you don't have D's, and A's, and
E's all ringing together.
This is especially true of this piece
because the speed is much quicker.
So those open A's, and open D's, and
open E's are actually ringing together
or with more with more frequency because
they're closer together if you will,
because of the speed of the piece.
So again, it's a great way to practice
your damping here, let's see, in measure
in the anthology it's about it's on the
fourth line after the double bar.
Like that damp there.
So again, with the, with bass damping at
the one you really wanna practice and
get used to is going from here.
As I, I play the D bass first,
[SOUND] then come back for the A
and then continue.
Luckily in a passage like that, you get a
little bit or
time because of the dotted quarter note.
And then of course in the next measure,
you have to play your E [SOUND] in the
bass [SOUND], and
then grab the fourth string to stop the
And just try to be very relaxed about that
with your right hand, if you can.
So, I look forward to hearing and seeing
your videos on this Renaissance piece.