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Classical Guitar Lessons: Sor: D Major Etude (Segovia Study No. 6)

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[MUSIC]
In this lesson, we're going to talk about
a wonderful etude by Fernando Sor,
this is an etude in D major.
It's probably most popularly known by its
Segovia-given title, Etude Six.
The, the nature of this piece is its a
little bit you know?
A little bit trickier than say an etude
like the B minor etude five or
some of the simpler Carcacci etudes are
like Carcacci three and four.
And because it requires a, a much more
advanced left hand.
And so the main thing in this, in this
etude to focus on
is having something of what I like to call
a spidery left hand.
This goes, goes along with the concept of
walking the left hand fingers
to the notes only when needed.
And, and really to try to resist the
temptation to to play chords.
You're going to recognize, especially if
you've done some other
kind of guitar playing some rock guitar
playing or
are folk guitar playing or even jazz,
prior to your classical training.
There will be a temptation to the left
hand will recognize some of these
chord shapes so resisting the temptation
to play chord shapes is a must here.
So just giving an example here.
The, the opening phrase, right away we
have.
[MUSIC]
That second measure is kinda tough
because, of course, we have the D major
configuration in the left hand.
Which involves the fourth finger on the
fifth string.
And so this, any piece in D major really,
is usually a great opportunity
to work on the fourth finger of the left
hand in keeping it curled and on its tip.
So, once again, I'll play those first two
measures and
I want you to watch the movement of my
left hand, fourth finger.
[MUSIC]
And I slowed that down a little bit
just to make sure that my placement,
as I'm practicing it, is, is true.
That in fact that as I come down here,
[MUSIC]
that I walk the fourth finger down only at
the moment when it's needed.
I try not to place that whole D major
chord at once at the beginning of
the measure, because once you're there, if
all four of those fingers
in that chord shape are not perfect, then
you're kinda stuck with it.
And for the rest of the measure, whereas
when you walk your left hand fingers,
you can make adjustments while your
playing.
And that's a very important thing for
performance.
Let me see if we can find another example
here later on in the piece.
[MUSIC]
You know, this
[MUSIC],
this second chord will again,
be recognizable kinesthetically to your
left hand as an A minor chord shape.
But it's a good opportunity here to really
just walk.
One
[MUSIC],
two [MUSIC],
three
[MUSIC]
only at the moments that,
when they're needed.
As each of the eighth notes arrive.
And if you find that that's difficult to
do at first,
all you have to do is slow it down.
Slow practice is always one of the, one of
my,
one of the things for me that really helps
me conquer a lot of difficult passages.
And it will for you too.
[MUSIC]
See, you just have to train the left hand.
[MUSIC]
One, two, three.
[MUSIC]
Same thing here, one, three, four.
[MUSIC]
Rather than,
[MUSIC]
this, that's something that that will be
tempting to put all three fingers down at
the same time.
But it's not necessary and, and in fact,
with a little bit of practice,
it's much easier to walk the fingers.
In the final phrase, we get some 16th
notes for the first time here.
[MUSIC]
now that can be
a tricky passage
to navigate.
And that is a passage where again, I will
use a break down method.
In other words at each segment of that
where in,
that involves a 16th note, I like to give
myself a breather.
Basically, something like this.
[MUSIC]
Just so
that I can kind of clear my mind and, and
really be able to see what I need to
do next without actually having the
pressure of playing it right away.
[MUSIC]
Then maybe I'll add another note
[MUSIC]
or two, and then
[MUSIC]
when that feels comfortable.
[MUSIC]
Then I'll add just the next three fast
notes, those two 16ths, and then that
shift.
That second group of 16th notes is really
quite tricky.
I like to actually use rather than some of
the printed editions you'll
find that the F-sharp and E you'll find
them printed on the second string.
I like to actually just use them on the
first string.
Three, zero and then two on the second
string like this.
[MUSIC]
Like that.
And again, when I'm practicing it,
I just stop after
[MUSIC]
and maybe add a couple notes.
And then, you know and then just do a
quick analysis of,
of how good it felt in my hands.
Again, whenever you can, try to make your
left hand as light as possible.
This is another, this a good etude,
to remind yourself to be as light with the
left hand as you can be.
Try not to press too hard on the strings,
as the pieces get harder there's always
that there's always that feeling that you
want to press a little bit harder or flex.
As the pieces get more difficult, in fact,
use your practice techniques
of breaking down break downs, adding a
note and such, and
slow practice to continue to cultivate the
feeling of very light, easy playing.
[MUSIC]
[MUSIC]
[MUSIC]