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Classical Guitar Lessons: Sor: C Major Etude Opus 6 No. 8 (Segovia Study No.1)

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[MUSIC].
In this lesson, we're going to tackle the
C-major etude or,
as, as titled by Andres Segovia, of
Fernando Sor.
And you can find this in the collection
of,
of 20 studies by Fernando Sor that was
compiled by Andres Segovia.
It's a very well-known publication and and
Segovia of course retitled them from their
original opus numbers.
So in the collection, this one's thought
of as number one.
But it is far from the easiest study to
play.
It's basically in a three, it's kinda a
three part choral style.
So that means you're going to be playing a
lot of solid chords together.
With PIM together and sometimes PMA
together.
Sometimes PIA together.
And that's that there's a challenge in
there as far as getting a balance
between the voices.
In certain phrases like, measures one
through four, for example.
If you like you can put a little bit more
of,
emphasis on the bottom line, the, the, the
lowest, line here.
[MUSIC].
As that, that seems to have the most
melodic content to it.
The other two voices the, the highest
voice and
the middle voice don't seem to have quite
so much activity.
So that's again a clue that, whatever the
moving line is,
the line that's moving around, it has more
melodic content to it.
You can, you can bring that out if you
like.
Or, it's also a perfectly good study for
just actually trying to balance all three
of the voices absolutely even.
Look for, your phrase direction in this.
There's a lot of hairpins on the score
that, indicate crescendo and
decrescendo, which will help you.
But those direction notes in the phrases
that we talk about a lot here.
[MUSIC].
Of course, that.
The down beat in measure two is the note
that I'm playing towards.
While my crescendo is directed toward that
note because it has
a nice suspension in it.
Which is then resolved to the B.
On the second beat again we've seen so
many examples of it in our lessons where
you have a tonic.
[MUSIC].
And then of course going to a dominant
chord, in this case G G-major five,
in the key of C-major which is the one
chord.
And even a four three suspension here.
The C going to the B is what is, is known
as a four-three suspension.
So that those are all very real
clues as far as where to the direction of
your frays.
It's it's really not guess work it's
really just this music is put together.
So the tough passage the tough passage in
here actually happens right away.
It's at, starting at the end of the fourth
measure and
going through measure five, six, seven,
eight.
The rest of that phrase cadences in
measures nine and ten.
But really, the bulk of the difficulty is
measures five through seven.
So, that's a good spot to apply kinda a
break on it.
It's really mainly difficult for the left
hand.
[MUSIC].
So, it's a lot of shifting and also a lot
of hopping around from say
like a third finger hopping to another
string right out of eighth note.
So it, it's pretty pretty tricky section.
So again, breaking that down, you can
break it down just by
the phrase groupings if you like and dove
tailing them.
So, going from beat three of measure four.
[MUSIC]
And
going to the down beat of measure five.
[MUSIC]
Okay?
And then beat two of measure five.
[MUSIC]
Going to the,
to beat three of measure five.
[MUSIC]
Then beat three of measure five.
[MUSIC]
Going to the downbeat of six.
And so on and so forth.
So if I, if I play that whole passage
with,
with the breakdowns all dovetailed it
sounds like this.
[MUSIC].
But just the act of doing that really
helps
really helps get clear in your mind and in
your fingers.
Just how to make those, all those shifts,
and it's a great way to, to, to learn it.
Then after a way you can let, you can
probably take away some of those,
those joints if you will and.
[MUSIC].
You just leave a few of them in.
After some time, you'll be able to play
the whole thing with a lot more,
with a lot of smoothness.
That's another thing.
What makes that section hard and, and the
study in general.
Is the fact that it should be, because it
is in this kinda three part chorale style,
it should be played with a very legato
sound.
So that the sweep strokes that we talked
about in earlier lessons with the right
hand, where you don't plant and stop at
the string before plucking.
But you really just sweep the free strokes
through.
That's a very important component of
playing legato.
And then one last thing in this before we
look at eh performance lesson is tone.
It's, it's a great study for balancing
tone and
for really working on the evenness and
fullness of your tone through out.
It's a lentil piece.
It's very rich.
It should be very rich sounding and and a
lot of beauty of sound.
So good luck and enjoy the C Major
study by Fernando Soren.
[MUSIC]
[MUSIC]