My reference for this piece is: Judicael Perroy plays Barrios Choro de Saudade on the GSI channel on youtube. There are some critics about. AGUSTIN BARRIOS MANGORE. Chôro da saudade. The Guitar School – Iceland Page 2. Check out Choro de saudade by Béla Bánfalvi & Augustine Barrios Mangore Georgi Moravsky on Amazon Music. Stream ad-free or purchase CD’s and MP3s .
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Chôro da saudade (Barrios Mangoré, Agustín)
I went to an Oscar Ghilia masterclass a few weeks ago and he talked about what story the music is telling. Classical Guitar Skip to content. Do I sound too cautious in the beginning? My previous usual process was to learn the entire piece, get the worst technical problems solved, then go back and work on the musical elements.
So here is where it is at the moment. I’m trying to identify them so I can at least learn something more than “my fingers go in these places on these frets in this shape” as I commit this piece to memory. How to work on a piece efficiently to bring it to performance in less time? Again, thank you for your comments. And it’s interesting to read the discussion too. When the sun shines, bask. Hope that answers your question! Usually I don’t feel I can play a piece in performance unless it has been on the burner for about a year simmering in my fingers and brain, but my teacher is trying to teach me to accelerate this time line and acquire pieces faster and more thoroughly.
It’s great to hear someone post a recording of a piece that’s still in process–although well on the way! However, I always want more than one road sign to follow!
Reedition Domingo Esteso by Conde Hermanos ; Kenny Hill, model Barcelona “While you try to master classical guitar, prepare for a slave’s life: I remember as I played the piece, that while I was keeping all those plates in the air, I sometimes forgot where I was in the repeat, but was determined to keep going no matter what! The earlier measures often feature a non-chordal tone that is a semitone off the chord tone it replaces.
You mention that you are like saudadde in that you need to let the piece work its way gradually into your bones and being and that is pretty much what I had to do.
Then I concentrated in the same manner on the B section and then the C section. There is some use of the same device in the bassline – again I don’t think this really gives you two different harmonies. Chris had me bring small bits at a time up to and a bit past the tempo I planned to play the piece. This piece is way beyond me. Know what you are trying to accomplish. When you go back and play that phrase in the piece, the work you did on the bits is there in the fingers and it does bring cboro the tempo quicker than playing the entire section and slowly moving it up a few clicks.
I find that allowing my mind to concentrate on things other than knotty technical issues releases me: Let us know how the MC goes! Perhaps you should mark the rubato points in your score and play towards them by accelerating. Board index All times are UTC. My teacher thought it dragged a bit too eaudade and the pulse did not feel like it was in two. I heard Odair Assad play it from about ten feet away and was awed.
He really rips through that. My reference for this piece is: Sometimes it takes to the second repeat of the A section before I get rolling.
Barrios Mangoré, Agustín – Choro da Saudade – Classical Guitar
Saudade – the longing and melancholia implicit in that word – is so rich in interpretative possibilities. In some cases where the bassline is descending a whole step from one measure to the next, Barrios takes it down a half step in the middle of the bar to produce a chromatic line.
Our website is made possible by displaying online advertisements to our visitors. I did get used to the scordatura I’m afraid I will have to watch it a number of times more before all that sinks in. One of my teachers, a friend of Odair, made a video of him playing it, along with the commentary that it taught to him by his father and he never played it without thinking of him.
Having a deadline barriow a masterclass presentation in a shorter time than you are used to having will not allow you to be inefficient. Last edited by Jeffrey Armbruster on Sat Nov 04, 1: At the end you are very clear and not to fast. I think using rubato, sometimes a lot of rubato, is what gives the piece the impact it does.
I realise this isn’t constructive critique as such. One week, I worked on making the passages more legato, another it might be controlling the rubato.
Analysis of Choro da Saudade -Barrios – Classical Guitar
Bearing those things in mind might make it easier to identify the underlying chords. Now that I am playing it at this tempo, I feel like I have my hands really really full!
But how to communicate that story? I would sing the note names as I played the bass line separately and that helps a lot. There are a lot of slurs in this piece, and yes it choto a challenge. You are asking of your beginning I had a look at the score – it looks to me as though mm.