Plegaria - Guillermo Gomez

[samoiedo]

The 21 months of classical guitar learning still cause some inaccuracies!!!!!


I would like to have some advice from you.

[Marinero]

Nice job, S,
Here's a few comments:
1. aim for a more fluid tempo without pauses for hand shifts. However, this is difficult at your stage
of playing and will get better with time. So, practice those shifts independent of the music and
,to a point, they will get better with greater connectedness.
2. remember to separate the melody from the harmonic compliment. This can be practiced by playing
the melody only, initially, so you can concentrate on the nuances and flow. Then, play the chords
separately. Pay attention to dynamics and natural breathing.
3. Finally, sing the melody before attempting to play the piece again and note any differences between
each interpretation(guitar/voice).
This is a wonderful Romantic piece that is great for working on your sound and interpretation. Don't forget the importance of Rubato since it is necessary to bring the music alive and to put your personal stamp on the music. Nice job!
Marinero

[samoiedo]

Nice job, S,
Here's a few comments:
1. aim for a more fluid tempo without pauses for hand shifts. However, this is difficult at your stage
of playing and will get better with time. So, practice those shifts independent of the music and
,to a point, they will get better with greater connectedness.
2. remember to separate the melody from the harmonic compliment. This can be practiced by playing
the melody only, initially, so you can concentrate on the nuances and flow. Then, play the chords
separately. Pay attention to dynamics and natural breathing.
3. Finally, sing the melody before attempting to play the piece again and note any differences between
each interpretation(guitar/voice).
This is a wonderful Romantic piece that is great for working on your sound and interpretation. Don't forget the importance of Rubato since it is necessary to bring the music alive and to put your personal stamp on the music. Nice job!
Marinero

Thank you for your precious recommendations... I will definitely work on that.

[Marinero]

Hi, S,
If you can provide a downloadable text of the music, I will give you a few more very specific comments for you to consider based on your performance.
Marinero

[samoiedo]

Hi, S,
If you can provide a downloadable text of the music, I will give you a few more very specific comments for you to consider based on your performance.
Marinero

92 - GGomez - Plegaria.pdf

Thanks!

[Marinero]

92 - GGomez - Plegaria.pdf

Thanks!

.
Hi, S,
I just printed it. I'll try to look at it later today/tomorrow.
Marinero

[Marinero]

Hi, S,
Let's talk about ms 1-16. Since the piece is in 3/4 time, the accent is stressed on the first beat. There should be a noticeable difference between 1-2-and 3. Also, the first beat represents the principal melody. So, the first time(bars 1-12) can be played fairly straight to establish the melody with free stroke. However, the second verse should be played with much more expressiveness and rubato. This can be done by varying dynamics, crescendo/decrescendo, and tempo. For example, let the melody ring on the first beat(melody) with vibrato and rest stroke, follow the contours of scales with crescendo/decrescendo Ms. 4,8, 12, 13, and ms14-16, and allow the music to die naturally-decrescendo ms 14-16. Lastly, work on your transitions ms4-5 and 8-9 and be aware that you didn't play the low E on ms 12. Finally, the piece, if possible, should be played a bit quicker since in the lower tempos you lose the 3/4 feel and the melody. I hope this helps you. I'll try to get to parts 2,3 as soon as possible. I hope this helps you! Otherwise, let me know.
Marinero

[samoiedo]

Hi, S,
Let's talk about ms 1-16. Since the piece is in 3/4 time, the accent is stressed on the first beat. There should be a noticeable difference between 1-2-and 3. Also, the first beat represents the principal melody. So, the first time(bars 1-12) can be played fairly straight to establish the melody with free stroke. However, the second verse should be played with much more expressiveness and rubato. This can be done by varying dynamics, crescendo/decrescendo, and tempo. For example, let the melody ring on the first beat(melody) with vibrato and rest stroke, follow the contours of scales with crescendo/decrescendo Ms. 4,8, 12, 13, and ms14-16, and allow the music to die naturally-decrescendo ms 14-16. Lastly, work on your transitions ms4-5 and 8-9 and be aware that you didn't play the low E on ms 12. Finally, the piece, if possible, should be played a bit quicker since in the lower tempos you lose the 3/4 feel and the melody. I hope this helps you. I'll try to get to parts 2,3 as soon as possible. I hope this helps you! Otherwise, let me know.
Marinero

Fantastic... of course it helps me a lot... thank you very much for your contribution... I'll work on that...

[Marinero]

Fantastic... of course it helps me a lot... thank you very much for your contribution... I'll work on that...

Hi, S,
I'll get you ms 17-32 sometime tomorrow.
Marinero

P.S. I love your beautiful new guitar!

[Marinero]

Hi, S,
O.K. ms 17-32 signals a key change from G to E. This tells the musician the composer wanted a slightly different mood while still following the basic rhythmic feel of ms 1-16. So, from an interpretative perspective, the comments I made in part I, yesterday, would also apply here in part II. Then, 1.)I like a fleshy thumb/rest stroke execution throughout for the bass notes since it is held for three beats and avoids a crisper feel which, for me, is not in character for this Romantic piece 2.) transition on ms 27-29 needs work. So, I would play ms 27 and 28 in the V position for a cleaner/easier transition to ms 29. Play ms 28 by barring V position c/e/a-1st beat(1-1-1-) the adding- a/c/e(3-1-1) then a/c/f#(3-1-4) in V position. Then, your transition to ms 29 flows more easily/naturally. Always think in advance during chord changes/transitions so you don't duplicate your effort, 3.)decrescendo ms 31-32 with a slight pause after low G-- ms 31, before executing low E--, ms 32, with fleshy thumb/rest stroke for greater artistic effect and aural anticipation/closure for the listener. I hope these help. I'll finish part 3, tomorrow.
Marinero

[samoiedo]

Hi, S,
O.K. ms 17-32 signals a key change from G to E. This tells the musician the composer wanted a slightly different mood while still following the basic rhythmic feel of ms 1-16. So, from an interpretative perspective, the comments I made in part I, yesterday, would also apply here in part II. Then, 1.)I like a fleshy thumb/rest stroke execution throughout for the bass notes since it is held for three beats and avoids a crisper feel which, for me, is not in character for this Romantic piece 2.) transition on ms 27-29 needs work. So, I would play ms 27 and 28 in the V position for a cleaner/easier transition to ms 29. Play ms 28 by barring V position c/e/a-1st beat(1-1-1-) the adding- a/c/e(3-1-1) then a/c/f#(3-1-4) in V position. Then, your transition to ms 29 flows more easily/naturally. Always think in advance during chord changes/transitions so you don't duplicate your effort, 3.)decrescendo ms 31-32 with a slight pause after low G-- ms 31, before executing low E--, ms 32, with fleshy thumb/rest stroke for greater artistic effect and aural anticipation/closure for the listener. I hope these help. I'll finish part 3, tomorrow.
Marinero

I have no words to thank you...

[Marinero]

Hi, S,
ms33-48:

1. This is the last section of the piece and the audience is listening for the final restatement-- returning to the key of G and the anticipation of closure.
2. Here it is very important to emphasize the melody and use everything in your "bag of tricks"
to bring the piece to closure. So, when I look at the music, I want to find the breathing spaces
so that your playing is not mechanical but mimics the phrasing of the human voice. After all,
the human voice is the mother of all music and when we play an instrument, we must breathe
life into the black dots to communicate our humanity. So, here's where I see points in the score
where a slight pause/breathe will give the piece more musicality:
1. ms 35, 39. Play the opening A octave chord and pause slightly before "c"--second note
2. ms 35, 39. Let the high "C" ring/breathe before playing the high "b" chord in the next measure
3. breathe slightly at the end of ms 41 and ms 42 before the next measure
4. ms 47,48. O.k. use decrescendo/ritardando and before final harmonic, take a slight breath and allow the harmonic to ring until it dies.
5. ms 43,44- practice slowly with a metronome starting at the bpm you can play it
perfectly and then increase speed until you can play it at tempo.
So, S, these are my thoughts based on my musical sensibilities. There may be others who see this piece differently but that's why there's a difference between chorizo and linguica! A couple of last comments: If you are not already, I recommend studying with a university/conservatory-trained Classical guitarist. The time you will save on your journey will be great. And, lastly, despite what some "authorities" may tell you, never play old strings on your new beautiful cedar guitar. Every luthier I know worth his salt says that dead strings will not allow the instrument to develop to its full potential. I play D'Addario EJ46 HT on my Brune and LoPrinzi and play Savarez Corum 505J on my Esteve which, by nature, is a darker sound than my other guitars. I get 22-26 hours before intonation suffers, basses become dead, and trebles loose their punch. Good luck in your journey!
Marinero

[samoiedo]

Hi, S,
ms33-48:

1. This is the last section of the piece and the audience is listening for the final restatement-- returning to the key of G and the anticipation of closure.
2. Here it is very important to emphasize the melody and use everything in your "bag of tricks"
to bring the piece to closure. So, when I look at the music, I want to find the breathing spaces
so that your playing is not mechanical but mimics the phrasing of the human voice. After all,
the human voice is the mother of all music and when we play an instrument, we must breathe
life into the black dots to communicate our humanity. So, here's where I see points in the score
where a slight pause/breathe will give the piece more musicality:
1. ms 35, 39. Play the opening A octave chord and pause slightly before "c"--second note
2. ms 35, 39. Let the high "C" ring/breathe before playing the high "b" chord in the next measure
3. breathe slightly at the end of ms 41 and ms 42 before the next measure
4. ms 47,48. O.k. use decrescendo/ritardando and before final harmonic, take a slight breath and allow the harmonic to ring until it dies.
5. ms 43,44- practice slowly with a metronome starting at the bpm you can play it
perfectly and then increase speed until you can play it at tempo.
So, S, these are my thoughts based on my musical sensibilities. There may be others who see this piece differently but that's why there's a difference between chorizo and linguica! A couple of last comments: If you are not already, I recommend studying with a university/conservatory-trained Classical guitarist. The time you will save on your journey will be great. And, lastly, despite what some "authorities" may tell you, never play old strings on your new beautiful cedar guitar. Every luthier I know worth his salt says that dead strings will not allow the instrument to develop to its full potential. I play D'Addario EJ46 HT on my Brune and LoPrinzi and play Savarez Corum 505J on my Esteve which, by nature, is a darker sound than my other guitars. I get 22-26 hours before intonation suffers, basses become dead, and trebles loose their punch. Good luck in your journey!
Marinero

First of all, a huge thanks for your suggestions regarding this piece.
I have been followed up by a guitar teacher through one lesson per week via skype.
However, yours suggestions only contributed to a better reading of this piece.
Thanks for the tips regarding the guitar strings... I'll keep that in mind... I'm currently using Knobloch Double Silver Carbon 400ADC strings and I like their performance.
I hope I can continue to improve my performance and best of luck to you, these are my wishes from Portugal.