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In this phrase, the melodic rhythm is the same as the accompaniment rhythm. The accompaniment consists mainly of block chords. To avoid the phrase sounding staccato (disconnected), make sure that you …
Continue Reading about C6.3.23. Torija by F. M. Torroba – spot practice 2 →
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This phrase includes a full bar for a long period of time. When you are first learning this piece, place the bar (first finger) lightly as you practice placing all of your fingers. That way, your hand …
Continue Reading about C6.3.24. Torija by F. M. Torroba – spot practice 3 →
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This piece has a reflective, thoughtful feel. Interpretive techniques which help you express this emotional tone can help you make the piece come to life. Try using slight variations of the tempo and …
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The famous 'theme and variations' work by the classical period composer Fernando Sor. …
Continue Reading about C6.3.26. Variations Op. 28 by F. Sor, Inrtoduction – left hand view →
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At the end of this passage, make sure that the open string E does not overpower the G when you release your second finger from the first string to play the E-G. Of the two notes, the G should be the …
Continue Reading about C6.3.27. F. Sor Theme and Variations – Spot Practice →
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Sor was a prolific composer and was referred to as the 'Beethoven of the Guitar' by many. …
Continue Reading about C6.3.28. Variations Op. 28 by F. Sor, Introduction- main view →