Product Description
Pages: 2 + 1 (includes a blank version for crafting your own decisions)
Key: B minor
This is one of Sor's more famous etudes. I make these to save other musician's time. Fingerings, position markers, ledger lines, and analysis are tedious to do, and I'd say most people don't "enjoy" doing it. Most people, hobbyists especially want to skip the tedious work and get to playing! If I had versions like this when I studied classical guitar at colleges, I would have had to work half as hard.
Features:
1. Tablature Added
2. Blank version for starting from scratch
3. Chord Nomenclature added
4. Dynamics added
5. Fingerings Added
6. Slides/Guide fingers added
7. Modern Fonts
8. Commas as suggested phrase endings (breaths)
Tips:
1. Realizing that you are in position two most of the time helps. In the key of B minor, fret 1s aren't supposed to happen as they would be out of key. This piece does have key changes, so some fret 1s do happen.
2. Nearly all measures are arpeggios, so it's best to summarize each measure as a chord shape. If you read the music one note at a time, your playing will most likely sound choppy. It is possible to get the entire measure ready on beat one. You won't see many classical publications with chord names, but they are crucial for a piece like this in order think quickly and plan fingers ahead quickly.
3. Similiar to the last point, there are a lot of bars in this piece. Realizing when you are barring and not barring will be helpful.
4. I try to strategically leave out fingerings. Too many fingerings and the piece will look overly intimidating. Often, if I leave out a fingering, it's because it is a counter-intuitive fingering to use, and therefor the student should pencil it in themselves as a strong reminder of a difficult moment. I also leave out fingerings if I strongly sense there are multiple correct ways of playing a passage.
5. I notated some notes as a half note to suggest that it is a main melody that should be sustained. I recommend using rest stroke to make these notes extra loud. Rest stroke is when your fingers automatically rest in the next string, and it tends to be more powerful and warmer than others.
6. m. 3 is really F#m7(omit3). Some harmonies in this piece are actually quite novel and difficult to name.
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