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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Part of the problem was due to a few misconceptions I had about what was “allowable”. Our website is made possible by displaying online advertisements to our visitors. Bearing those things in mind might make it easier to identify the underlying chords. Let us know how the MC goes! Chris told me that this is what I needed to do 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 up the tempo quicker than playing the entire section and slowly moving it up a few clicks.
Hopefully, the commentary will help me and others learn how to listen critically and how to move forward with a musically challenging piece.
It is contrast that makes it interesting. Tell me what I am missing. Great lesson on 7ths! However, today I had my weekly lesson and that made a big difference in my outlook.
I think I did a better job than usual chodo launching in right away in this recording, but let me know what you think. I just have to get my brain to process stuff faster!
That is why I wanted to understand the choice of chords in this section. Having a road map that they were moving in the circle means I barriks start to name them and then start to associate the shape with a particular seven chord. Obviously, it is still a work in progress! Composer’s surname, forename – op.
This recording is unedited, and I used my Zoom H4n without any post processing. File access restricted to members who have made at least 2 posts. I am saudave to get to grips with music theory and just wanted to say thanks for the link to the youtube lesson provided in this thread.
The earlier measures often feature a non-chordal chroo that is a semitone off the chord tone it replaces. I hope that you continue to post updates–it would be fascinating to follow how this evolves.
I find that allowing my mind to concentrate on things other than knotty technical issues releases me: You may not achieve it, but it is the focus of the practice. 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.
I meant to play the piece as written as far as repeats go, but I tried for continuity first and foremost rather than stopping or trying to fix it on the fly.
In fact, while listening this morning the day after recordingI almost spit my coffee out when I heard my flub right near the end where I missed the D at the peak of the phrase. 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. So we will see how the piece changes in the next week. The “small bits” aspect is that when you play a passage, even if only a beat or two at a much higher BPM, you start to train your fingers to move faster.
If there is no answer to that question, we may be in freefall — a chain of dominant sevenths might create that effect, but then again we may only be going round the same arc of the circle of fifths that defines the scale if you look at any 7-note arc, you will find that the notes it includes always make a natural scale, i.
Analysis of Choro da Saudade -Barrios – Classical Guitar
In another six months, I know it will be more solid and I will feel more in control of it. Again, thank you for your comments. And, cgoro again – bravo!! You aren’t trying to play the entire section at that speed, just a few beats. There is nothing like having an excellent teacher to help you make a real breakthrough to lift your spirits! Saudaxe went to an Oscar Ghilia masterclass a few weeks ago and he talked about what story the music is telling.
I think using rubato, sometimes a lot of rubato, is what gives the piece the impact it does. Last edited by Jeffrey Armbruster on Sat Nov 04, 1: It’s great to hear someone post a recording of a piece that’s still in process–although well on the way!
I’m afraid I will have to watch it a number of times more before all that sinks in. So that is what I have tried to do in this piece, and I have not been entirely successful Then I concentrated in the same manner on the B section and then the C section. If you ask yourself what note you would expect the piece to end on, if it were to end barriis the first possible opportunity, that note is what you perceive as the tonal centre at that point it may be better to call it the root of the chord that defines the tonal centre.
Learning each section with dynamics and phrasing before learning the entire piece. Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp. I think the more rubato, and dynamic variation, you put into it, the more effect it will have. I now knew the piece, barios had been practicing it very slowly.
Now that I am playing it at this tempo, I feel like I have my hands really really full! I will record the piece again next week and we will see what the result is. When I learned this piece, I first concentrated on the A section, worked on it phrase by phrase and brought it up to tempo although it was still really too slowmore on that later.
Chôro da saudade (Barrios Mangoré, Agustín)
There are some parts that did not sound as legato as they should, which is what I’ve been focusing on this week, and so I have been playing it pretty much straight time trying to get pulse correct before adding rubato. My grasp of music theory is very primitive. I remember as I saudwde 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!