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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This recording is unedited, and I used my Zoom H4n without any post processing. They are not chords that I know. For hours at a time. Are you preparing this for a masterclass? 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.
Basically, you are sitting down to practice and you are trying to accomplish a particular thing. 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.
Normal forum copyright rules apply. And it’s interesting to read the discussion too. Reedition Domingo Esteso by Conde Hermanos ; Kenny Hill, model Barcelona “While you try to master classical guitar, prepare for a slave’s life: So here is where it is at the moment. This was definitely a major problem for me.
Analysis of Choro da Saudade -Barrios – Classical Guitar
Know what you are trying to accomplish. It really depends on the student’s difficulties and tendencies. This week, I will be working on the exercises he gave me to develop the control I wish to have with my rubato. I realise this isn’t constructive critique as such. 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.
That is why I wanted to understand the choice of chords in this section. And it certainly must help to have a specific end in sight! Chris told me that this is what I needed to do I think the more rubato, and dynamic variation, you put into it, the more effect it will have.
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Not just naming them, but trying to understand what they are doing in the piece. In another six months, I know it will be more solid and I will feel more in control of it.
Tell me what I am missing. It is not without flaws, of course! I had a look at the score – it looks to me as though mm. Yes, I see it all comes down to efficient practice — and clear definition of goals. Having a road map that they were moving in the circle means I could start to name them and then start to associate the shape with a particular seven chord. Learning each section with dynamics and phrasing before learning the entire piece.
You play the sixteenth note figures pretty straight most of the time. I did get used to the scordatura Now that I am playing it at this tempo, I feel like I have my hands really really full! I’m afraid I will have to watch it a number of times more before all that sinks in.
The unreachable chord in measure 28 crossbarremy teacher revoiced and I’m playing it at VI with the Eb on string 5, but that wouldn’t really change its ID Any constructive critique is welcome.
I heard Odair Assad play it sakdade about ten feet away and was awed.
I think using rubato, sometimes a lot of barriso, is what gives the piece the impact it does. 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.
I hear 7 chords, diminished, suspended maybe Our website is made possible by displaying online advertisements to our visitors. The way I was remembering the sequence was by where the bass line was going.
It is contrast that makes it interesting.
Chôro da saudade (Barrios Mangoré, Agustín)
Funny that you should mention the storytelling, Cass. 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. Board index All times are UTC. However, today I had my weekly lesson saudase that made a big difference in my outlook.
I will record the piece again next week and we will see what the result is. I hope that you continue to post updates–it would be fascinating to follow how this evolves.
Barrios Mangoré, Agustín – Choro da Saudade – Classical Guitar
I have hair like Judicael Perroy PS Just watched the Judicael Perroy video. I’ll keep working at making the beginning more confident. If you ask yourself what note you would expect the piece to end on, if it were to end at the szudade 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.
At the end you are very clear and not to fast.