Evocation notation differences

[TBman]

I have two videos of Evocation for study.

The first is played by Beatrix Kovacs:



The second is played by Tatyana Ryzhkova:



Notice that Tatyana, at 15 seconds into the video is playing the 4th fret and for the same section Beatrix (at about 20 seconds) is playing at the 7th fret. The notation I have found agrees with Tatyana's video. I also did Beatrix's version in GuitarPro and will practice both. Beatix's version avoids the big jump to the B note btw as she is already up there. Personally Beatrix's version would be harder for me to play, but positionally it makes sense to me.

[LAPlayer]

Chet Atkins was all about simplifying progressions and chord changes. Play the one that sounds and feels best to you. There is no right or wrong. Just have fun.

[mr. beaumont]

Going to the lower position allows her to use a brighter sound as she crescendos since she's playing on a different string set..it's kind of a matter of expression...

I haven't decided which version I like better yet!

Edit: Upon several listens, I can say that I both prefer the first version and that I'd probably definitely play it like the second version

[Gitfiddlemann]

It's a beautiful piece, and a great one to be working on.

Beatrix's version avoids the big jump to the B note btw as she is already up there.

That's true, but there is a very important note coming up in that sequence, and that's the whole note G at the beginning of the 4th measure that the melody resolves to.
Because Beatrix is up at the 7th position, she plays that G on the second string. But there, it's awkward to keep that note ringing for the duration because of the harmony notes and cadence below it. Not sure how she gets away with it at that position; the video is unclear. Tatyana doesn't have to "cheat". She's already in position to play the G on the first string, where it becomes easy peazy to play what comes next while holding that G for the duration.
That's probably why the notation for that piece is mostly how Tatyana plays it, although it's more of a stretch demand for the hand in the lower position at the start, arguably.
So, I tried both. What works best for me is a combination of both. I like the way Beatrix plays the first three measures, the notes have more warmth up there, but then I'll make the jump down from the high B (the hand is already there) to the 3rd fret to grab the G. It's very doable, and makes what comes next a lot easier and more melodic sounding. And that's where you have to end up anyway.

That happens a lot actually, i.e. fingerings can change based on what feels better for you and what sounds best to your ears. As long as it's true to the written score of course.

[mr. beaumont]

Part of me thinks, since the A section repeats, I'd like to learn it both ways, playing the "up the neck" version the first time through and playing in the lower position with more of a crescendo the second time through.

At any rate, thanks for drawing my attention to this piece, it's one I'll be learning for sure. One where the notes themselves aren't that difficult but the room for really digging deep and pulling the most out of it expressively is the real challenge.

[rick-slo]

Several recordings of this piece on youtube. A couple of those below (first has a follow along score/tab).

Possible issues regarding playability and/or legato and/or tonality will help one to decide on their favorite fingering.

[TBman]

This piece is definitely too hard for my old fingers. I'll keep practicing it, but I do better with easier things.

[Gitfiddlemann]

Originally Posted by TBman

This piece is definitely too hard for my old fingers. I'll keep practicing it, but I do better with easier things.

It's a great piece Barry, thanks again for bringing it back to our attention.
I've memorized it now and enjoying it a lot. Stick with it, it's worth the effort and gets easier on the fingers the more you play it.

[TBman]

Originally Posted by Gitfiddlemann

It's a great piece Barry, thanks again for bringing it back to our attention.
I've memorized it now and enjoying it a lot. Stick with it, it's worth the effort and gets easier on the fingers the more you play it.

I think my hands are just tired from practicing it every day. I don't generally play a lot of barres and this has a few.

[thefsb]

Maybe Tatyana is looking for more video drama. Both of these are highly produced in the current YouTube fashions so it's possible.

As to the LH choices, if it's an etude then I think you should follow the instructions until you can play it to your satisfaction. If you then decide to promote it to performance piece then you should do what you like. If it is not an etude then consider the LH notation advisory and do what you like.

I'm all about personal expression with the emphasis on personal and expression. I do a slow delta blues version of Brouwer's Toccata Omaggio a Stravinsky (and completely replaced the last 3 bars) and lazy cowboy country cross-picking version of Omaggio a Szymanowski.

[Beanctr]

I love this piece. Evocation is actually the first piece of a suite composed by Merlin. I got the music a while ago and it has all the pieces. I believe Jason Vieaux made it popular with his recording of the full composition. The Evocation theme is also played at the end of the suite.

It can be a little bit of a finger buster (not as bad as Cavatina!) but not horrible. Good Luck,
Rick

[nova3385]

There is a Jason Vieaux version that I like the best (he plays the whole suite too). He had a a number of glissando, tone changes, and expression that I’ve added to my performance version.

https://youtu.be/dcwQw3d4xAQ?si=0mOvZvn2dxC4yb6F
Check it at 15:30

[TBman]

I'm making slow progress with the it. The first section obviously is getting there faster as it's easier. The second section is starting to show progress. I do a couple days on it, then a couple of days off it to give my hand a break. Barre chords at 69 don't flow like they did when I was 20, lol. Stress + rest works for me.

[MasterMonkeyMan]

Evocation @ 15:30

[TBman]

Yet another one. Note the different figuring in the beginning. I like playing the 8th fret (C) note with my pinky to facilitate the move to the 5th fret immediately after, but, I like the smoothness of the full C chord at the eighth fret too for the first measure. Something to fool around with. The second part is starting to come along too for me. A few more weeks (maybe months lol).