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-   -   Lagrima - Tarrega (https://www.acousticguitarforum.com/forums/showthread.php?t=604454)

Wrighty 01-19-2021 11:46 AM
Lagrima - Tarrega
 
Hi all

My first attempt at playing and recording my new nylon string guitar - a few of you may have seen a thread in the recording sub forum of an older version of this piece.

I have listened to a lot of versions of this but settled on trying to get as close to the classic Bream version - simple and understated.

I am loving this journey into nylon - such a different instrument in so many ways yet also so similar. More attention to nails, string squeak and accuracy on my part will only be a good thing!

Hope you enjoy it and hope to improve over time..

TBman 01-19-2021 12:48 PM
Very good Peter!

Wrighty 01-20-2021 04:56 AM
Lagrima - Tarrega
 
Hi all

So here's my first attempt at learning and recording a classical/nylon piece since making the transition in December - I have absolutely loved the process and the music too..(and have not picked up my steel strings since which feels odd)

Lots to work on here to improve the tone and flow but that's the journey :-)

Please feel free to offer any critique or observations - I welcome them.

rémy64 01-20-2021 07:34 AM
Very nice interpretation!
I also play this piece but in DADGAD and on steel strings
Well done again

Wrighty 01-20-2021 07:44 AM
Quote:
Originally Posted by TBman (Post 6608842)
Very good Peter!
Cheers Barry - my steel strings are ignoring me!

Quote:
Originally Posted by rémy64 (Post 6609464)
Very nice interpretation!
I also play this piece but in DADGAD and on steel strings
Well done again
Merci Remy - hope you are well..

charles Tauber 01-20-2021 01:10 PM
I'm generally a pretty harsh critic. That was very nice given how long you've been working on it.

There are a few technique things to work on, both right and left hand, but my main suggestion is to keep a regular tempo. Try playing with a metronome to keep the tempo consistent. After you've done that for a while, you can introduce some tempo irregularities (rubato) to aid in expression.

You might also experiment with tonal variation. Lagrima provides excellent opportunities to do that. For example, for the second time through the "A" section, play closer to the bridge to give a more metalic/harpsichord like sound.

Wrighty 01-20-2021 01:30 PM
Quote:
Originally Posted by charles Tauber (Post 6609769)
I'm generally a pretty harsh critic. That was very nice given how long you've been working on it.



There are a few technique things to work on, both right and left hand, but my main suggestion is to keep a regular tempo. Try playing with a metronome to keep the tempo consistent. After you've done that for a while, you can introduce some tempo irregularities (rubato) to aid in expression.



You might also experiment with tonal variation. Lagrima provides excellent opportunities to do that. For example, for the second time through the "A" section, play closer to the bridge to give a more metalic/harpsichord like sound.


Thanks Charles, sound advice.

I’ve reverted to Breams plain vanilla version of most of these pieces for that reason.

Need to move right hand as you say to add tonal texture.

MThomson 01-20-2021 01:54 PM
I thought that was a fine effort for the length of time you've been working on it, as good as I could hope to do. With that said, one thing I thought I heard was a tiny delay between the bass and treble attack when you were picking bass and treble strings together. Would sound much tighter if you could get these right in sync.

Wrighty 01-20-2021 02:09 PM
Quote:
Originally Posted by MThomson (Post 6609803)
I thought that was a fine effort for the length of time you've been working on it, as good as I could hope to do. With that said, one thing I thought I heard was a tiny delay between the bass and treble attack when you were picking bass and treble strings together. Would sound much tighter if you could get these right in sync.


Thanks for the feedback - guilty as charged, I hear that too!

Is there a time when that’s done intentionally for impact?

jricc 01-20-2021 03:19 PM
Nicely played!

MThomson 01-20-2021 04:09 PM
Quote:
Originally Posted by Wrighty (Post 6609816)
Thanks for the feedback - guilty as charged, I hear that too!

Is there a time when that’s done intentionally for impact?
Absolutely. I usually hear it more on a roll through more than two notes but it can be extremely effective when the rest is crisp. You've inspired me. Think I'm going to have to pull this out again and have another go. It's a fantastic piece.

Wrighty 01-20-2021 04:10 PM
Quote:
Originally Posted by jricc (Post 6609875)
Nicely played!


Thank you!

Wrighty 01-20-2021 04:11 PM
Quote:
Originally Posted by MThomson (Post 6609944)
Absolutely. I usually hear it more on a roll through more than two notes but it can be extremely effective when the rest is crisp. You've inspired me. Think I'm going to have to pull this out again and have another go. It's a fantastic piece.


Ok, makes sense.

I’ve got this, Adelita and Capricho Arabe on the go, and love them all!

Guest 928 01-20-2021 05:02 PM
NICELY DONE! THANKS FOR BRINGING THE EXPLORATION TO THE FORUM.

Carey 01-20-2021 07:26 PM
> [QUOTE=MThomson;6609944]Absolutely. I usually hear it more on a roll through more than two notes but it can be extremely effective when the rest is crisp.

Agreed, and well said. Hard to play this really well with those big shifts and the bareness of the arrangement, and I think the OP is on a good track.

Also agree with the suggestion of a little metronome work to hold it
together- it's really not easy, though it needs to sound so.

Adding: A piece by Sor that might interest you is Op 6 #8, also known
as #1 of the twenty Sor studies as chosen by Segovia. Worth a look.


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