Adelita - Tarrega (Nylon)

[Wrighty]

Hi all

This is my second classical/nylon piece - another by Tarrega and one that has no doubt been done to death. I felt however that it was almost a right of passage on this journey, and it's such a lovely piece of music that I wanted to have it under my belt.

I found that the version I resonated with the most was by Julian Bream - it was the simplest and the most understated.

I found this quite tricky, especially in the B section where there are a coupe of tough pieces to play cleanly.

I hope you like it - any feedback on tone or technique always welcome.

[SprintBob]

Peter, that was excellent. Well done and congrats.

The sound was so good, mind sharing your recording setup for this one?

Cheers,

Bob

[Wrighty]

Originally Posted by SprintBob

Peter, that was excellent. Well done and congrats.



The sound was so good, mind sharing your recording setup for this one?



Cheers,



Bob

Hi Bob, thank you for listening - glad you liked it.

I used my two CM4 mics about 30cm apart in A/B (shifted slightly towards the right from a player perspective so that the bridge becomes the centre point)

Reaper for some small EQ adjustments and a bit of reverb.

[fitness1]

Very nice - sounds great!



Is that a B&W speaker in the background? Looks like my old DM640's!

[Glennwillow]

Excellent job Peter!

Excellent tone, all done with minimal extraneous noise -- which is a big deal on a classical guitar. And very nice job on the recording, as well!

- Glenn

[Wrighty]

Originally Posted by fitness1

Very nice - sounds great!



Is that a B&W speaker in the background? Looks like my old DM640's!

Thanks!

It's a Linn Keilidh from an old set - great speakers!

[Doons]

Very nicely done.

[Wrighty]

Originally Posted by Glennwillow

Excellent job Peter!

Excellent tone, all done with minimal extraneous noise -- which is a big deal on a classical guitar. And very nice job on the recording, as well!

- Glenn

Hi Glenn, thanks for listening - I am pleased you liked it. These nylons can be noisy beasts that's for sure!

Originally Posted by Doons

Very nicely done.

Thanks Doons, much appreciated.

[TBman]

Good job Peter!

Are you still using the Line Audio CM4 mics? Your recordings are crystal clear.

[Wrighty]

Originally Posted by TBman

Good job Peter!

Are you still using the Line Audio CM4 mics? Your recordings are crystal clear.

Thanks Barry, yes - identical set up.

[charles Tauber]

It sounds nice.

Lagrima and Adelita were amongst the first classical pieces that I learned as well.

My main comments are the same as for your Lagrima: consistent timing, tonal variation - at a basic level, as simple as moving your right hand closer to the bridge or fingerboard. For the "descending legatos" (pull-offs, slurs), pull the finger more laterally to obtain a fuller sound. Effectively, you are plucking the string with the left hand finger(s), not simple removing the fretting finger.

One of the other early pieces that I learned and quite enjoyed playing is this one:

https://www.youtube.com/watch?v=S86LYqC1Hb8

[Wrighty]

Originally Posted by charles Tauber

It sounds nice.

Lagrima and Adelita were amongst the first classical pieces that I learned as well.

My main comments are the same as for your Lagrima: consistent timing, tonal variation - at a basic level, as simple as moving your right hand closer to the bridge or fingerboard. For the "descending legatos" (pull-offs, slurs), pull the finger more laterally to obtain a fuller sound. Effectively, you are plucking the string with the left hand finger(s), not simple removing the fretting finger.

One of the other early pieces that I learned and quite enjoyed playing is this one:

https://www.youtube.com/watch?v=S86LYqC1Hb8

Thanks Charles, I appreciate you taking the time to listen and offer feedback.

Noted on both counts, although I felt my timing was better this time round..

The pull offs I need to work on along with hand position.

That’s a lovely piece - thanks!

[charles Tauber]

Originally Posted by Wrighty

The pull offs I need to work on along with hand position.

Working on/playing music is always the best. However, sometimes practicing technical exercises allows one to rapidly improve specific abilities. One example are slur (hammer-on, pull-off) exercises. There are a number of them.

Perhaps the simplest of them is as follows.

With your first finger of your fretting hand, fret the second (B) string, first fret. While still fretting with the first finger, fret the second fret of the same (second) string with your second finger. Repeat with each subsequent finger until you have all four fingers, one per fret, fretting the second string, frets 1, 2, 3 and 4, respectively. Four fingers simultaneously fretting four successive frets.

With your right hand, pluck the second string, sounding the fretted fourth fret. Pull the fourth (baby) finger of your fretting hand laterally until it touches and rests on the first string. In so doing, you are plucking the second string with your fourth finger sounding the note fretted by your third finger.

Pluck the second string with your left hand, sounding the note at the third fret. Pull your third finger of your fretting hand laterally until it touches and rests on the first string. In so doing, you are plucking the second string with your third finger sounding the note fretted by your second finger.

Pluck the second string with your left hand, sounding the note at the second fret. Pull your second finger of your fretting hand laterally until it touches and rests on the first string. In so doing, you are plucking the second string with your second finger sounding the note fretted by your first finger.

Then slide your hand up one fret and repeat the above. Then slide up another fret and repeat...

Perform the action in time so that each note is of equal duration, the plucked and slurred notes. The slurred - pulled-off - note should be of equal volume to the right-hand plucked note. That requires a clean, "forceful" action of the pulled-off finger.

There are a variety of other slur exercises of increasing physical difficulty, but that's a good starting one.

[Wrighty]

Originally Posted by charles Tauber

Working on/playing music is always the best. However, sometimes practicing technical exercises allows one to rapidly improve specific abilities. One example are slur (hammer-on, pull-off) exercises. There are a number of them.

Perhaps the simplest of them is as follows.

With your first finger of your fretting hand, fret the second (B) string, first fret. While still fretting with the first finger, fret the second fret of the same (second) string with your second finger. Repeat with each subsequent finger until you have all four fingers, one per fret, fretting the second string, frets 1, 2, 3 and 4, respectively. Four fingers simultaneously fretting four successive frets.

With your right hand, pluck the second string, sounding the fretted fourth fret. Pull the fourth (baby) finger of your fretting hand laterally until it touches and rests on the first string. In so doing, you are plucking the second string with your fourth finger sounding the note fretted by your third finger.

Pluck the second string with your left hand, sounding the note at the third fret. Pull your third finger of your fretting hand laterally until it touches and rests on the first string. In so doing, you are plucking the second string with your third finger sounding the note fretted by your second finger.

Pluck the second string with your left hand, sounding the note at the second fret. Pull your second finger of your fretting hand laterally until it touches and rests on the first string. In so doing, you are plucking the second string with your second finger sounding the note fretted by your first finger.

Then slide your hand up one fret and repeat the above. Then slide up another fret and repeat...

Perform the action in time so that each note is of equal duration, the plucked and slurred notes. The slurred - pulled-off - note should be of equal volume to the right-hand plucked note. That requires a clean, "forceful" action of the pulled-off finger.

There are a variety of other slur exercises of increasing physical difficulty, but that's a good starting one.

That sounds challenging but I’ll try this tomorrow before I play anything - thank you very much.

[Gitfiddlemann]

Very nicely done Peter.
One of the difficult things I’ve found with this piece and romantic pieces in general is to maintain the underlying pulse and flow because they often require you to “pause and catch up”. And it’s easy to get caught up in all the emotional content. But the more you play these Tarrega pieces the more comfortable it will become for you.
I agree with Charles’ comments. The slur exercises that he posted should be very helpful to you. I think over time you’ll be able to smooth the piece out even more.
I think you’re doing super well and it’ll only get better for you.