Etude - Carcassi Op 60 no'3

[Wrighty]

Hi all

It feels like it's been a while since I recorded something but I have been working on many of the same Etudes by Sor and Caracassi. This one, whilst simple, I found a real challenge to play fluidly without mistakes.

That having been said, I managed to get this down in a single take - virtually unheard of for me! Maybe as a result of tightening up my practice discipline to minimise mistakes while practicing.

This is a new (old) guitar - a 2003 Burguet concert that I took a chance on at a recent auction. I am thrilled with both how it sounds and plays.

I have been focusing hard on right hand wrist position and elongating my fingers to get more attack without compromising tone.

Enjoying the spring sunshine here in the UK too...

Thanks for listening and I hope you like it - as always, constructive critique very welcome as I continue to strive for better tone.

[FrankHS]

Good job, and a fine guitar sound! And I think it's satisfying to be able to say "single take," even if listeners prefer to hear no mistakes.

[Wrighty]

Originally Posted by FrankHS

Good job, and a fine guitar sound! And I think it's satisfying to be able to say "single take," even if listeners prefer to hear no mistakes.

Thanks Frank, yes - a few minor mistakes vs multiple takes is a fine balance but I went with one take here as it felt right.

[Gitfiddlemann]

Hi Peter,
Congrats on the new acquisition! That's a great sounding guitar, and your efforts will continue to make it sound better!
First of all, I wouldn't call any of Carcassi's studies, including this one, simple. So, kudos for taking this one on getting through it as you did.

It sounded very nice, but if I may offer a suggestion to improve it even more, which will also increase your joy at playing it:
Carcassi indicates a tempo of Andantino for this (p i m a) arpeggio study, which is a lot faster. Think about 90-92 as a goal, which is definitely within your capabilities. And in each measure the "melody note" to be emphasized is played with the a finger, which is what you are doing it sounds like. But at a faster tempo, those melody notes really sing out a lot more, which is what it's supposed to sound like and make the piece really come alive.
So, this isn't a criticism, because I think you are getting what it's about. I think it's actually more difficult to get those melody notes to sing out playing them more slowly as you do. So, go for it and make things easier on yourself!
Thanks for sharing, and congrats again on the guitar.

[Wrighty]

Originally Posted by AndreF

Hi Peter,

Congrats on the new acquisition! That's a great sounding guitar, and your efforts will continue to make it sound better!

First of all, I wouldn't call any of Carcassi's studies, including this one, simple. So, kudos for taking this one on getting through it as you did.



It sounded very nice, but if I may offer a suggestion to improve it even more, which will also increase your joy at playing it:

Carcassi indicates a tempo of Andantino for this (p i m a) arpeggio study, which is a lot faster. Think about 90-92 as a goal, which is definitely within your capabilities. And in each measure the "melody note" to be emphasized is played with the a finger, which is what you are doing it sounds like. But at a faster tempo, those melody notes really sing out a lot more, which is what it's supposed to sound like and make the piece really come alive.

So, this isn't a criticism, because I think you are getting what it's about. I think it's actually more difficult to get those melody notes to sing out playing them more slowly as you do. So, go for it and make things easier on yourself!

Thanks for sharing, and congrats again on the guitar.

Thanks very much Andre, much appreciated.

I will definitely give it a go at that tempo - it will be a welcome change!

[zurdillo]

Hello!
I really like your interpretation, I think you capture the style of the studio perfectly. The sound of the guitar (and your sound) are exquisite.
As you have been told, the piece flows better at a more agile tempo.

[Wrighty]

Originally Posted by zurdillo

Hello!
I really like your interpretation, I think you capture the style of the studio perfectly. The sound of the guitar (and your sound) are exquisite.
As you have been told, the piece flows better at a more agile tempo.

Thank you very much for listening, I am pleased you like it.

I am now working on the tempo..

[Su_H.]

That was beautiful. You play it much better than i can and I've been playing this piece since I first started playing guitar.. congrats.

[MThomson]

Between your new guitar and your technique, your tone is sounding really good. Really enjoyed this and brought back lots of memories. Thanks for sharing

[Wrighty]

Originally Posted by Su_H.

That was beautiful. You play it much better than i can and I've been playing this piece since I first started playing guitar.. congrats.

Thank you for listening and the kind words - I very much enjoyed this piece and generally find these Etudes very satisfying.

Originally Posted by MThomson

Between your new guitar and your technique, your tone is sounding really good. Really enjoyed this and brought back lots of memories. Thanks for sharing

Thank you, it's a lovely instrument and I am very luck to have it at my stage of learning. Thanks for listening.

[Wrighty]

Originally Posted by AndreF

Hi Peter,
Congrats on the new acquisition! That's a great sounding guitar, and your efforts will continue to make it sound better!
First of all, I wouldn't call any of Carcassi's studies, including this one, simple. So, kudos for taking this one on getting through it as you did.

It sounded very nice, but if I may offer a suggestion to improve it even more, which will also increase your joy at playing it:
Carcassi indicates a tempo of Andantino for this (p i m a) arpeggio study, which is a lot faster. Think about 90-92 as a goal, which is definitely within your capabilities. And in each measure the "melody note" to be emphasized is played with the a finger, which is what you are doing it sounds like. But at a faster tempo, those melody notes really sing out a lot more, which is what it's supposed to sound like and make the piece really come alive.
So, this isn't a criticism, because I think you are getting what it's about. I think it's actually more difficult to get those melody notes to sing out playing them more slowly as you do. So, go for it and make things easier on yourself!
Thanks for sharing, and congrats again on the guitar.

Hi Andre

I spent a little time working on the tempo today and recorded a faster version - see below.

I would love to know your thoughts - my only concern is that the faster tempo tends to lead me towards free strokes rather than rest for the melody in the main.

[Gitfiddlemann]

Originally Posted by Wrighty

Hi Andre

I spent a little time working on the tempo today and recorded a faster version - see below.

I would love to know your thoughts - my only concern is that the faster tempo tends to lead me towards free strokes rather than rest for the melody in the main.

Hi Peter,
Nicely done. That sounds a lot better to my ears tempo wise. It flows better, and going faster (but not overly fast) allows you more freedom to work on dynamics, i.e. building up intensities and resolving them. This is a study that touches upon many aspects. It's both very musical, and technique oriented. It's a good one to have selected.
Personally, I wouldn't worry so much about playing the "a" finger melody notes as a rest stroke, and the accompaniment p i m as free. Unless you need to. I think it's more difficult to pull off evenly in an ascending arpeggio, so I try to get away with a "free for all" approach.
I don't want to talk you out of it though if it works better for you. It is, after all, a study. But in Carcassi's book (I have the Llobet/Ricordi version), I only see a dynamic accent mark for the melody notes, implying (to me anyway) that's it's up to the player to do as he/she pleases.
Another important aspect are the crescendo markings in the music. Those are necessary to really shape your phrasing and make it more enjoyable as a listening piece.
I know there are a ton of videos of this piece, but I happened to recall a Strings By Mail sponsored mini-lesson of the piece performed by the guitarist Gohar Vardanyan, which I think you might find useful for some ideas on what to work on for your own version. I like her easy going demeanor, and she has some great tips. Have a look:

Lastly, I think you're headed in the right direction, and your approach to this new genre will be rewarding to you. Keep up the good work!
Maybe another "last" comment:
I hope I'm not coming off as a teacher or someone who can play these pieces in his sleep! That's not me. I need to work on these and my own material just as much as you do, and I'm commenting only because I've gone through many of these pieces while I was taking classical guitar lessons years ago. I'm just paying it forward, hoping it is helpful to you.

[Wrighty]

Originally Posted by AndreF

Hi Peter,

Nicely done. That sounds a lot better to my ears tempo wise. It flows better, and going faster (but not overly fast) allows you more freedom to work on dynamics, i.e. building up intensities and resolving them. This is a study that touches upon many aspects. It's both very musical, and technique oriented. It's a good one to have selected.

Personally, I wouldn't worry so much about playing the "a" finger melody notes as a rest stroke, and the accompaniment p i m as free. Unless you need to. I think it's more difficult to pull off evenly in an ascending arpeggio, so I try to get away with a "free for all" approach.

I don't want to talk you out of it though if it works better for you. It is, after all, a study. But in Carcassi's book (I have the Llobet/Ricordi version), I only see a dynamic accent mark for the melody notes, implying (to me anyway) that's it's up to the player to do as he/she pleases.

Another important aspect are the crescendo markings in the music. Those are necessary to really shape your phrasing and make it more enjoyable as a listening piece.

I know there are a ton of videos of this piece, but I happened to recall a Strings By Mail sponsored mini-lesson of the piece performed by the guitarist Gohar Vardanyan, which I think you might find useful for some ideas on what to work on for your own version. I like her easy going demeanor, and she has some great tips. Have a look:



Lastly, I think you're headed in the right direction, and your approach to this new genre will be rewarding to you. Keep up the good work!

Maybe another "last" comment:

I hope I'm not coming off as a teacher or someone who can play these pieces in his sleep! That's not me. I need to work on these and my own material just as much as you do, and I'm commenting only because I've gone through many of these pieces while I was taking classical guitar lessons years ago. I'm just paying it forward, hoping it is helpful to you.

Thank you very much - first of all, I am very grateful for the interest you have shown and willingness to help me improve. Without a teacher I have no-one to proof read so to speak so your critical ear is very helpful to me.

Re the rest strokes, I am not attached to them in this piece as they don’t seem to add anything as long as the feee stroke tone is pure and rounded.

Other Etude, such as Sor Bm, they really add something to my ears but they are also easier to apply in that piece.

Have a good evening.

[Carey]

Just listened to both versions, and I like both.

I think the "meaning" of the melody is coming out a little more in the slower
take, but that the quicker one can have that same feeling with a little more
prac time, while also still flowing .. nice job!

[Wrighty]

Originally Posted by Carey

Just listened to both versions, and I like both.

I think the "meaning" of the melody is coming out a little more in the slower
take, but that the quicker one can have that same feeling with a little more
prac time, while also still flowing .. nice job!

Thanks Carey, fair comments.