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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I think the more rubato, and dynamic variation, you put into it, the more effect it will have. I just have to get my brain to process stuff faster! 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. Then perhaps I would recognize it the next time I see it.

If you ask yourself what note you would expect the piece to end on, if it were to end at the first 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.

It is not without flaws, of course! I’m afraid I will have to watch it a number of times more before all that sinks in.

Yesterday I had a tough day in the practice room Then did the same thing with B and C sections. Learning each section with dynamics and phrasing before learning the entire piece.


Classical Guitar

When the sun shines, bask. This can affect your musical model because you become accustomed to hearing the piece slowly. Board index All times are UTC. I’ll keep working at making the beginning more confident.

Barrios Mangoré, Agustín – Choro da Saudade – Classical Guitar

Although it is still a work in progress and will be for a much longer time it is better developed barrips six months than the last piece I learned. This week, I will be working on the exercises he gave me to develop the control I wish to have with my rubato.

File access restricted to members who have made coro least 2 posts. At the end you are very clear and not to fast. This recording is unedited, and I used my Zoom H4n without any post processing.

Analysis of Choro da Saudade -Barrios – Classical Guitar

I think I’ve fixed that. You are asking of your beginning I think using rubato, sometimes a lot of rubato, is what gives the piece the impact it does. How to work on a piece efficiently to bring it to performance in less time? I am grasping for some way to understand what he is doing so I can remember the sequence better. However, I always want more than one road sign to follow! I will record the piece again next week and we will see what the result is. I remember saudaee I played the piece, that while I was keeping all those plates in the air, I sometimes forgot where I was in the repeat, but was determined to keep going no matter what!


Yes, Oski is right There are some parts that did not sound as legato barrioss they should, which is what I’ve been focusing on this week, and so I have been playing it pretty much straight time trying to get pulse correct before adding rubato. For the past few weeksI have been trying to record myself nearly every day or two to get rid of the inhibition with which I start a piece when I push the red “record” button or am placed in a performance situation.

The earlier measures often feature a non-chordal tone that is a semitone off the chord tone it replaces. I think I’ll watch some of his other videos too.

In some cases where the bassline is descending a whole step from one measure to the next, Barrios takes it sauade a half step in the middle of the bar to produce a chromatic line. Hcoro you should mark the rubato points in your score and play towards them by accelerating. Part of the problem was due to a few misconceptions I had about what was “allowable”.

In another six months, I know it will be more solid and I will feel more in control of it.