Video 1
To see, click on the image
To download, right click
here |
Analysis:
Every time you have to master a
difficulty, make your own exercise. Masters do not study endless
meaningless exercises but create their own to overcome specific difficulties
like the 3-1 descending slur following the low Bb
played with finger 4.
This is the concept upon which the
masterclass section is based on. If you apply it from the beginning, no
piece will be beyond your possibilities.
 |
|
Video 2
To see, click on the image
To download, right click
here |
Analysis:
The slur is performed by the finger
(1) in conjunction with the arm which brings the hand back up to its original
position and to first position to play the Eb (frame 3).
 |
|
Video 3
To see, click on the image
To download, right click
here |
Analysis:
As soon as the low B is played,
a long 23 notes run begins. Exhale before the run begins and breath normally
as you play the run.
The bass notes are meant to create
the illusion of a second instrument playing the harmonic progression. A
little pause on the bass notes will help create the illusion. |
|
Video 4
To see, click on the image
To download, right click
here |
Analysis:
Use the legatos (slurs) as guides
to know "where you are" in the run |
|
Video 5
To see, click on the image
To download, right click
here |
Analysis:
The dots under the notes at the
beginning of measure 5 indicate that the notes have to sound staccato.
The idea is to imitate a trumpet. The 8 notes are creating a counterpoint
with the following 8, faster notes. |
Print the score (page 6)
|
Video 6
To see, click on the image
To download, right click
here |
Analysis:
Once again Bach plays with the question/answer
idea posed in the counterpoint between the violin and the trumpet. The
master is creating the illusion of a second instrument.
Contract the left hand to play the
second part of the final run. As soon as the position change is made, extend
the hand to its natural, extended (4 frets reach) position |
|
Video 7
To see, click on the image
To download, right click
here |
Analysis:
The index finger at the beginning
of the staff is used to bring the right hand down and keep the fingers
with a good curvature. Breath out before the long 8-notes runs at the end
of the staff. |
|
Video 8
To see, click on the image
To download, right click
here |
Analysis:
The long 48 notes run that begun
at the end of staff 7 requires maximum control in order to be performed
flawlessly. Keep the i-m finger alternation tidy and plant each finger
before playing the corresponding 32nd note. |
|
Video 9
To see, click on the image
To download, right click
here |
Analysis:
The 2 legatos are meant to stress
the F at the beginning of the staff and the D at the beginning of the second
group. The 3 bass notes at the end of the staff are there to create the
illusion of a second instrument (Imitation of an upright bass or strings
group). Steadily increase the volume as you approach the high B that crowns
the run. |
|
Video 10
To see, click on the image
To download, right click
here |
Analysis:
Just like in the previous staff,
Bach divides the run in 2 parts... (1 group of 9 notes and a second
one of 8 notes) The master picks the run up a few notes back and goes up
from there. This technique was taken to the extreme by Beethoven over 100
years later. If you feel like one or more slurs would help the flow of
the run, feel free to add them (or remove them). Simply make sure you stick
to the changes once you made them. |
Print the score (page 7) |
Video 11
To see, click on the image
To download, right click
here |
Analysis:
The run is one staff from the end.
As we approach the end of a section, concentration tends to falter
and mistakes try to find a way in the playing. Therefore, see the D at
the beginning of the staff as the beginning of a new scale. |
|
Video 12
To see, click on the image
To download, right click
here |
Analysis:
These are the last notes of the
run. As you approach the end of the staff, make the notes heavier
and spread them apart a bit.
I will decide whether to continue
with chaconne depending on the number of requests from members. If you
would like to see the whole work online, please mail me at renato@mangore.com |
|
Video 39
To see, click on the image
To download, right click
here |
Analysis:
The closure of the run is treated
with the same Mastery as the preceding staffs. A 12 16th notes model will
lead into the end of the first part.
Use the base of finger 1 to play
the Fs in measure 1 |
Video 40
To see, click on the image
To download, right click
here |
Analysis:
Elegance and the right amount of
notes are Bach signature over and over again. The section ends with the
low E that will begin the next staff.
In the video I am using the newly
restored Barrios Mangoré
Marin guitar from 1882.
Barrios probably composed La
Catedral on this guitar, and La Catedral is often called "Barrios'
Chaconne".... |
|
Video 41
To see, click on the image
To download, right click
here |
Analysis:
The following phrases are expressive
and nostalgic in character leading to a final crescendo that will open
up a whole new universe. |
|
Video 42
To see, click on the image
To download, right click
here |
Analysis:
This phrase closes the argument
and the player must convey character. Make the transition from the C# to
the E using the arm and keeping the separation between the fingers. Notice
how the arm helps contract and extend the fingers in the substitution of
fingers 2 with 3 that stop the B on string 4.
In the image in frame 1 finger 1
is stopping the B in 2 the hand contracts and finger 3 is presented on
the B and in 3 the arm extends the fingers to play the C# on string 3.
 |
Print page 8 |
Video 43
To see, click on the image
To download, right click
here |
Analysis:
This staff is the beginning of a
long run of notes. The run really begins at the second note (A). The F
is really the closing of the preceding phrase. Use the open strings to
change position and divide the run into smaller runs that are mastered
separately. Do not rush. |
Video 44
To see, click on the image
To download, right click
here |
Analysis:
When the guitar first appeared in
the "classical circles", guitarists had to demonstrate that the guitar
was a "serious instrument". Therefore alternating i-m became the norm in
order to show that guitarists use all the fingers. The problem is that
it is not always necessary to alternate. I prefer to use the a only
on the first string because the speed is such that I can handle the scale
using a (and m on the second) only. Stability is in my opinion the foremost
element is technique proficiency. |
|
Video 45
To see, click on the image
To download, right click
here |
Analysis:
Begin the run crescendo in speed
gradually. You can use the 3-1 or the 4-2 combination for the high G-F
sequence at the end of the staff. Finger 3 is often more secure than finger
4, but it is a personal decision to make. |
|
Video 46
To see, click on the image
To download, right click
here |
Analysis:
Maintain a point of reference during
the fast repetition and gradually slow down when the descending run begins.
The section comes to an end and Bach is about to enter a world of fantastic
arpeggios. |
|
Video 47
To see, click on the image
To download, right click
here |
Analysis:
I consider this an epic moment in
music history. What looks like an arpeggio is the tool Back uses in what
is more like the flapping of the wings of an Angel. A torrent of notes
simply fills our ears with ecstatic beauty. Practice the arpeggio slow
and only increase speed gradually. |
Print page 9 |
|
Guestbook
classical
guitar CDs and DVD | Renew
