So glad you did this. I saw Brouwer talking about using an Alberti Bass figure in Un Dia De Noviembre, but I don't hear people playing it as such. They play it more as a bass and middle accompaniment.
Thanks Liam! I looked that up here: ua-cam.com/video/ffNpwt47Psc/v-deo.htmlsi=uyVYGKnUzURmpmCu Listening to the original film music you get aware of the guitar accompaniment to the flute melody (one of the popular elements Brouwer chose for the piece as film music): It's a full scale chord arpeggio with no melodic content, which is fully left to the flute. That's somehow what happened in guitar music when the figure (Carulli as first among the others, as mentioned in my video) got auto-sufficient. It's not auto sufficient in Un Dìa De Noviembre. And in the solo-guitar-version the Alberti-formula is reduced, integrated into the melody (that the typical guitar-paradoxon, where one note has two meanings, both for melody and accompaniment).
I really enjoyed this. I had never really given this figure much thought although I am aware of the guitar's limitations as a solo instrument. Thanks for sharing your knowledge on this. Very interesing.
I'm happy to hear this. - When I heard Giuliani's Sonata op. 15 for the first time decades ago, played by a clearly very bored and annoyed colleague of mine, the dilemma became evident immediately: he felt trapped by that formula. Knowing the issue you can anyway play great music with it: see and hear what my friend Lorenzo Micheli made of that sonata. 🤩
Great tips, Joachim! I wasn't aware of this musical theory term. I did notice a similarity between the Mozart sonata you shared and the Sor Op. 35 No. 13 piece years ago, but I didn't delve into it; I just figured Sor was trying to reference Mozart. Thanks for putting a name to it for me. Nice examples you shared too, to make the connection to guitar repertoire. I've played that Carulli Op. 241 No. 2 before, that's one of my favorites. BTW, there was a mid roll ad in your video; good hope to make some money off of your efforts someday!
Thanks Josh, that's my goal: adding what makes you understand better what you play for improving. For earning money I rely on teaching on coaching more than Youtubing. ;-)
i really like these „simpler“ pieces. Like you have said, it‘s still alot of work for the fingers. sadly on the guitar i miss the movement when listening since the alberti notes are overlapping but playing them like a figuration is truly impossible, it‘s still great that the composers somehow implemented them
That's a very good comment! The peculiar thing with guitar is the need and the beauty of miniaturizing what would be a complete piano or orchestra score. Makes it still demanding, but very rich for us as players and musician.
The dilemma: a repeated 3-note-formula as the Alberti Bass (as used by Haydn-Mozart-Beethoven) fixes the fretted hand of the guitarist. Mostly two fingers of the four we normally use are needed for the triad, same in the plugging hand. That leaves not to much liberty for melody playing as far range and expression is concerned. That's the problem.
So glad you did this. I saw Brouwer talking about using an Alberti Bass figure in Un Dia De Noviembre, but I don't hear people playing it as such. They play it more as a bass and middle accompaniment.
Thanks Liam!
I looked that up here:
ua-cam.com/video/ffNpwt47Psc/v-deo.htmlsi=uyVYGKnUzURmpmCu
Listening to the original film music you get aware of the guitar accompaniment to the flute melody (one of the popular elements Brouwer chose for the piece as film music): It's a full scale chord arpeggio with no melodic content, which is fully left to the flute.
That's somehow what happened in guitar music when the figure (Carulli as first among the others, as mentioned in my video) got auto-sufficient.
It's not auto sufficient in Un Dìa De Noviembre. And in the solo-guitar-version the Alberti-formula is reduced, integrated into the melody (that the typical guitar-paradoxon, where one note has two meanings, both for melody and accompaniment).
@@joachimgeissler614 once again you let me know I'm not too far off and also give me more food for thought. Thank you.
@@joachimgeissler614 I also like how he talks about trying to avoid banalities and conventions.
I really enjoyed this. I had never really given this figure much thought although I am aware of the guitar's limitations as a solo instrument. Thanks for sharing your knowledge on this. Very interesing.
I'm happy to hear this. - When I heard Giuliani's Sonata op. 15 for the first time decades ago, played by a clearly very bored and annoyed colleague of mine, the dilemma became evident immediately: he felt trapped by that formula.
Knowing the issue you can anyway play great music with it: see and hear what my friend Lorenzo Micheli made of that sonata. 🤩
Excellent video!
Thanks Daniel.
Great tips, Joachim! I wasn't aware of this musical theory term. I did notice a similarity between the Mozart sonata you shared and the Sor Op. 35 No. 13 piece years ago, but I didn't delve into it; I just figured Sor was trying to reference Mozart. Thanks for putting a name to it for me. Nice examples you shared too, to make the connection to guitar repertoire. I've played that Carulli Op. 241 No. 2 before, that's one of my favorites. BTW, there was a mid roll ad in your video; good hope to make some money off of your efforts someday!
Thanks Josh, that's my goal: adding what makes you understand better what you play for improving.
For earning money I rely on teaching on coaching more than Youtubing. ;-)
Really good lecture. Thank you so much for this insightful video!
Thank you Micha! Stay tuned. ;-)
i really like these „simpler“ pieces. Like you have said, it‘s still alot of work for the fingers. sadly on the guitar i miss the movement when listening since the alberti notes are overlapping but playing them like a figuration is truly impossible, it‘s still great that the composers somehow implemented them
That's a very good comment!
The peculiar thing with guitar is the need and the beauty of miniaturizing what would be a complete piano or orchestra score. Makes it still demanding, but very rich for us as players and musician.
@@joachimgeissler614 absolutely. alot of the classical reoertoire sounds very orchestral to me. An orchestra in a box..... who said that again?
@@FS.2772.guitar at least one of the eldest is Dionisio Aguado in the foreword (?) of his method.
Great Maestro!
🙏
Sorry but what is the dilemma?
The dilemma: a repeated 3-note-formula as the Alberti Bass (as used by Haydn-Mozart-Beethoven) fixes the fretted hand of the guitarist. Mostly two fingers of the four we normally use are needed for the triad, same in the plugging hand.
That leaves not to much liberty for melody playing as far range and expression is concerned. That's the problem.