Post by Douglas Seth Post by John Nguyen
Here goes the second installment. This piece is so simple to play but
so hard to play it well. Oh well, what the heck! :-)
Thanks, John! I liked it! Humbly, a few words, I would work on melodic
shaping, tension/ release on non- chord tones to chord tones.
I'm trying to figure out what you had in mind, more specifically. I
tried playing the non-harmonic tones with a slight tenuto, and slightly
quieter. In context to everything else I did this sounded great. I don't
have the sheet music so I only tried it on the first phrase.
Post by Douglas Seth
appoggiaturas etc... Also I would try to delineate the parts by
bringing out the melody and using more of a "melodic tone" while
subordinating the other parts by using more of a static tone for the
The melodic tone. What can be said about that? I would say its opposite
is the snapped string tone. So, the melodic tone is where the attack is
closer to the loudness of the body of the tone. So more of an oblique
stroke on the string.
John, since you're playing near the soundhole, and over the soundhole
for parts, it's tricky to change tonal shades via changes in attack
there since the string is more easily activated as compared with sul
ponticello. It only takes a slight change in attack to yield a big
change in tone. I'd say keep doing what you're doing, but I think there
is really only one way to get closer to the goal of more control. I'll
just say from my experience that I'm never quite happy with my control
unless I've been playing several hours a day every day. I remember
seeing Rudolf Nureyev saying on video that he dances best when slightly
fatigued. I think this the same principle applies with control over
these right hand tonal shadings. A fresh hand is more volatile. So, the
trickiest area to have control over tonal shadings is over the
soundhole, plus it's harder to control the subtleties with a fresh hand.
Post by Douglas Seth
I always enjoy your playing. It is obvious the love you
put in it!
Agreed! John, I love how you went sul tasto on the repeats. You started
moving back to the normal position after four bars. I wondered how it
would've sounded if you stayed sul tasto for the complete eight bars of
the repeat. Try it if you haven't. Maybe you prefer the way you
transitioned back, but maybe you'll like the contrast more.