Strings By Mail Leo Brouwer | Etudes Simples (Estudios Sencillos) Volume 1 – The Leo Brouwer Etudes have become a standard part of the classical guitarist’s . Strings By Mail Leo Brouwer | Etudes Simples (Estudios Sencillos) Volume 4 – The Leo Brouwer Etudes have become a standard part of the classical guitarist’s . Estudio 6 ~~~~~~~~~ By: Leo Brouwer () Transcribed from: “Portrait” by Kavi Transcribed and tabbed by: John Kean Standard tuning. 6/4 time, changing to.
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I know they are mostly pedagogical compositions, meant to practice on a tecnique, but I never really played a piece like this – I’m still learning, for now I’m still using tabs and chords notations.
Is there any particular order of practices I should follow, or maybe analyze, or something like that? While I’d like to play the piece in itself, since I like it, I’d brojwer more to take this as an educational experience to learn more or get better.
Practising studies estudios, in Spanish provides an excellent way to improve your playing technique. This is because pieces of this kind usually isolate a particular aspect of technique, allowing you to focus upon it.
Leo Brouwer | Etudes Simples (Estudios Sencillos) Volume 4
In order to do this, a sejcillos will usually simplify some aspect of the composition, so that it becomes easier to learn the piece and repetitively practice the highlighted technique. For instance, a guitar study may maintain a relatively constant right-hand picking pattern, allowing the player to focus upon this technique.
From the first to the last, they each focus upon an important aspect of classical guitar technique, while also always being satisfyingly musical compositions. And these pieces don’t always focus upon the “traditional” areas of technique of earlier guitar studies, such as right-hand patterns and left-hand scales and chords.
For example, they also deal with: And these are just a few aspects of technique that are dealt with; these pieces also allow the player to work upon more musical aspects of their playing, such as rhythmic accuracy. I’ll take you through a good approach to studying this piece; esstudios should serve as a good process for brouweg studies, too.
There are two stages to learning and using a study such as this Brouwer: Once this piece has been learnt, it can be used to focus upon R.
However, in order to learn the piece, to allow this kind of practice, esstudios may be easier to first take this aspect of the piece away, to make it quicker to learn to play the whole piece fluently. This may sound counter-intuitive, but bear with me As the right-hand picking pattern is essentially the same throughout sdncillos piece, it may be quickest to learn this piece, by first focussing upon what does change: If one breaks the piece down into a series of chord shapes fingered by the left hand, and initially just practises the changes between these, it can make the process of learning the whole piece far quickerallowing one to then focus upon the true purpose of the study, right hand technique.
In particular, it is useful to “maximise” practice time, by paying particular attention to those chord changes which one finds most difficult, and repeating these correctly in order to learn them fluently. This is what the piece reduces to, if you take out the arpeggiation and just consider the chord changes in fact, only the filled notes need to be fretted, the others are open strings:.
Leo Brouwer | Etudes Simples (Estudios Sencillos) Volume 4
Similarly, once one starts to play the piece with the right-hand arpeggiation, it is a good idea to make “mini-exercises” from any changes that are difficult, in order eztudios fluently change between bars measures. Again, this “maximises” practice time and effort, by applying most effort to bruwer of the music which are difficult, rather than always playing from beginning-to-end. I recently started playing this study again, having not played it for many years.
I found it particularly useful to practise bars as a “mini-exercise” as this seemed to be the first passage with a difficult left-hand chord change, and so making it difficult to play across the bar line fluently. These are the sixth and seventh chords in the diagram above. Also, isolated practise of bars across the change of time-signature helped me greatly, as here it is difficult to damp the semiquaver open E bass note at srncillos end of bar 22, so that it doesn’t ring under the sencillks A in bar By following these steps isolating the L.
Leo Brouwer | Etudes Simples (Estudios Sencillos) Volume 1
This then allowed me to focus upon the actual purpose of the piece: And, of course, this is just the starting point; once one is able to play the whole piece easily, one can start to use the study to work upon other aspects of technique.
Brouwer himself suggests an alternative picking pattern see belowat the start leoo the piece, but you could also experiment with: Although snecillos ideas and this approach deal specifically with this single Brouwer study, I think this approach can work well for most studies although the specific way to “reduce” a piece will be different for different studies.
In fact, I would say that these kind of pedagogical compositions are best studied in this way. Merely playing through such pieces will certainly improve technique, but extracting passages for further study, or devising small exercises based upon short passages, tailored to ones own technical needs and interests, will prove more fruitful.
Home Questions Tags Users Unanswered. How to approach the study of a piece for guitar Leo Brouwer, Estudios Sencillos no. Dodicin 94 1 6.
This is what the piece reduces to, if you take out the arpeggiation and just consider the chord changes in fact, only the filled notes need to be fretted, the others are open strings: I think you may have overused the word ‘excellent’ in the first few paragraphs.
I’m a bit of a Brouwer senvillos Hopefully this is a little less OTT now Brouwr you, you explained thoroughly, I really appreciate the effort you put into the answer!