Hello, everyone.
Here is Irene Gomez again with a new video for Master Lesson Video Series of Strings
By Mail.
Today I have the Catedral Allegro solemne by Agustin Barrios from Paraguay.
This is a very complex and challenging piece for all guitarists.
You all know this piece and how demanding it is.
I just want to share with you some experience that I have had with this complex and beautiful
piece.
Like for example, these ideas that I can give you.
For the first part, this piece has three clear parts.
The first part which is the slurs, most of the piece has slurs all over the piece.
Always try to prepare the finger that is dependent to the slur.
For instance, when you have this F-sharp and E-sharp and E-double-sharp [music] so to have
the second finger and then the third finger, in this way you have this sound ready [music]
instead of doing for instance [music], always have this finger prepared.
[music]
Another thing that is good to have is the hand prepared in the B chord, try to have
the chord prepared like this and not the hand open like this, for instance.
If you have the hands open, then you have to close the hand and it's going to sound
like cut, the sound.
When you have the hand just closed, prepared for the chord, it allows you to give more
fluidity to the arpeggio.
[music] Instead here, you open the hand obviously
because we have here the G [music] and have prepared the 3 and 4 fingers to do the E-double-sharp,
F-sharp excuse me, and the G-flat.
[music] And
keeping the same position of the hands, and just going the translation to the 4 position.
[music] Here you have prepared number 2 and number 3 to do the slur [music] and here.
Another thing, it's good to hear when you have a [music] this movement in the bass,
so when you have here [music] and then [music] coming back to the main key signature.
[music] Always try to enhance those basses that give
shapes to the harmony of the piece.
For the second part of the piece, I suggest the first part to enhance the bass like [music]
and while it is repeating for a second time, in the second part the second time you play
it, try to enhance the upper voice like [music] and try to do like an echo that is repeated
two times, then the first time [music], the second time [music] and that gives some contrast
to that part, which is good.
And finally, for the last part it's mainly just working slurs and also the translations
of the hand all over the arm of the guitar.
So maybe you can use a little [music], trying to use always the open strings [music] and
always trying to keep open the string sound because this gives more reverberation and
also that makes us feel more like in a cathedral, like it has this sound that keeps over and
over.
It's not a cut sound but a sound that keeps singing all the time [music].
Here, [music] see?
Okay, for the last part which is a small coda, I think it's good to change a little to a
little contrast.
When you have here, you do [music] and enhance the bass [music] and the second part the second
time [music].
So the first time [music].
The second time [music].
Another thing is for the right hand; try to keep the hand also closed, not to move the
fingers [music] to keep some stability in the right hand because this is also important
in this piece, to give fluidity all over the piece.
This piece is different from other pieces where you can change a little or give some
modulation to the tempo, in this piece it's really more important to try to keep a steady
tempo all over the piece, even in every part.
And counting inside of your head, trying to count in always 16ths the smaller figure,
the small freedom you have in the score.
So I hope these ideas can help you to work this piece and I hope you have fun learning
and playing the La Catedral Allegro solumne by Mangore.
Thank you and see you next time in the Strings By Mail Master Lesson Video Series.
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