Early Romantic Guitar Period Technique Method Books There are many method books written in the 19th century, which provide first-hand insight into period technique. These original sources were written in various languages, depending on their origin.
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The bibliography by Erik Stenstadvold "Guitar Methods - " provides information on published methods of the time period, and it can be ordered through Amazon. For more info, please see: Pendragon Press. Essay by Len Verrett Summary: Musical interpretation is a field of study unto itself.
Guitarists should seek out other musicians such as pianists or violinists who are well-acquainted rule for dating a guitarist early 19th century compositions in order to learn how to properly interpret the music. Guitar music of the day closely followed writing and style of other orchestral instruments, and most the guitar's early composers started on other instruments, or played and wrote for multiple instruments.
The lesson for today's performers who try to emulate "period" performance technique, is that "period" technique varied so much, that practically any technique in existence today has some historical basis, and it is best not to be dogmatic.
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Technique is a tool to achieve a particular musical effect, not an end unto itself. The rule for dating a guitarist of Aguado is nearly identical to today's classical guitar technique, while Sor's technique seems to be borrowed more from the lute. I have often wondered if these two players did not have different roots: Aguado from the Baroque Guitar tradition, and Sor from the Lute tradition.
Obviously, the strummed baroque guitar requires the right hand to be free, while the lute required the pinkie to be anchored to the top. Nearly every technique today, namely ima alternation, straight wrist playing, rasguado, rest stroke, nails or not, can be found dating back several centuries even before the 6-string guitar.
Such techniques varied considerably by performer, country, time period, and style. Interpretation There is not a simple answer or a "silver bullet" to the question of interpretation. This is the area of "art" - much like the world of canvas paintings - where style and individuality are everything, and the question of which painting is "better" is purely subjective.
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However, music is a language, and like any language, there are rules for dating a guitarist of grammar and syntax for each language, and many stylistic dialects. Just like language, in music there are also accent patterns, and inflections, common phrases and expressions of "figures of speech" - and implied connotations that are understood by native speakers.
The question is really, "What is the language of this style"? However, for those that want to tap into the deeper meaning by connecting to the finer points of musical connotation, an historically informed interpretational style is important.
For example, while someone might think it sounds good to play Bach in the style of Tarrega - with heavy vibrato, rubato, portamentos, etc. In the same way, some may like the revisionist attitude toward 19th century guitar repertoire, while others prefer a style that is consistent with how music of that period was typically played.
Learning to play effectively in a particular musical "dialect" takes years of study.
Specialists can spend years refining interpretation to play Mozart properly, in accordance with Viennese stylistic musical customs and the time period, in the same way that playing Sor properly is link challenge. Shaving your fingernails and playing a period guitar will not make you sound like Fernando Sor.
I have heard excellent interpretations on a variety of instruments, and conversely as well.
Sor's style would have been much more the product of musical style, regardless of what instrument was used: in fact, Sor would have sounded like Sor whether he played piano or guitar - due to phrasing and style - although Sor does state in his method that guitar music has a particular resonance that would not sound right on a piano, for example. I have conversed with many advanced and professional guitarists regarding how to interpret early 19th century guitar music.
I have come to the conclusion that guitarists seeking to learn this https://findpeopleworld.pro/7tag/4111.php should seek out a pianist, violinist, flutist, conductor, etc. Many guitarists have tunnel-vision to the world of guitar, coming from the modern Segovia tradition of revisionism.
Guitar music of the ERG period followed closely the orchestral instruments. In many period methods, including that of F.
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Sor, there are references to producing effects on the guitar to imitate flute, violin, brass, piano, drums, etc. In any good master class or lesson with an expert in this style where an early 19th century guitar piece is analyzed, they will inevitably compare it to orchestral writing of the period.
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I cannot over-emphasize to guitarists the need to step outside of the guitar world to study with orchestral experts who truly understand the time period and style. Since technique apparently varied so widely in this time period, the important thing is to learn how to play in a style that is consistent with other instrumentalists and compositions of that period.
Right Hand Position.