ESTUDIOS SENCILLOS LEO BROUWER PDF
July 16, 2020 | by admin
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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Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp. Our website is made possible by displaying online advertisements to our visitors. Please consider supporting us by disabling your ad blocker on our website. The Estudios Sencillos by Leo Brouwer: How simple are they?
Leo Brouwer | Etudes Simples (Estudios Sencillos) Volume 1
Recently I heard a recording by Eestudios Cobo – he plays most of it quite fast. They don’t sound simple at all in estudiso speed. Your thoughts about it? How are they clasified in terms of difficulties I’m aware that thay are of different degrees of difficulty. Any other recording recommendations? Broywer edited by rojarosguitar on Mon Nov 29, Music is a big continent with different landscapes and corners. Some of them I do visit frequently, some from time to time and some I know from hearsay only My Youtube Channel is: TheMusicalEvents My homepage is: I think Cobo senvillos a lot of them too fast.
Tanenbaum’s recording is part of an excellent two CD set that also includes the Caracssi Op 60 studies and the 20 Sor studies selected selected by Segovia. I began playing them about one year ago, and I’m planning to start on 6 to 10 real soon now. Just for the sake of comparison, I would say my current playing, after starting from zero 2 years and 8 months ago, is at estuidos upper end of level 3 according to Mr Delcamp’s scheme, and at about level 3, too, according to ABRSM.
That’s only sencilloa very personal experience, and your own mileage may vary, of course. You can’t take the meaning of this in an absolute way – it depends on your perspective. Very often, the pieces in these collections would be very easy for a virtuoso or a professional player. I wonder if the composer or publisher in naming pieces this way might have had other motives Perhaps they might have been interested in inspiring a higher degree of commitment from a student who may realize that “these pieces must be easy for somebody, so I’d better get busy!
The notion of “Easy” or “Simple” studies is one that goes back to the classical period, when composers fo the guitar and other instruments would publish pieces with this kind of descriptor in the title.
If it is something that you have never done before, it won’t start out easy! I can play all 10 of the first set after starting CG a year and a half or so ago. But the harder ones for me are V and IX because of the rhythm.
VII made me learn how to count very, very carefully! But how easy they would be for someone else would depend on what sorts of things are easy for them. You may find one of the “easy” ones very difficult for you or one of my “difficult” ones easy. When the sun shines, bask. The first 5 studies were good at this level, but Study 6 seemed to be a bit of a stretch. They are not so difficult to simply play the notes, but I think they are quite difficult to play well, with a good interpretation.
My current teacher uses them as a second stage of development, when working deeper on the color and dynamics variation, and rhythm control. A new student normally beigns with Carcassi Op60 or maybe some Sor studies, to review basic technique and sound production. It may take from 6 months to a year, or maybe more, according to player level. Then he goes to Brouwer studies. Brouwer studies are normally easy to play without mistakes after that preparation, but my teacher is so perfeccionist on the interpretation at this time, that they become quite difficult.
For example, Number 1 was very easy to me, and I could play it more or less well during first sight-reading.
It was also easy to me to make the bass “sing” and play the accompaniment softer. But my asked me to make the accompaniment interesting while still keeping a singing bass. He asked me to do some sort of rhythm swing to detach it from bass, in a way accompaniment becomes interesting and you don’t need just to play it in a quiet way. It took me a couple months of practice, recording myself, playing accompaniment alone and than trying to put it together with the bass, to reach my teacher’s recquirement.
And this is just one point. If thumb sound is still weak at this point, he may spend a lot of time just working on thumb sound, teaching ways to shape the nail, to attack the string and so on. He also recquires that every dynamic indication should be followed carefully. Every pp, p, f, ff and so on shall sound clear to the listener. Those things may take several months to develop.
Yeah the Studies Seem Really Simple, But They Have some mussical traps on them, that make them quite a challenge, for example Study Five the first time you read it, you won’t see any difficulty, it has simple mussical patterns, but if you analize the progressions you may see that you actually have to listen to “salsa” and cuban music, to really understand what the Study is Really About.
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