While this piece may look relatively simple at first glance, playing it evenly and with all notes held for their full durations is a significant challenge. A study in suspensions, sequences, executing grace notes, and part-writing for guitar, this piece is truly more than meets the eye, on multiple levels. The piece is written in vocal chorale style, meaning that the motion and relationships between each voice is prioritized over thinking in terms of only melody and harmony. In other words, each part is written as if it can be sung. The harmonies consist of primarily diatonic chords and secondary dominants. Stepwise motion (in all voices) predominates, perhaps most notably in the bass, with lots of stepwise and small leap motion. Interpretive elements for the performer include balancing the volume of different voices, playing legato, and holding all voices for their full duration.
Estudio No. 1 (Study No. 8, Op. 6)
Estudio No. 1 (Study No. 8, Op. 6)
Estudio No. 1 (Study No. 8, Op. 6)
While this piece may look relatively simple at first glance, playing it evenly and with all notes held for their full durations is a significant challenge. A study in suspensions, sequences, executing grace notes, and part-writing for guitar, this piece is truly more than meets the eye, on multiple levels. The piece is written in vocal chorale style, meaning that the motion and relationships between each voice is prioritized over thinking in terms of only melody and harmony. In other words, each part is written as if it can be sung. The harmonies consist of primarily diatonic chords and secondary dominants. Stepwise motion (in all voices) predominates, perhaps most notably in the bass, with lots of stepwise and small leap motion. Interpretive elements for the performer include balancing the volume of different voices, playing legato, and holding all voices for their full duration.