Hi Rocky
No up-to-date tab examples on my site at the moment, I'll send you something
off-list tomorrow. Recieved your files and had a quick look: polished!
Your reply sent me to read about articulation metatools--something I have
never used. This will be interesting to try for upstroke dots,
I tried playing it slower and it really drags. I think the piece needs a
lot better technique than I've got. I imagine that players of the time got
very fast with their chord changes.
Yes - you have to practice playing passacaglie in 24 different keys every
morning like at the beginning of the
Monica Hall wrote:
Hi Stuart
Pleased to hear you are still plucking away at Foscarini! I think
you are
right about the rhythm and barring. However I think you are playing
the piece too fast. It is a passacaglia after all and it sounds
rushed in places. The strummed chords on line 3 wo
Your reply sent me to read about articulation metatools--something I
have never used. This will be interesting to try for upstroke dots,
but I'm guessing this could be handy for any frequently used symbol.
Last night I visited your website and viewing your scores clarified
your earlier post
Hi Stuart
Pleased to hear you are still plucking away at Foscarini! I think you are
right about the rhythm and barring. However I think you are playing the
piece too fast. It is a passacaglia after all and it sounds rushed in
places. The strummed chords on line 3 would be more manageabl
don't know if there's any pertinence here for a sardinian guitar but for pure
italo-weirdness and genius, have a look at this:
http://www.youtube.com/watch?v=Ex4_vQ990ac
http://www.youtube.com/profile?user=billkilpatrick
-
Sent from Yahoo! - a smarter
Dear Rocky
Thanks for the list. It does include many of the problems I encounter and
offers some insights in alternative ways to solve these.
Rhythm signs as fonts, didn't think of that.
I still haven't figured a way to easily enter Renaissance upstroke
dots -- I usually just leave them of
