Maria 2. Pavana 3. Gran Vals 4. El Columpio 5. Vals 6. Danza Mora 7.
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Maria 2. Pavana 3. Gran Vals 4. El Columpio 5. Vals 6. Danza Mora 7. Danza Odalisca 8. Pepita, polka 9. Rosita, polka Marieta, mazurka Mazurka,in G major Adelita, mazurka Las dos hermanitas, vals Minueto Paquito, waltz in C major Isabel, vals for guitar Fantasy on Themes from Arrita's Marina Carnival of Venice. Recuerdos de la Alhambra 3. Alborada 4.
Tango 5. Prelude No. Etude No. Cramer Gran jota. He can breathe new life into an innocent little piece that most of us gave up playing years, decades, even generations ago. Some of Tarrega's pieces come into that category. Russell lavishes his battery of skills on every innocuous phrase, every mundane harmonic progression, as if his life as well as Tarrega's reputation depended on it. It is not sleight of hand - it's all in the music, if you care to look.
Boring performances of Tarrega are the fault of the player, not the composer. This is one of the best CD's I've purchased in the last five years. Not only are all of his works here on two discs, but there are works that I haven't ever found on any other discs. Notably, the Gran Jota variations are found in this set.
These variations comprise of almost 11 minutes of one of the greatest guitar compositons you will ever hear! Larry C. Carnival of Venice CD2 1. Gran jota "More than any other guitarist, David Russell understands the art of musical mouth-to-mouth resuscitation.
Etude for guitar No. 20, Estudio brillante de Alard
Estudio brillante de Alard (Tárrega, Francisco)
Often, fingers are placed too early or too late, and both situations either overexert the fingers, the nerves, or worst of all, the musical intent. Arpeggios are, after all, broken chords. Sequential planting of the left-hand fingers is a skill that choreographs left hand movement to a deeper and more subtle level than simply grabbing at the next chord frantically at the start of a measure. Here is a simple but effective exercise to help develop the principle of timely left-hand finger placement. Go through each exercise a few times plucking every single note of the arpeggio. Once this feels comfortable and the timing is starting to feel synced with both hands, slur the entering note in time to develop a sense of pulse in the left hand, too. There are infinite ways to expand this concept but one of my favorites is to move into cross-rhythms with accents.