My reference for this piece is: Judicael Perroy plays Barrios Choro de Saudade on the GSI channel on youtube. There are some critics about. AGUSTIN BARRIOS MANGORE. Chôro da saudade. The Guitar School – Iceland Page 2. Check out Choro de saudade by Béla Bánfalvi & Augustine Barrios Mangore Georgi Moravsky on Amazon Music. Stream ad-free or purchase CD’s and MP3s .
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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.
Analyses of individual works for Classical Guitar and general discussions on analysis. Normal forum copyright rules apply. I’m trying to identify them so I can at least learn something more than “my fingers go in these places on saidade frets in this shape” as I commit this piece to memory.
Chôro da saudade (Barrios Mangoré, Agustín)
They are not chords that I know. I hear 7 chords, diminished, suspended maybe Not just naming them, but trying to understand what they are doing in the piece.
Any help is appreciated. I am using the Stover edition and I am barios the ossia he gives for measure The unreachable chord in measure 28 crossbarremy teacher revoiced and I’m playing it at VI with the Eb on string 5, but that wouldn’t really change its ID When the sun shines, bask.
I had a look at the score – it looks to me as though mm. In some cases where the bassline is descending a whole step from one measure to the next, Barrios takes it down a half step in the middle of the bar to produce a chromatic line.
Personally I would look at this as an alteration of the first chord rather than a true change of harmony – I don’t think the harmony really changes until the next measure. The earlier measures often feature a non-chordal tone that is a semitone off the chord tone it replaces. There is some use of the same device in the bassline – again I don’t think this really gives you two different harmonies.
Bearing those things in mind might make it easier to identify the underlying chords. I’ll take a look at that lesson link when I get to a place with a better internet connection tomorrow. Great lesson on 7ths!
I’m afraid I will have to watch it a number of times more before all that sinks in.
Analysis of Choro da Saudade -Barrios – Classical Guitar
He really rips through that. I think I’ll watch some of his other videos too. I am trying to get to grips with music theory and just wanted to say thanks for the link to the youtube lesson provided in this thread. I will stretch my fingers with the Choro da Saudade and my mind with these youtube lessons. I am grasping for some way to understand what he is doing so I can remember the sequence better.
Barrios Mangoré, Agustín – Choro da Saudade – Classical Guitar
My grasp of music theory is very primitive. That is why I wanted to understand the choice of chords in this section. Then perhaps I would recognize it the next time I see it.
If you ask yourself what note you would expect the piece to end on, if it were to end at the first possible opportunity, squdade note is what you perceive as the tonal centre at that point it may be better to call it the root of the chord that defines the tonal centre. If there is no answer to that question, we may be in freefall — a chain of saudave sevenths might create that effect, but then again we may only be going round the same arc of the circle of fifths that defines the scale if you look at any 7-note arc, you will find that the notes it includes always make a natural scale, i.
If we are going to stay with the circle of fifths for the length of the arc but still get back where we started, one of the chords will have to be different — otherwise the chain will overshoot by a semitone and will then continue on around the circle.
In the end the reason for this is the same as the reason for the semitones in the scale and many of the issues around temperament — the fifth does not fit neatly into the octave.
Having a road map that they were moving in the circle means I could start to name them and then start to associate the shape with a particular seven chord. The way I was remembering the sequence was by where the bass line was going.
However, I always want more than one road sign to follow! I did get used to the scordatura I would sing the note names as I played the bass line separately and that helps a lot. Board index All times are UTC.