{"id":14394,"date":"2020-02-14T09:54:31","date_gmt":"2020-02-14T17:54:31","guid":{"rendered":"https:\/\/classicalguitarmagazine.com\/?p=14394"},"modified":"2020-02-14T15:09:04","modified_gmt":"2020-02-14T23:09:04","slug":"video-lesson-learn-the-classical-standard-romanza-from-michael-chapdelaine","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-lesson-learn-the-classical-standard-romanza-from-michael-chapdelaine\/","title":{"rendered":"Video Lesson: Learn the Classical Standard \u2018Romanza\u2019 from Michael Chapdelaine"},"content":{"rendered":"

From the\u00a0March\/April 2020\u00a0issue\u00a0of\u00a0Acoustic Guitar<\/em><\/a>\u00a0| BY MICHAEL CHAPDELAINE<\/strong><\/p>\n

THE PROBLEM:\u00a0<\/strong>You\u2019re uncertain about how to embark on playing a somewhat challenging piece, in a way that makes it likely that you\u2019ll play it really well\u2014and that people will want to hear it.<\/p>\n

THE SOLUTION:\u00a0<\/strong>Establish some useful protocols for making a beautiful, expressive, and logical interpretation of a classical guitar standard.<\/p>\n

So, you want to play a composition like the 19th-century \u201cRomanza,\u201d eh? Well that\u2019s a great idea, as long as you make it beautiful. What? Beauty is subjective! To some extent, yes, but there are some objective aspects about interpreting and performing music, an awareness of which will make for a better performance of any composition. Of course, knowing more about a piece can always help you play it better.<\/p>\n

Download the sheet music for this lesson\u00a0here<\/a>.<\/em><\/p>\n

CONSIDER THE BUILDING BLOCKS<\/strong><\/h4>\n

Regarding harmony, the preset concept of guitar chords is a fairly modern one in classical music. Chords are harmonic states of being at any moment in the piece. You can identify their quality and make decisions about expression by observing their notes in the vertical plane. Each chord has some kind of emotional energy depending on its quality (i.e., major, minor, diminished, etc.). Dominant seventh and diminished chords create tension that usually resolves when the next major or minor chord occurs. Tension implies that we\u00a0crescendo<\/em>\u00a0(get louder) and resolution implies\u00a0diminuendo<\/em>\u00a0(quieter).<\/p>\n

A\u00a0cadence<\/em>\u00a0is a progression of at least two chords that usually concludes a phrase or section. An\u00a0authentic cadence<\/em>\u2014the most powerful entity in Western harmony\u2014is the V\u2013I progression. The relationship of V\u2013I is that of tension and release, which can be manifested by playing the V chord more loudly than the I.<\/p>\n

Rhythm is the temporal aspect of music\u2014when the notes happen in the horizontal flow of the piece. The smaller a note\u2019s rhythmic value, the shorter it lasts and the sooner the subsequent notes can be played, making the music seem quicker and\/or denser. Although the rhythm is usually fixed by the composer, in a solo context you can modify it by applying brief periods of\u00a0rubato<\/em>\u2014the bending of tempo for expressive effect, either through\u00a0ritardando\u00a0<\/em>(slowing down)or\u00a0accelerando\u00a0<\/em>(speeding up). A\u00a0ritardando<\/em>\u00a0can increase emotional intensity when paired with\u00a0crescendo<\/em>\u00a0and decrease intensity when combined with\u00a0decrescendo<\/em>.\u00a0Accelerando\u00a0<\/em>is almost always used for raising intensity.<\/p>\n

Guitarists have three basic texture types at their disposal:\u00a0monophonic<\/em>, single notes played at any rhythm;\u00a0homophonic<\/em>, more than one note, moving at the same rhythm; or\u00a0polyphonic<\/em>, more than one note, played in different rhythms. For guitar, texture is also about slurs (hammer-ons and pull-offs), dynamics (relative loudness and softness), articulation (how short or long you make any note), and range (encompassed by the highest and lowest notes in a piece).<\/p>\n

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While melody is the most easily observable element (it\u2019s seen here in the up-stemmed notes), it\u2019s also what most guitarists take for granted. The most important tool you have for this element of music is to keep a consistent volume differential between melodic and accompaniment notes.<\/p>\n

Formpertains tohow the music is organized. In the case of \u201cRomanza,\u201d this is in 16-bar sections of contrasting character\u2014more on that in a bit.<\/p>\n

ANALYZE THE SCORE<\/strong><\/h4>\n

Now let\u2019s analyze some of \u201cRomanza.\u201d (Note that the music here is in standard notation only, which is the traditional practice for classical repertoire, but you can download a free PDF that also includes tablature at AcousticGuitar.com.)<\/p>\n

Begin by asking yourself some questions pertaining to harmony. What key is \u201cRomanza\u201d in? Does it modulate, and if so, what key does it ultimately finish in? A scan through the notation reveals that the piece begins in E minor, then modulates to E major in bar 18; the music returns to E minor after bar 34.<\/p>\n

Where are the cadences and how should they direct your expression? There are authentic cadences between measures 10\u201311 and 14\u201315 (both V\u2013i or B\u2013Em) and 23\u201324, 31\u201332, 37\u201338 (V\u2013I or B\u2013E). Play the V chord more loudly than the i or I most times, and with varying degrees of intensity. You can also use\u00a0accelerando<\/em>\u00a0to enhance tension en route to each V, and\u00a0ritardando<\/em>\u00a0as that chord resolves to the tonic.<\/p>\n

How would you characterize the texture shown in the score\u2014and how should that inform your interpretation? The texture is fairly static; there are few slurs, but you can use tone-color changes to add contrast. For example, you might play\u00a0sul tasto<\/em>\u00a0(picking closer to the fingerboard) for the E-minor portions and more\u00a0ponticello<\/em>\u00a0(closer to the bridge) for those in E major.<\/p>\n

What is the form and how can you distinguish the sections? \u201cRomanza\u201d has a simple structure: a 16-bar A section (beginning in measure 1) and a B section (bar 18) of the same length, with an overall scheme of A\u2013A\u2013B\u2013B\u2013A. The E-minor A section is a bit melancholy, while the E-major B section brings optimism and light. So, play B louder than A, and don\u2019t be afraid to push the tempo a little. Because of the joyful brightness of the B section, when the piece returns to E minor, play it a bit more sadly and darkly than at the beginning, and slow down a bit as you come to the terminal bar.<\/p>\n

MAKE IT MELODIC<\/strong><\/h4>\n

The real quest for an expressive, beautiful, and moving performance lies in dealing well with the melody. Being aware of and interested in the melody can start with working in new ways of practicing:<\/p>\n