The third step is to understand how linear phrasing works and apply the elements consciously.

The most important element of linear phrasing is that it frees you from the metronomic beat.

You are free to stretch or contract the time to express whatever you wish to express.

You are free to linger on an important note and speed up other notes, all within the context of the subdivisions, again to achieve any effect you want

Here is my recording of Giuliani’s study in e minor.

The finger work is fast but because of linear phrasing, it doesn’t sound fast.

In fact, it’s basically a study based on how to create an illusion of a thick orchestral texture with fast moving filigree work.

The speed is essential to create that illusion but it’s not a speed study.

There’re many subtle rubatos in the playing but they’re all based on a strong rhythmic structure with clear control of the subdivisions.

In general, there’s a lot of freedom at the beginning of phrases, there’s usually a tightening up in the middle and then a loosening again at the end.

In the middle, that’s where the forward motion is strongest so you would need to push it through.

I have heard many attempts to play this same study but they tend to sound rushed and breathless.

That’s because the playing tend to be too metrical. The slavery to the metronomic beat makes the player afraid to take any time with the notes.

This is misunderstanding the work.

The study is basically a slow piece with a series of chords that have been arpeggiated, to create, as I mentioned, an illusion of an orchestral texture.

Posted on Sunday, February 26th, 2023 at 4:49 pm under AOV, AOVguitar, creativity. Follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.