Suite del Recuerdo Sheet Music
Performance notes for Merlin's Suite del Recuerdo
Evocacion
1. Determine what the melody is and what the accompaniment is. If you were to hum or whistle the piece, you wouldn't hum every single note, you would hum the melody line. Once you distinguish the melody line from the accompaniment, work on bringing out the melody and keeping the accompaniment in the background, behind the scenes. It's there but shouldn't be highlighted. If necessary, listen to recordings of the piece. I recommend Jason Vieaux's recording of it.
2. The melody line should be just that, a line, and not a broken and choppy affair. Make the line flow like water.
3. Determine your options in phrasing. Is a particular phrase leading to something, building up, coming down? Experiment with what feelings you want to convey to the audience and phrase the piece accordingly. Try several different options before settling on your favorite.
4. This piece appears twice in the Suite del Receurdo - consider how you want to present it the second time - perhaps differently than the first.
Joropo
Zamba
Chacarera
1. In the introduction of the Chacarera, you will note several chords with a capital "T" above them. The notes indicate that you are to pluck the notes with the a, m, i fingers as rapidly as possible and the arrow indicates the direction of the finger movement. Spend some time working this out as it is a really cool effect. I think of it as a tremolo technique over more than one string except it is not a continuous tremolo - you just do it once. I find it helpful to mute the 3rd string (if you are using this technique on the first two strings for example) with the right thumb - that way if you hit the third string with your fingers it will not sound. I also find it helpful to not play the notes as rapidly as possible but instead to create a little space between each strum/pluck.
2. I find it helpful to really work this piece hard with the metronome - not so much in the introduction but the rest of the piece. The rhythm should be solid throughout as it provides much of the appeal of the piece.
3. You will also note that in several instances, the recommendation is to strum certain chords with the middle finger. I recommend the index instead as it is easier to follow up with the thumb on the next group of sixteenth notes.
4. After each section of the melody, there is a descending pattern of chords which lead to the more rhythmic portions of the piece. Emphasize the bass notes in the descending lines.
5. In the melody lines, consider emphasizing the quarter notes over the eighth notes.
Carnavalito
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