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Hi, Welcome to my project. For my whole project, I would like to record several different types of classes, such as individual class, group class, and master class. After recording, I will summaries the note about what did the teacher say in this class and what I can learn from this class. This is Weekly Update 7.
In this masterclass, Valeria Galimova took the class with Zoran Dukic and played the first movement of Sonatina Meridional for Guitar by Manuel María Ponce.
Zoran Dukić
Zoran Dukić (born 1969 Zagreb) is a Croatian classical guitarist. Between 1990-1997 Dukić won more competitions than any other guitarist. He started to play the guitar at the age of six. He graduated from the Music Academy of Zagreb with Darko Petrinjak and completed his studies with Hubert Käppel at the Hochschule für Music in Cologne, Germany. He also performs in the Trio de Cologne. He teaches at the Koninklijk Conservatorium in The Hague and at the Escola Superior de Música de Catalunya in Barcelona. In his “tour de force” competition years (1990-1997) Zoran Dukic has won an astonishing number of competitions. He is the only guitarist to have won both “Andrés Segovia” competitions, in Granada and in Palma de Mallorca. Showing astounding mastery in a wide variety of musical periods and styles he has also won competitions dedicated to “Fernando Sor”, “Manuel Ponce”, “Manuel de Falla”, “Francisco Tárrega” among others. In the greatest Spanish guitar competition in Madrid, patronized by the Royal Family, he was awarded, in addition to the first prize, the special prize for the best interpretation of Spanish music (first time awarded to a non-Spaniard).
Manuel María Ponce Cuéllar (8 December 1882 – 24 April 1948) was a Mexican composer active in the 20th century. His work as a composer, music educator and scholar of Mexican music connected the concert scene with a mostly forgotten tradition of popular song and Mexican folklore. Many of his compositions are strongly influenced by the harmonies and forms of traditional songs.
Sonatina Meridional.pdfSonata Meridional is the last guitar solo Ponce wrote for Andres Segovia in Paris in 1932. It features a vast multitude of musical styles — folk, neoclassical, neo-romantic and impressionist. The story goes that Ponce included many Spanish folk elements and composed the piece in “Sonatina” from at the urging of Andres Segovia. These elements are most evident in the titles of the three movements — “Campo”, “Copla”, and “Fiesta”.
From the beginning, Dukić said the first chord in measure 3 is really difficult, so he gave Galimova an idea: ignore the bass and change it to D. In this way, the chord becomes easier and will not cut the phrase. From mm 7-11, Dukic said the fingering on the score is very strange but wherever he went, all students played this fingering which makes him really confuse and angry. He changed the fingering to make it easier to play and make the notes have the same color also make it sounds more musical. He said, fingering is not just Galimova’s problem, it is everybody’s problem. We are lazy to consider the fingering, so we just use the score’s fingering but never consider if it is good. In mm 17-20, it has very Spanish harmony and rhythm. To play this better, we should practice two aspects. In technical, Dukic suggested Galimova to practices slurs as twice because play two times could help us to control it. In rhythmical, imaging there are two accents. In long-phrase, for example, 8 measures phrase, we need to find the center of phrase and play this note legato to make the phrase more musically. Dukic said, Ponce is really good at harmony, and his harmony has its function. He always had really good harmonic chord progression, for example in the development movement of this sonata. From mm 25-36, Ponce has much rich harmonic so Dukic said we should play this phrase rich and following the dynamic on the score and should be played brilliantly. From mm 51-58, this phrase has a simple melody, so we need to avoid the voice crossing. It is better to play all melodies on the same string to avoid the chord. From mm 67, it has “a tempo” sign, Dukic said we need to play this phrase forte, and emphasis the bassline. From mm 96-114, Dukic pointed out the melody line in this phrase, and we need to emphasize and connect these notes.
This is the last weekly update of my project, so that's the end of my project. Hope you all learned something new about it. Practicing is still a long way to go, I hope we can all find our love in it. Thanks for your guys following me, take care, Bye!
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