Before Danzas Argentinas,

[alessandro]

Dear,

What would be a good way - the right pieces, exercises - in order to pave the way for playing the Danzas Argentinas ? I'm actually working on Bach's Partita n°3, Chopin Nocturne 55.  It is really necessary to get a teacher, isn't ? And if I would like to have some kind of a deadline, where would I put it considering practising randomly one hour and a half a day.  In two years, 30 months, three years ?

Kindly

[iumonito]

Hi Alessandro,

I assume you mean Ginastera's.  Great work.  This work is about 6 or 8 minutes long, depending on tempo.  The middle danse is more accessible mechanically and you would be pleased to tackle it first.  Learning speed varies greatly depending on experience and familiarity with the music, but I would tend to think about 50 hours should be enough to get the notes down and another 50 to memorize it well and get the feeling for it.

The outer two dances and more challenging, but very pianistic.  My guess is that 100 hours for each for learning and another 50 each for memorizing and dancing with it.

These are excellent entry points for Ginastera.  He also has some preludios criollos and variations on popular children's songs, but they are not necessarily easier, so I would start with la donosa and then do the other two (I think the first slightly easier than the third). 

After you do this, you are going ot want to do the Malambo and the first sonata.

You may learn it faster with a teacher.

Arriba, gaucho!

p.s., if you are fanatic for exercises, for one and three you can isolate little chunks and treat them as a hanon exercise, move it up and down the scale, etc.  Seems less profitable for the middle danse.

[crazy for ivan moravec]

Dear,

I'm actually working on Bach's Partita n°3...

Kindly

beautiful work. i played this 2 years ago. fell in love with it.

[nicolaievich]

Great choice Alessandro!
The malambo (the last of the three dances) is pretty challenging. The first two are much more accessible. You can do it for yourself!

Good luck!

[alessandro]

Dear,

It is indeed Ginasteras, Iumonito.
Already thanks for the encouraging reply.
What you said, isolate chunks and treat them as an exercice, is of course a great idea which I didn't dare thinking of as a bad score-reader.  I was more thinking at scores of similar, technically challenging music that can prepare me studying the third dance. I can't think of an example that has this wide, ravaging, roaring characteristic.

Warmhearted greetings,

[barescrotum]

Monteverdirocks learnded them in a week before his college audition at Juilliard and got in because of it.  You suck. 

[montiverdirocks]

Great choice Alessandro!
The malambo (the last of the three dances) is pretty challenging. The first two are much more accessible. You can do it for yourself!

Good luck!

Actually the last piece is the Danza del Gaucho Matrero, which, should you know any Spanish at all, means (roughly) "The Dance of the Skilled/ Cunning Horesman" These pieces are insanely fun to play because they seem really hard but are, in fact, not hard at all. I've played Ginastera's First Sonata, American Preludes, First Concerto, and Danzas Argentinas, and I can attest to the fact that nothing by Ginastera is that difficult, so you should just dig right in and go for them! By the way, maybe you should invest in a grammar teacher (since you were asking about the importance of teachers and such things). You have been practicing, not practising. Don't worry, I also had a bad grammar teacher in school.

[iumonito]

Actually the last piece is the Danza del Gaucho Matrero, which, should you know any Spanish at all, means (roughly) "The Dance of the Skilled/ Cunning Horesman" These pieces are insanely fun to play because they seem really hard but are, in fact, not hard at all. I've played Ginastera's First Sonata, American Preludes, First Concerto, and Danzas Argentinas, and I can attest to the fact that nothing by Ginastera is that difficult, so you should just dig right in and go for them! By the way, maybe you should invest in a grammar teacher (since you were asking about the importance of teachers and such things). You have been practicing, not practising. Don't worry, I also had a bad grammar teacher in school.

I like you kiddo, but do notice that orthography is not part of the realm of grammar.

Alessandro, if you consider yourself a bad reader, the more reason for you to extrapolate your exercises from the piece.  Good reading is often the result of facile comprehension of musical material.  If you become able to understand the intervalic structure of a passage, so that you can play it correctly strating at any note, you will most likely read the same (and similar) patterns more effectively and efficiently.

I should take heed myself and do some of these for my next reading project, the very-hard-to-read frammenti aforistici.

Cheers!

[montiverdirocks]

I like you kiddo, but do notice that orthography is not part of the realm of grammar.

getting off topic for a sec, but you are right; however, proper spelling is essential to good grammar because everything must have a perfectness about it in order to reach perfection

[montiverdirocks]

Monteverdirocks learnded them in a week before his college audition at Juilliard and got in because of it.  You suck. 

Who the he-all are you barescrom anyway? you are very mean. you are a bad person. i don't enjoy you bragging for me. it actually took me a month to learn these gems. they're really fun. you could take a look at the american preludes- a few of them have elements that you could use to build a solid understanding of Ginastera's technique. Good luck.