The Analysis and Performance Practices of Fernando Sor’s “Grand Solo”

• Main Authors: Kuei-Fang Chen, 陳貴芳
• Other Authors: Ming-Jian Fang, Ph. D.
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/h57afu

碩士 === 國立臺北教育大學 === 音樂學系碩士班 === 103 === Ever since he was young, Sor, "The Beethoven of the Guitar," had begun to arrange some operas into vocal music and guitar music, so he later created works that were varied and abundant. His guitar works were numbered according to style, from OP. 1 numbered to OP. 23, of which the Grand Solo of OP. 14, its tones are quite free, and contains the musical features of the classical period, and is praised as "a work that is comparable with orchestral music." Grand Solo can be split into three major parts: Prelude, A, B, A' and Coda, and is a song in ternary form. Whether it is in the structure of the music, the tempo, or in the harmony, the performer needs to play with a very delicate approach, in order to do in-depth musical performance within the specific details of the music. Also, because through the usage of a large amount of rests in this piece, it creates the tension of the song and also displays the techniques and features of the music. In the allegro section of the Grand Solo, Sor used multiple clusters of fast sixteenth note, which is the key to playing this piece and great skills are also needed. In order to solve these problems, through the reference of many advanced views in the music industry, and combining previous personal performance experiences, the author has made a few suggestions as a reference for performers.