D05 Classical guitar lesson 04

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Jean-François Delcamp
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D05 Classical guitar lesson 04

Post by Jean-François Delcamp » Mon Nov 30, 2015 10:22 am

Hello everyone,
Please start by downloading the latest version of volume D05.
If you are new to the course, please read this message to familiarize yourself with the conditions for participating in the lessons. You should also read the first message in lesson 1, where you will find advice on how to make the most of your study time and on the methods of practising that I recommend.



Now we are going to work on a series of exercises:
- page 131 Jean-François DELCAMP (1956) EXTENSIONS
Play this left-hand exercise trying to leave your fingers in place on the strings as long as you can, as I show you in the following video. If the stretches between your fingers feel too much for you, you can make it easier for the left hand by using a capo so that you play on the higher frets which are closer together and your fingers will not have to stretch so far apart. Avoid bending your left wrist, as this not only hurts, but also hinders the mobility of your fingers. Aim for the position (of the guitar neck, your elbow and your shoulder) which will allow you to play without bending your left wrist, as shown in the following video. You will be able to play this exercise more effectively if you place your left thumb below your ring finger, i.e. below the third fret.

Youtube



- page 148 Degli arpeggi 48-98
Mauro Giuliani is the first teacher to have published a systematic study of arpeggios ( http://www.guitareclassiquedelcamp.com/ ... liani.html : Opus. 1 - Studio per la chitarra, Prima parte : 120 arpeggi). I recommend that you practise a few arpeggios each day and change them regularly with the aim of studying all of them in two years. You can listen to the mp3s of the 120 arpeggios recorded by Marco Cairone here: http://www.chitarraclassicadelcamp.com/ ... 32&t=25253 .


Don't forget, thoughout the year, to work on scales (pages 136 to 142) several times per week.
Page 142, I suggest some varied rhythms which will help you to achieve greater speed.


Today we'll look at 5 pieces.
- page 8 Luys de Narvàez (ca. 1500-1555) Tres Diferencias por otra parte
These diferencias, or variations, follow on from the "Diferencias sobre guardame las vacas" which we studied in lesson number two. Here the key is D minor and each of the 3 variations consists of a total of 10 bars broken up into (4)+(4+2) bars. An increasing number of hemiolas appear at the end of each variation. The shorter note values occur in the middle voice in the first variation, the upper voice in the second, and the lower and then all three voices to finish.

Youtube


Youtube



- page 29 Jean-Baptiste Besard (1567-1625) Ballet
Each phrase begins with an upbeat in the fourth beat. Bars 9 to 13 are repeated as a division in bars 14 to 18. A division is a variation where the same theme is repeated in shorter note values, owing to the addition of notes of ornamentation between the original notes. In the following illustration, the added notes are circled.
Image

Youtube



- page 50 Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
Here the range of pitch (from the lowest to the highest note, sometimes also called the ambitus or compass) is one of the two key elements. The other key element of this allegro is the expression of duality on several levels: two sections (AABB), two tempi, two voices, etc. Each phrase is repeated a second time, either exactly or with a small variation. In the first two phrases the range of pitch decreases gradually: the treble notes descend while the basses rise. In bar 1 the range is 2 octaves, and it decreases eventually to 1 octave by bar 4. Likewise from bar 5 to bar 8. Then Brescianello reverses the process: he starts bar 9 with a unison, then the bass descends while the treble goes up to finish with a wider range. Bars 9 to 16 give the feeling of two successive waves and then, in his search for duality, Brescianello introduces a brief lull in bars 17 and 18. He concludes in bars 19 to 23 by returning to the energy and the jubilation of the allegro. Still seeking duality, Brescianello introduces the second key of D major for his second section, which repeats the phrases of the first while enriching them with the new phrase of bars 32 to 35.

Youtube



- page 67 Matteo Carcassi (1792-1853) Etude XVI opus 60
Here the melody evolves within a small range of pitch. The melody is played almost exclusively on the first string using rest stroke. The accompaniment occupies the free spaces between the melody notes. Accompaniment and melody are always distinct, and their meeting, on the third beat of the last bar, brings the étude to a close.

Youtube


Youtube



- page 114 João Guimarães (Pernambuco) (1883-1947) Sons de carillhões
The maxixe is sometimes called the Brazilian tango.
The first section in D major is based mostly on the use of 3 chords: D major, E minor and A seventh. In bars 13 and 14 we find a diminished chord arpeggio, like those we've come across in lesson number 3, in the Preludio en ré mayor by Juliàn Arcas (1832-1882). The second section modulates into the key of G major, that is to say the subdominant of D major, the main key of this chôro. At the beginning of this second section the rhythm which was that of the accompaniment (one eighth note [quaver] - 2 sixteenth notes [semiquavers]) becomes, in bars 18 and then 26, the rhythm of the main part.

Youtube


Youtube


Youtube



I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 50 Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
- page 114 João Guimarães (pernambuco) (1883-1947) Sons de carillhões




Good luck!


I thank Geoff (GeoffB) who has helped in the translation of my lessons into English.


Jean-François


Exam qualifying submissions: :
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

ChrisCapener
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

Loiseng Kee
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

John Montes
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

Eric de Vries
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

Giuseppe Gasparini
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

Michele Franceschini
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

Satyajit Kadle
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões
:( + ♫ = :)

ChrisCapener
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Re: D05 Classical guitar lesson 04

Post by ChrisCapener » Sun Dec 06, 2015 7:18 am

Hi Everybody,

My first offering of the Allegro de la Partita VII, the next piece on p114 looks like a major challenge for me and I have never played it before so I had better get on to it


Youtube


:merci:

Loiseng Kee
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Re: D05 Classical guitar lesson 04

Post by Loiseng Kee » Mon Dec 07, 2015 4:18 pm

Hi Chris,
Ur advice was crucially. I think gotta submit the allegro first and concentrate in the other music. One gentle reminder, for early music, ornaments normally come from higher note first.

Dear all,
Here is my Allegro, the another music should be ready next week, I guess.. Pls feel free to comment as usual. :merci:


Youtube

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Satyajit Kadle
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Re: D05 Classical guitar lesson 04

Post by Satyajit Kadle » Tue Dec 08, 2015 9:05 am

Well done, Chris. Those finger jumps in between bars is not easy. Loiseng, superb control and tempo. I noticed you're playing g# instead of g in bars 38 and 42.

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Giuseppe Gasparini
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Re: D05 Classical guitar lesson 04

Post by Giuseppe Gasparini » Tue Dec 08, 2015 9:52 am

Hi Chris,bravo,the next piece is complicated :bravo:

Hi Loiseng,bravo, good technique, beautiful sound, some read error :casque: :bravo:

:bye:

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Re: D05 Classical guitar lesson 04

Post by Loiseng Kee » Tue Dec 08, 2015 11:56 am

Oh yeah. Satyajit n Giuseppe, thank for ur reminder. I make a serious mistake.... hopefully... I got time correct that, n record again! Pls let me know if there are more errors u spot.

Many thanks.

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John Montes
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Re: D05 Classical guitar lesson 04

Post by John Montes » Tue Dec 08, 2015 2:21 pm

Hi Chris you are making nice progress, the piece can be challenging in several areas :okok:

Loiseng -- Very well executed and use of dynamics, great job :bravo:
I think Satyajit mentioned measures 38 & 42, also check for the C natural in the first Diminished chord of m17 & m18 as well, the recording has C# giving it a 9th chord sound/flavor.

In m20 watch for the A natural at the beginning on the E string, I think the recorded note was E on the B string.
After the reading error/adjustments you will have the piece mastered.

Hoping to upload a recording later this evening.
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Loiseng Kee
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Re: D05 Classical guitar lesson 04

Post by Loiseng Kee » Wed Dec 09, 2015 1:06 am

Hi John, really thanks for the reminder too. Without urs helps, i should never discover all these errors. Finally i decided to make admendment immediately before it become my bad habits. Here is the version after i make admendments, still bumps here n there. Pls feel free to comments, especially reminding me from mistakes. Many thanks!!! :merci:


Youtube

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John Montes
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Re: D05 Classical guitar lesson 04

Post by John Montes » Fri Dec 11, 2015 5:26 am

Finally have some recordings ready, there's definitely room for improvement :-)

Brescianello-Allegro de la Partita VII

Youtube


Guimarães-Sons de Carillhões

Youtube
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2012 Cordoba C7
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John Montes
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Re: D05 Classical guitar lesson 04

Post by John Montes » Fri Dec 11, 2015 5:27 am

Hi Loiseng, the 2nd version is much improved, you fixed those issues very quickly :chitarrista:
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Re: D05 Classical guitar lesson 04

Post by EricKatz » Fri Dec 11, 2015 12:00 pm

Very good, John! Bravo!

jean-michel bongiraud

Re: D05 Classical guitar lesson 04

Post by jean-michel bongiraud » Fri Dec 11, 2015 2:14 pm

Hello John , Loising and Chis !
you have worked well and quickly!
I was pleased to hear you !!
good continuation
jean michel
I'll post you one of my recording when it's okay !!


Hello John, Loising and Chis !
vous avez bien travaillés et rapidement !
j'ai eu plaisir à vous entendre !!
bonne continuation
jean michel
je vous posterai un de mes enregistrement quand ce sera correct !!

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Giuseppe Gasparini
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Re: D05 Classical guitar lesson 04

Post by Giuseppe Gasparini » Fri Dec 11, 2015 2:35 pm

Hi Loiseng :bravo: :bye:

Hi John all very well played :casque: :bravo: :bye:

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Marko Räsänen
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Re: D05 Classical guitar lesson 04

Post by Marko Räsänen » Sat Dec 12, 2015 9:51 am

:bravo: John!

Splendid job! Aside from occasional buzz it's hard to find anything to improve in those performances.
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Re: D05 Classical guitar lesson 04

Post by EricKatz » Sat Dec 12, 2015 10:54 am

Marko Räsänen wrote:it's hard to find anything to improve in those performances.
The Brescianello piece ends with someone yelling at the background (2:45). It sounds like he/she shouts "Bad!". I don't agree :lol:

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