D04 Classical guitar lesson 07

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Jean-François Delcamp
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D04 Classical guitar lesson 07

Postby Jean-François Delcamp » Wed Mar 02, 2016 8:52 am

Hello everyone,
Please start by downloading the latest version of volume D04.
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.




First we will study some technical exercises from volume D04.
- page 118 Delcamp, Jean-François Scale n°26

Youtube



- page 130, 132 Delcamp, Jean-François Improvisation work - D04
These exercises in improvisation are to be done several times a week, for several months.
Vary the volume (mf, pp, ff, p ...), timbres and rhythms. Never play the same thing twice, because it would cease to be improvisation, and would become composition.

16/ Improvise a melody upon the harmonic sequence of Españoleta.

Youtube


17/ Improvise arpeggios upon the harmonic sequence of Españoleta.

Youtube


18/ Improvise in chords upon the harmonic sequence of Españoleta.

Youtube


19/ play and ornament in the style of the period: Españoleta by Gaspar Sanz, page 16 (D03).

Youtube


20/ make up and play your own divisions on: Españoleta by Gaspar Sanz, page 16 (D03).


Examples of divisions in my PDFs:
D02 pages 40, 41, 42: Ferdinando CARULLI (1770-1841) - VALSE VARIEE Opus 241
The variations are divisions on the valse.

D02 pages 52 and 53: Fernando SOR (1778-1839) - LEÇON VIII & IX opus 60
Leçon IX is a division on leçon VIII.

D03 page 6: Adrian LE ROY (ca. 1520-1598) - PREMIER BRANSLE DE POICTOU
Bars 26 to 48 are a division on bars 1 to 24.

D03 page 9: Guillaume MORLAYE (1510?-1558?) - GAILLARDE
Bars 9 to 16 are a division on bars 1 to 8.

D03 page 14: Francis CUTTING (ca. 1600) - PACKINGTON'S POUND
Bars 9 to 16 are a division on bars 1 to 8. Bars 25 to 32 are a division on bars 17 to 24. Bars 41 to 48 are a division on bars 33 to 40.

D03 page 17: Gaspar SANZ (ca. 1640-1710) - GALLARDA
The second section is a division on the first section.

D04 page 14: Guillaume MORLAYE (1510?-1558?) - GAILLARDE - de "Le second livre de chansons" Paris 1553
Bars 9 to 16 are a division on bars 1 to 8.

D04 page 20: Adrian LE ROY (ca. 1520-1598) - ALMANDE "la mon amy la"
Bars 5 to 8 are a division on bars 1 to 4. Bars 13 to 16 are a division on bars 9 to 12.

D04 page 24: ANONYME (1600) - THE SICK TUNE
Bars 5 to 8 are a division on bars 1 to 4. Bars 13 to 16 are a division on bars 9 to 12.

D05 page 30: Robert JOHNSON (1542-1603) - ALMAN VII
Bars 9 to 16 are a division on bars 1 to 8. Bars 25 to 32 are a division on bars 17 to 24.

D06 page 18: Adrian LE ROY (1520-1598) - PASSEMEZE
Bars 19 to 34 are a division on bars 3 to 18.

D06 page 66: Mauro GIULIANI (1781-1829) - SONATINE opus 71 N°1 - Maestoso
Bars 17 to 32 are a division on bars 1 to 16. Bars 33 to 48 are a division on bars 1 to 16. Bars 49 to 64 are a division on bars 1 to 16.




Finally, we'll look at 4 pieces.
- pages 36, 37 Bach, Johann Sebastian Menuets BWV 1008
This pair of minuets was composed for the cello. At this period musicians would add ornaments to the music when playing the repeats.

Youtube



- page 44, 45 Carulli, Ferdinando Rondo opus 41 n°3
This rondo is based on contrasts:
forte - piano,
question - response
parallel movement (the different voices rise or fall together) - contrary movement (one voice rises while the other falls)
ascending melody - descending melody,
tension (dominant) - release (tonic)
long values (dotted quarter notes/crotchets) - short values (quarter notes/crotchets)
main key (C major, the tonic) – relative key (G major, the dominant)

Youtube



- page 72, 73 Carcassi, Matteo Valse opus 23 n°9
this Valse is based on contrasts:
forte - piano,
question - response
parallel movement (the different voices rise or fall together) - contrary movement (one voice rises while the other falls)
ascending melody - descending melody,
tension (dominant) - release (tonic)
long motifs (several bars) - short motifs (one bar)
minor – major

Youtube



- page 94, 95 Sagreras, Julio Salvador Maria Luisa, Mazurka opus 19
Here we have an accompanied melody. Bring out the melody from the accompaniment. Play the melody with a legato style. Play the accompaniment unobtrusively with a "non legato" or slightly staccato style.

Youtube




I ask you first to work on all these exercises and pieces for one week and then to post your recordings on the forum for:
19/ play and ornament in the style of the period: Españoleta by Gaspar Sanz, page 16 (D03).
- page 72, 73 Carcassi, Matteo Valse opus 23 n°9
- page 94, 95 Sagreras, Julio Salvador Maria Luisa, Mazurka opus 19



Good luck!

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

Jean-François

---

Exam qualifying submissions:

ornament in the style of the period: Españoleta
Valse opus 23 n°9
Mazurka opus 19

Rick Beauregard
ornament in the style of the period: Españoleta
Valse opus 23 n°9
Mazurka opus 19

Haris Karachristianidis
ornament in the style of the period: Españoleta
Valse opus 23 n°9
Mazurka opus 19
:( + ♫ = :)

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CarlWestman
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Re: D04 Classical guitar lesson 07

Postby CarlWestman » Wed Mar 02, 2016 1:59 pm

Whoa. Makes me feel like this.

Image

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Rick Beauregard
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Re: D04 Classical guitar lesson 07

Postby Rick Beauregard » Thu Mar 03, 2016 6:02 am

CarlWestman wrote:Whoa. Makes me feel like this.

Image


:smorfia:

I know, right! I took a peak earlier today at last year's lesson before this was released. But I remind myself, at the beginning of each and every lesson I say, "I'll never be able to play that piece!" And, you know, I am always right!

Haris you maybe should have saved your "mulligan" for later.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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Duang Turongratanachai
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Re: D04 Classical guitar lesson 07

Postby Duang Turongratanachai » Thu Mar 03, 2016 10:32 pm

I'm not even get any piece from lesson 06 ready and it's time for lesson 07 :oops: :oops: :oops:
What should I do....................................?
:cry:

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Rick Beauregard
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Re: D04 Classical guitar lesson 07

Postby Rick Beauregard » Fri Mar 04, 2016 1:21 am

I would keep working on L6 and get them down pretty good. Record what you have now and take a look at your difficult spots. Then record again. L7 looks challenging.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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CarlWestman
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Re: D04 Classical guitar lesson 07

Postby CarlWestman » Fri Mar 04, 2016 3:49 am

I may revisit a couple earlier skipped lessons instead of doing this one. I'll take another listen to the pieces here and see if I like them enough for it to be good motivation to learn them.

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Rick Beauregard
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Re: D04 Classical guitar lesson 07

Postby Rick Beauregard » Fri Mar 04, 2016 4:33 am

CarlWestman wrote:I may revisit a couple earlier skipped lessons instead of doing this one. I'll take another listen to the pieces here and see if I like them enough for it to be good motivation to learn them.


They are awesome pieces. I may hate them in three or four weeks though. One of my personal ambitions has been to be able to play Bach, and here is our first real try at one. Not required, but I may try to learn it anyway.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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CarlWestman
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Re: D04 Classical guitar lesson 07

Postby CarlWestman » Fri Mar 04, 2016 3:35 pm

Rick Beauregard wrote:
CarlWestman wrote:I may revisit a couple earlier skipped lessons instead of doing this one. I'll take another listen to the pieces here and see if I like them enough for it to be good motivation to learn them.


One of my personal ambitions has been to be able to play Bach, and here is our first real try at one. Not required, but I may try to learn it anyway.


You want Bach? Try musescore dot com and look for Bourrée in E minor, BWV 996. I'll PM the link to you.

I have a similar version from some music book that indicated it could be a student duet, with one playing the bass notes and one the melody. Its fingering notations differ, though (perhaps b/c of the duet nature). I walked through this one a couple times but never memorized it. Still, it's on my short list.

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Rick Beauregard
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Re: D04 Classical guitar lesson 07

Postby Rick Beauregard » Fri Mar 04, 2016 5:22 pm

Thanks. I'll have my hands full with lesson 7 for a while but I'll take a look.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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Haris Karachristianidis
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Re: D04 Classical guitar lesson 07

Postby Haris Karachristianidis » Sat Mar 05, 2016 1:43 pm

Duang Turongratanachai wrote:I'm not even get any piece from lesson 06 ready and it's time for lesson 07 :oops: :oops: :oops:
What should I do....................................?
:cry:


Skip lesson 6 like I did :lol:

Rick Beauregard wrote:Haris you maybe should have saved your "mulligan" for later.


No Rick, I skipped lesson 6 because I didn't like any piece.. Of course I missed the technical improvement I would get..

Lesson 7 has beautiful pieces!

In Espanoleta we should put the ornaments??

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Rick Beauregard
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Re: D04 Classical guitar lesson 07

Postby Rick Beauregard » Tue Mar 08, 2016 10:15 pm

Haris Karachristianidis wrote:
In Espanoleta we should put the ornaments??


Yes, I think exercise 19 is to play the tune with ornamentation.

Some early impressions. I've worked a little on the Carcassi Valse opus 23 No 9, Maria Luisa, and the Bach Minuets. In the valse, JFD has two boxes around measures 23 and 25, but I think there should be one at measure 12, where we have a very difficult fingering, 4-1 pulloff with 3 holding G. I find it impossible to get any strength on the pull off and get a weak F in the process. Otherwise, this piece is difficult but doable I think. I've divided it into short segments and learning each segment. I think M12 is one of those spots where I need to invent an exercise and just repeat it over and over again to strengthen the pull or with the pinky. I'll let you know what I come up with.

I haven't read through Maria Luisa entirely yet to find the rough spots, or divided it up yet. But again it looks difficult but managable.

Working on the first 8 bars or so of the Bach minuets. I had a hard time reading through this one, so it may take a little longer. Working out and writing down the right hand fingering. I think I'll learn it with out the ornaments and add those later when I have the fingering down better.

Also learning the Espanoleta. This is another piece thrwon in for good measure. I've not looked at the Carulli rondo yet, and probably won't till summer maybe. Too much already.

How is everyone doing?
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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Rick Beauregard
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Re: D04 Classical guitar lesson 07

Postby Rick Beauregard » Wed Mar 09, 2016 12:32 am

A little more analysis on the Valse: it seems like a long piece, but it is just 4 short sections repeated: AA BA BA CC DC DC ABA. Still, it will be a bear recording it all the way through without making any errors.:shock:

I think I've decided for now to play that difficult pull off in M12 by just plucking it and not with a slur. I've listened to a few recordings and some do it this way. Meanwhile maybe my technique will improve and I'll be able to play it "right."
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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Haris Karachristianidis
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Re: D04 Classical guitar lesson 07

Postby Haris Karachristianidis » Wed Mar 09, 2016 9:30 am

Rick Beauregard wrote:I think there should be one at measure 12, where we have a very difficult fingering, 4-1 pulloff with 3 holding G.


I totally agree. When I play this part I feel my fingers are too short. I hope with repetition I will be able to play it better.
Last edited by Haris Karachristianidis on Thu Mar 10, 2016 2:38 pm, edited 2 times in total.

EricKatz
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Re: D04 Classical guitar lesson 07

Postby EricKatz » Wed Mar 09, 2016 11:56 am

Rick Beauregard wrote:I think M12 is one of those spots where I need to invent an exercise and just repeat it over and over again to strengthen the pull or with the pinky. I'll let you know what I come up with.


Try these exercises:

G-F with 4 and 1 only on the first string. No other LH fingers fretted.

G-F with 4 and 1, also G with 3 but "supported" by putting 2 on B (5th string). That gives more power in the pinky!

Experiment also with the position of your left hand. Make the angle between arm and wrist 90 degrees, and stretch your arm a bit forwards. Now the back of your hand is more above the fretboard. [When your hand is under the fretboard/the neck, you got less strength]. I hope this is clear enough without pictures.

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Rick Beauregard
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Re: D04 Classical guitar lesson 07

Postby Rick Beauregard » Wed Mar 09, 2016 3:55 pm

Eric de Vries wrote:
Rick Beauregard wrote:I think M12 is one of those spots where I need to invent an exercise and just repeat it over and over again to strengthen the pull or with the pinky. I'll let you know what I come up with.


Try these exercises:

G-F with 4 and 1 only on the first string. No other LH fingers fretted.

G-F with 4 and 1, also G with 3 but "supported" by putting 2 on B (5th string). That gives more power in the pinky!

Experiment also with the position of your left hand. Make the angle between arm and wrist 90 degrees, and stretch your arm a bit forwards. Now the back of your hand is more above the fretboard. [When your hand is under the fretboard/the neck, you got less strength]. I hope this is clear enough without pictures.


I was hoping you'd chime in Erik. Yes very clear. I'll try it. :merci:
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)


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