D05 Classical guitar lesson 07

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Jean-François Delcamp
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D05 Classical guitar lesson 07

Post by Jean-François Delcamp » Tue Feb 28, 2017 4:36 pm

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're going to work on a study:
- pages 156, 157 Agustín Barrios Mangoré (1885-1944) Estudio del ligado
Do your best to obtain an even volume whichever way the note is produced, whether by plucking, hammer-on (ascending slur) or pull-off (descending slur). Of these three ways of producing the sound, it is the note produced by the hammer-on (ascending slur) which demands the most energy. When you first start practising this, emphasize the hammer-ons forcefully, while playing the plucked notes and pull-offs gently.

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Today we'll look at 5 pieces.
- page 5 Alonso Mudarra (1510-1580) Gallarda
I recommend that you stress beats 2 and 3 only lightly, then give full emphasis to beat 1, in order to clearly bring out the stress on the 1st beats, that is to say on all the dotted half notes (dotted minims). The dance ends with hemiolas in bars 22 and 23. In these two bars, the stress changes, falling on each half note (minim).

Youtube



- page 34 Gaspar Sanz (1640-1710) Pavanas Por La D, Con Partidas Al Aire Español
In Gaspar Sanz's time, European guitarists notated chords with a system whereby letters of the alphabet symbolised the positions of the fingers on the fingerboard of the guitar. These finger positions served to produce the usual chords. This system is called "alfabeto italiano": http://www.guitareclassiquedelcamp.com/ ... liano.html. Under this system, the chord of A minor is represented by the letter D. Hence the title of these pavanes in A minor.
In bar 16 you will notice the presence of a double cross or # above the staff. This symbol indicates to the player that he should play the note or notes under the symbol with vibrato.
In the last section, Gaspar Sanz makes frequent use of campanella passages, in order to give an effect of prolonged resonance to the notes of the scales, somewhat in imitation of the harp. I have indicated the fingerings which will allow this harp effect to be achieved in the scales.

Youtube


Youtube



- page 82 Napoléon Coste (1806-1883) Etude I opus 38
While the bass is present throughout on the strong beats, the treble part falls on the weak parts of the beat. Practise phrase by phrase, each phrase starting with an upbeat on the second beat and ending on the first beat. The phrase structure of the study is of 4 bars. Napoléon Coste breaks the phrase structure between bars 24 and 30, and again from the end of bar 38 to bar 43.

Youtube



- page 89 Francisco Tàrrega (1852-1909) Làgrima
Here we are in the presence of a masterpiece of the classical guitar repertoire. This prelude, in the key of E, has a marvellous ringing quality. Tàrrega, as always, makes admirable use of the guitar's possibilities. The only serious technical difficulty concerns bars 5 and 6. In these bars, the barrés require a muscular force which takes a long time to develop, so I suggest an alternative, less demanding fingering without barrés. Bring out the melody in the upper voice by a stronger free stroke, or a rest stroke, on the first string. In bar 9 the acciaccatura (the small note) is produced by rapidly sliding the second finger from the G to the C. This C represented by the small note is followed immediately afterwards by the same C, played with rest or free stroke, as I demonstrate in the following short video.

Youtube


Youtube



Julio Sagreras (1879-1942) Lecciones III n°6
To get an even sound in the triplet slurs, it is necessary to concentrate on the hammer-on. The hammer-on demands energy and concentration, while it is easy to get a clear sound from the pull-off which follows it. Practise these slurs slowly, accentuating the volume of the notes produced by the hammer-ons, as I demonstrate in the following short video extract.

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 89 Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Leccione III n°6




Good luck!


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


Jean-François


Exam qualifying submissions: :
Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Lecciones III n°6

Rick Beauregard
Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Lecciones III n°6

Angela Zhao
Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Lecciones III n°6

Stewart Doyle
Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Lecciones III n°6

vincent martin
Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Lecciones III n°6

Esteban Crespi
Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Lecciones III n°6
:( + ♫ = :)

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Rick Beauregard
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Re: D05 Classical guitar lesson 07

Post by Rick Beauregard » Tue Feb 28, 2017 6:07 pm

I first learned Lágrima some 35 years ago, and it has remained one of the most played pieces in my repertoire. I will go for first to post for this lesson [I know, its not a race...] by presenting my most recent recording of it, recorded Saturday.


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Esteban Crespi
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Re: D05 Classical guitar lesson 07

Post by Esteban Crespi » Wed Mar 01, 2017 9:51 am

Bravo Rick, you play it really beautiful, it sounds "Round", almost perfect.

I love this piece, I'm really happy I'm going to learn it this month!

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Rick Beauregard
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Re: D05 Classical guitar lesson 07

Post by Rick Beauregard » Wed Mar 01, 2017 5:32 pm

: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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Angela Zhao
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Re: D05 Classical guitar lesson 07

Post by Angela Zhao » Thu Mar 02, 2017 1:38 am

Hi Rick
:bravo: You are so quick!
Watch your video,I find on M11 I paly it in different fingers, but you play the same as Delcamp. I'll change my fingers.
and your tone is very sweet. :bye:

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Bea
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Re: D05 Classical guitar lesson 07

Post by Bea » Thu Mar 02, 2017 4:20 pm

Rick Beauregard wrote:I first learned Lágrima some 35 years ago, and it has remained one of the most played pieces in my repertoire. I will go for first to post for this lesson [I know, its not a race...] by presenting my most recent recording of it, recorded Saturday.
Well well, I was out of delcamp for a while. Nice to see Rick here playing beautifully! Congratulations for persevering with the lessons and making it to level 5. All the best to you Rick!

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Rick Beauregard
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Re: D05 Classical guitar lesson 07

Post by Rick Beauregard » Thu Mar 02, 2017 5:57 pm

Wow Bea! Thanks. We've missed you! Are you back? Still playing I hope?
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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Bea
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Re: D05 Classical guitar lesson 07

Post by Bea » Thu Mar 02, 2017 10:39 pm

Hi Rick, yes I am back! I didn't play much for a while. I don't have plans to follow online lessons now. But I am going to practice on my own whatever I learned from Mr Delcamp before. I will be around, nice to keep in touch!

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Rick Beauregard
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Re: D05 Classical guitar lesson 07

Post by Rick Beauregard » Fri Mar 03, 2017 1:27 am

Angela Zhao wrote:Hi Rick
:bravo: You are so quick!
Watch your video,I find on M11 I paly it in different fingers, but you play the same as Delcamp. I'll change my fingers.
and your tone is very sweet. :bye:
Quicker than you this time Angela! A first!

If you are talking about M10, I did change the fingering. I think Prof. Delcamp's fingering is better to avoid squeaks, but I find using 1-4 instead of 2-4 is more secure for me. Thanks for your comment!
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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John Montes
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Re: D05 Classical guitar lesson 07

Post by John Montes » Fri Mar 03, 2017 2:20 am

Rick Beauregard wrote:
very nicely played Rick, liked it a lot :bravo:
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vincent martin
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Re: D05 Classical guitar lesson 07

Post by vincent martin » Sun Mar 05, 2017 2:59 pm

Rick Beauregard wrote:my most recent recording of it, recorded Saturday.
Hi Rick, that was quick; and nicely played, :casque:
D05 - French Forum

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Angela Zhao
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Re: D05 Classical guitar lesson 07

Post by Angela Zhao » Wed Mar 08, 2017 9:28 am

Hi classmate

This is my assignment,thank you watch it and give comments.
Francisco Tàrrega (1852-1909) Làgrima

Youtube


Julio Sagreras (1879-1942) Lecciones III n°6

Youtube


:merci:

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Rick Beauregard
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Re: D05 Classical guitar lesson 07

Post by Rick Beauregard » Wed Mar 08, 2017 4:48 pm

Brava Angela! I am always impressed with how quickly you learn pieces, and you are working in multiple lessons!

Your dynamics on Lagrima were very nice. In the Segraras piece you might work on your hand position when practicing ligados. You tend to open your hand and your pinky is too far from the fretboard taking your hand out of ideal position. Pull off with the little finger not the wrist. It's very hard, which is why two pieces this month focus on this skill.

There are minor rhythm issues in the B section. But you play this piece very well.
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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Angela Zhao
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Re: D05 Classical guitar lesson 07

Post by Angela Zhao » Fri Mar 10, 2017 4:20 am

Hi Rick
Thank you give me comments,
Yes,you are right, my pinky is short and not very straight, so when use this finger,it'll damage my play,maybe it's my bug.
but I still need to practice, pull off it,and do it with my best.
And you know, somtimes I have to aviod use it, in order to let the whole song fluent and sound good. :wink:

Thank you very much!

Stewart Doyle
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Re: D05 Classical guitar lesson 07

Post by Stewart Doyle » Sat Mar 11, 2017 5:58 pm

:bravo: Rick and Angela

Rick - very nice Lagrima, it's how I try to play it. Nice use of colour by varying the position of the RH. I can never bring myself to play too near the bridge and sometimes play it almost on the 12th fret for an extra (overly?) sweet sound. The ritando at the end was well done too.

Angela - like Rick I'm also amazed at how soon you can play these pieces. I've played Lagrima for years off and on, but as I demonstrate so well with the Sagreras below, really struggle to quickly pick up a new song. On your Lagrima, I would like to hear the main melody brought out a little more and some more rubato. I think it would help to soften,(make quieter), the last 5 notes in bars 2 and 4, compared to 1 and 3. For the Sagreras, which is so much better than I can manage, I think one of the rhythmic issues that Rick means is the last two (double) notes of bars 21, 23 etc. where they should be of equal length. In playing the slide, you shorten the first notes too much.

So here are my attempts. The Sagreras is not a pleasant listen but I think I will concentrate on that rather than Lagrima for the rest of this lesson. Aside from the problems sight-reading it, I think the Sagreras exposes some real issues with my technique and versatility of playing. I find the pull-offs in 21 and 23 quite a challenge, the 3rd finger tends to interfere with the pull-off. Needless to say it needs to be twice as fast! :oops:

Francisco Tàrrega (1852-1909) Làgrima

Youtube


Julio Sagreras (1879-1942) Leccione III n°6

Youtube
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