D05 Classical guitar lesson 08

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Jean-François Delcamp
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D05 Classical guitar lesson 08

Post by Jean-François Delcamp » Wed Mar 22, 2017 7:57 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're going to work on a study:
- pages 154, 155 Francisco Tàrrega (1852-1909) Estudio en mi mayor
In the company of Tàrrega, we're going to pay a visit to fret XIX and play a top B, in bar 29. To reach this part of the fingerboard more easily you can raise your guitar up by adjusting your guitar support or your footstool to its maximum height. The path of the thumb under the neck is as follows:
1) The thumb starts off beneath the third string, opposite the middle or ring finger.
2) Then, the more the hand is moved towards the soundhole, the closer the thumb gets to the first string.
3) Finally, as you move towards the highest notes, the thumb is placed on the edge of the fingerboard, as I show you in the following short videos.

Youtube


Youtube





Today we'll look at 4 pieces.

- page 47 Johann Sebastian Bach (1685-1750) Prelude BWV 1007
The first 4 bars establish the key. They present in succession D major, G major (with a D bass), A major 7th (with a D bass), and D major. That is to say, a succession of the tonic, subdominant, dominant and tonic. The tension increases from bar 1 to bar 3, reaching its maximum in bar 3, because of the presence of the dissonant interval D-C#. This increasing tension may be expressed with a crescendo. The tension disappears in bar 4, with the resolution of the dissonant interval by means of a fully consonant octave interval, D-D. We then have various modulations, into A major from bar 5 (G#), E minor in bar 11, B minor in bar 13, and G major in bar 16. From bar 23 there are many scale passages and we notice the presence, in the bass notes, of a pedal note on the A (the dominant), which eventually resolves into a perfect cadence in the very last bar of the prelude. This adaptation for guitar, like many others of this suite, is in D major, a key which offers the advantage that the tonic (D) and dominant (A) correspond to two of the bass strings of the guitar. The few bass notes that I have added are in brackets.

Youtube




- page 54 Niccolò Paganini (1782-1840) Sonata n°4
This short sonata, written with admirable effectiveness, includes a rondo which is light and full of zest. Note the presence of the Alberti bass (bars 5, 6, 7, 10, 11, 20, 21, 22, 23, 48 and 50) which consists in arpeggiating the chords of the accompaniment starting with the root note, followed by the fifth, the third and then the fifth again. This Alberti bass was used particularly during the classical period (Fernando Sor, Mauro Giuliani). The rhythm of the melody is written without specifying the exact lengths of the notes. For instance, in bar 5 the melody consists of the notes played on strings 1 and 2, which, in my opinion, should sound like this: D dotted quarter note (dotted crotchet), F, E, D quarter notes (crotchets). Similarly in bars 6, 7, 10, 11, 20, 21, 22 and 23. Many composers of the classical period, for example Carulli, frequently notate music in this way, without giving the exact length of the notes of each of the voices making up the polyphony. This simplification of the writing saved space on the paper and made the engraver's work easier.
http://en.wikipedia.org/wiki/Alberti_bass

Youtube




- page 112 Zequinha de Abreu (1880-1935) Amando sobre o mar
This slow waltz from the Brazilian composer Zequinha de Abreu is made up of a melody with an extended range of pitch: from the middle D# (bar 57) to the top A (bar 11). The accompaniment should be played subtly and softly, so as to support the melody without ever drowning it out.

Youtube




Julio Sagreras (1879-1942) Leccione III n°4
Here is an excellent and beautiful tremolo study. Sagreras invites us to begin by using the simplest fingering: pimi, then a more complex one: piai. Once we've mastered these fingerings, we'll go on to use the king of fingerings for tremolo: pami. Evenness of the sound and regularity of the repeated notes are essential in order to give the melody its continuity. Slow practice, together with a search for perfection in the detail, is necessary to obtain this regularity. Every note is important.

Youtube




I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 47 Johann Sebastian Bach (1685-1750) Prelude BWV 1007
- pages 154, 155 Francisco Tàrrega (1852-1909) Estudio en mi mayor




Good luck!


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


Jean-François


Exam qualifying submissions: :
Johann Sebastian Bach (1685-1750) Prelude BWV 1007
Francisco Tàrrega (1852-1909) Estudio en mi mayor

Angela Zhao
Johann Sebastian Bach (1685-1750) Prelude BWV 1007
Francisco Tàrrega (1852-1909) Estudio en mi mayor

Esteban Crespi
Johann Sebastian Bach (1685-1750) Prelude BWV 1007

Rick Beauregard
Johann Sebastian Bach (1685-1750) Prelude BWV 1007
Francisco Tàrrega (1852-1909) Estudio en mi mayor

vincent martin
Johann Sebastian Bach (1685-1750) Prelude BWV 1007
Francisco Tàrrega (1852-1909) Estudio en mi mayor
:( + ♫ = :)

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Rick Beauregard
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Re: D05 Classical guitar lesson 08

Post by Rick Beauregard » Fri Mar 24, 2017 11:00 pm

Hi everyone. Another great lesson! Again I have to admit to seeing the assigned pieces in a previous life. I learned the Tarrega etude years ago, and took on starting the Bach 1007 last summer, but never finished. So I am essentially re-learning both.

Regarding the prelude, I previously used 2 or three other editions and sort of made a hybrid. I like those with a D tuning to get those low cello tones. I also prefer using slurs where they are marked in the Delcamp score and other places. JFD plays without slurs and a comment from last year's lesson said that these marks are intended not to be pull offs but cello bowing indicating legato (or was that ligado?). Anyway, I feel a transcription to another instrument (especially Bach) should take advantage of the qualities of that instrument. I prefer the legato of ligado. About half of last year's students chose to play it that way too. I do prefer most of JFDs fingerings to others I have tried. I suppose if this piece becomes the final exam piece, I would reconstruct the JFD transcription, which I am sure sticks close to the cello version. Otherwise I'll play it "my way" with humble apologies to Bach and to JFD.
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Angela Zhao
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Re: D05 Classical guitar lesson 08

Post by Angela Zhao » Sun Mar 26, 2017 1:08 am

Hi classmate
BWV 1007, on M29-30, why not play open string, the open string notes are all play on the sting?
is that Bach style?
:merci:

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Rick Beauregard
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Re: D05 Classical guitar lesson 08

Post by Rick Beauregard » Sun Mar 26, 2017 5:23 am

I like that idea. It would give it more of a campanella, bell-like sound.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
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National Triolian Uke ca.1930
Almost as many fly rods as guitars
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vincent martin
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Re: D05 Classical guitar lesson 08

Post by vincent martin » Sun Mar 26, 2017 3:27 pm

Rick Beauregard wrote:I prefer the legato of ligado
So di I after trying both ways. However I think the JFD proposed interpretation is better to work the right hand - remember this fingering too. I therefore didn't make my choice yet; and still have a lot to do on this piece

:casque:
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vincent martin
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Re: D05 Classical guitar lesson 08

Post by vincent martin » Sun Mar 26, 2017 3:30 pm

Angela Zhao wrote:Hi classmate
BWV 1007, on M29-30, why not play open string, the open string notes are all play on the sting?
is that Bach style?
:merci:
No sure if this is Bach style, usually; I prefer to avoid mixing open strings to have a consistent sound, unless this helps for speed (e.g. in some Barrios) Here the left hand seems to be able to tackle well the JFD fingering, I made my choice
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Re: D05 Classical guitar lesson 08

Post by vincent martin » Sat Apr 01, 2017 4:02 pm

What a difficult lesson, I'm not ready to publish anything yet .... but really enjoy the compositions, particularly Amando sobre o mar
what about you?
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Rick Beauregard
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Re: D05 Classical guitar lesson 08

Post by Rick Beauregard » Sat Apr 01, 2017 4:32 pm

I've been focusing on the assigned pieces but have read through Amando a couple times and I love it. I could post the prelude and estudio now playing all the way through but with considerable stop and starting.
Last edited by Rick Beauregard on Sat Apr 01, 2017 8:22 pm, edited 1 time in total.
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 08

Post by John Montes » Sat Apr 01, 2017 5:32 pm

Amando Sobre o Mar is probably my favorite of this lesson from a heart-warming romantic perspective, I didn't learn it when I went through D05, I but I have stared working on it recently.

The Tarrega scale study is a nice melodic composition that will get you moving all over the fretboard.

The Bach prelude, what can I say, a classic that every guitarist should know.
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Angela Zhao
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Re: D05 Classical guitar lesson 08

Post by Angela Zhao » Sun Apr 02, 2017 8:30 am

Hi classmate

This is my assignments,sorry for several mistakes.

And I also like the Amando Sobre o Mar , I feel the song has some jazz style, or bule one,with some sombre, it's just my opinion. :)

Johann Sebastian Bach (1685-1750) Prelude BWV 1007

Youtube


Francisco Tàrrega (1852-1909) Estudio en mi mayor

Youtube


Julio Sagreras (1879-1942) Leccione III n°4

Youtube


Thank you give comments. :merci:

Esteban Crespi
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Re: D05 Classical guitar lesson 08

Post by Esteban Crespi » Sun Apr 02, 2017 11:36 am

Very impressive Angela. All the pieces are beautifully played. :bravo:

Just a comment on Sagreras. The tremolo should sound more regular (and then you will sound like a professional!!) I have the feeling that you are playing the three notes too near each other it sounds more like "Taaa-ta-ta-ta" than "Ta-ta-ta-ta" as it should.

I have recorded Bach as I have it now, light years away from your version. I need to increase the tempo and reduce the errors, but it is a start.

Youtube

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Rick Beauregard
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Re: D05 Classical guitar lesson 08

Post by Rick Beauregard » Mon Apr 03, 2017 12:01 am

Wow Angela! Brava!

As always you learn the notes and left hand fingering so fast! My comments are 1. technical regards the right hand. I think on the prelude you are not always alternating your fingering, playing consecutive notes with the same finger quite often. This is a bad habit for a classical guitarist that will affect not only speed, but flow. I suggest you work on this. I think you may be doing the same on the Estudio but I can tell cause your knee hides your right hand. And 2. Interpretively, you play the prelude nearly a minute faster than JFD (good for you!!!). But I think you could slow it down a bit and give it more feeling. Your dynamics are good!

The tremolo etude is inspiring! I have avoided trying to play tremolo for a long time. Time to dive in.
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: D05 Classical guitar lesson 08

Post by Rick Beauregard » Mon Apr 03, 2017 12:08 am

Very nice Esteban. More time for fluency but you have it. One comment near the end, M40, the notes sound incorrect. Check your spelling one more time!

Maybe I record tonight. It's not ready but oh 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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Re: D05 Classical guitar lesson 08

Post by Stewart Doyle » Mon Apr 03, 2017 9:14 pm

Hi all, I'm a bit behind as I've been away for just over a week, but I was about to mention how I'd noticed that m9 in the Bach is quite tricky as you need to hold the second finger on the low B while you play the rest of the 2 beats (at least). I wondered why the suggested fingering seemed so awkward then realised it was there for a purpose. I had a quick listen to Angela and Esteban up to m9 and noticed that Angela missed this, but Esteban played it as written. Rather as Rick suggested, I'm planning on using some legatos in the first few bars but I think for m9 we have to try to hold that low B to stay truthful to the piece. (Having said that, my slow tempi and numerous 'fluffs' hardly do justice to many of the pieces! :D :oops: )
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Re: D05 Classical guitar lesson 08

Post by Angela Zhao » Tue Apr 04, 2017 8:33 am

Hi classmate
Thank you all comments!
They are all valuable for me.
I'll fix these flaws in future practice. :merci:

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