Postby Jean-François Delcamp » Wed Oct 07, 2015 7:49 am
Please start by downloading the latest version of volume D02.
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.
Today, we're going to work on a series of exercises:
- page 72 ex. 1, 2 & 3.
In these right hand exercises, you will work on getting a smooth join between notes, that is to say that you will end one or more notes at the exact moment that you start the following note (or notes).
- page 84 ex. 37 to 41.
Exercises 37 to 40 are for the fingers of the right hand. The (x) sign indicates that the right hand finger is resting on the string (and damping it). Exercise 41 is for the left hand: lean the left hand finger over to damp the adjacent string at the same time as you play the new note.
- page 73 exercise 6.
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.
- page 74 Chromatic scale
Play this scale trying to leave your fingers on the strings as long as possible, as shown in this 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.
Next, we will be working on two pieces with a phrase structure of 4 bars. Phrase structure is the division of the larger musical phrase into parts of equal length, with the most common division being into sections of 4 bars. This division is linked not only to walking, but also to dance, poetry and singing.
- page 9 Fernando SOR (1778-1839) LEÇON IV opus 60
In order to mark the beat yourself, you need to count the smallest rhythmic values out loud as you play, as indicated on the score: "1 e 2 e 3 e 4 e 5 e 6 e" ("1 and 2 and 3 and 4 and 5 and 6" in English)
Using a metronome is useful, but it is only a temporary crutch to lean on. You will benefit far more by counting the beats out loud as you play than by using a metronome. Internalizing the rhythm allows us in time to achieve both freedom and discipline when playing, that is, to be a musician.
If counting the smallest values out loud seems difficult, or very difficult, to you, it only means that you have to persevere, or persevere a lot more. Keep at it with determination until it becomes easy and natural for you. When, after having practised it long enough, this exercise of counting out loud while you play becomes easy, then you don't need to bother with it any more.
When you start working on a new piece, start by working very slowly, concentrating on precision. The essential thing is that you should play the music perfectly, that your rhythm should be precise, your sound well controlled, and your playing musical and expressive.
Speed will come with your new skills acquired in time through work. You should not worry about speed when tackling a new piece. At the beginning, such a preoccupation would only hinder you in your progress. It is only once you have mastered the piece within the comfort of a slow tempo, that you can start to think about playing progressively faster until finally you reach the right tempo.
- pages 12-13 Jean-François DELCAMP (1956) MALAGUEÑA
To mark the beat for yourself, count the beats out loud as you play, as indicated on the score (1 e 2 e 3 e)
i.e. ("1 and 2 and 3 and").
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:
- exercice number 6 on page 73
- exercice number 40 on page 84,
- MALAGUEÑA on pages 12 and 13.
The work I'm asking of you is difficult and requires you to be both organized and disciplined. It is certain that you will struggle to get your fingers to perform the exact movements required for the exercises. In order to succeed in this, you need to make the same movements several dozen times daily. The goal of these exercises is to strengthen and stretch your finger muscles, to make your fingers stronger and more agile. Put in plenty of work, every day, on the difficult parts, focus on them and play the easy parts only occasionally.
To get the best out of your practice time, split it up into 15 minute sessions, and leave your hands to rest for at least 30 minutes between sessions. If your hands hurt, leave them to rest for an hour, the time it takes your body to eliminate the lactic acid in your muscles, which is the main cause of muscle pain.
I thank Charles (Charlesoln) and Geoff (GeoffB) who have helped in the translation of my lessons into English.
Study assignment "EXTENSIONS" Exercise # 6, Page 73
1.Time Signature: 4/4
5.Phrases: Not defined
8.Special effects: YES, (f,pp)Forte
Loud. Used as often as piano to indicate contrast.
Very soft. Usually the softest indication in a piece of music, though softer dynamics are often specified with additional ps.
9."#" symbol: Yes,
12.Rest: Yes,quarter note at measures 1,2,3,4
Study assignment "DAMP" Exercise 40, Page 84
1.Time Signature: 4/4
3.Strokes: Not shown
5.Phrases: Not defined
8.Special effects: No
9."#" symbol: No
Study assignment "MALAGUENA", Page 12,13
1.Time Signature: 3/4
3.Strokes:Not defined, watching video, show combination of rest and free strokes.
5.Phrases: Not defined
6.Dampings: Yes,measure 7,8,9,10,12,20,28,34,36,42,43,45
8.Special effects: YES,Fermata symbol on last measure 52.(Fermata (Pause)
A note, chord, or rest sustained longer than its customary value. Usually appears over all parts at the same metrical location in a piece, to show a halt in tempo. It can be placed above or below the note. The fermata is held for as long as the performer or conductor desires.wikipedia)
9."#" symbol: Yes, measure 10,13,14,25,26,29,30,34,36,40,41,43,44,45,47,48,50,51,52
12.Rest: Yes,quarter note at measures 1,2,3,4,5,6,7,8,9,11,25,26,29,30,33,35,40,48,49,50,51
Give some helping hits, how to practice Malaguena study assignment so I can confidently connect all paras together to play with out breaks.
Jeremy already posted it last year and stand out very well played through out this assignment.
I saw your video of it on the D02 Lesson 2 archive from last year, you seemed to play it well so I can imagine you're already pretty familiar with it! It's certainly more tricky than Danse D'Avila or Oh Susanna!
Hi, Stephen Jessup,
So far nobody answer my query about how to practice long study assignments spanning two or more pages.Instead of waiting,I came up with my own plan.e.g Study assignment "Malaguena" two pages,10 lines of continuous music notes of varying degree.I will divide 10 lines into three parts." first part three lines","middle part three lines","End part 4 lines".
First, I'll block the last 4 lines using low tempo metronome and practice it until all notes are familiarize and confidently played.
Next I'll practice the first part three lines using metronome till it is fully playing them confidently.
Next,I'll take over the middle part three lines and do the same as I did in previous steps.Hope this way,I'll be able to join the begining and end parts and will be able to play all parts together.If you feel,you want to add or subtract or you have your own suggestion or any other student want to add any suggestion.
Hi Zafar, your suggestion is a good one. What I find helps me to learn longer pieces is to divide the piece into sections, as you suggested, and start by working on the first section until I know it, then move onto the next section, learn that; then I'll practice joining those two sections together in my playing until I can play it well enough. Then I'll move onto next section, learn that, and then play from the beginning again, joining on the new section and so on and so forth. I kind of progressively work through it like that. Very similar to what you said really! As Mr Delcamp suggests, it is always a good idea to focus on parts which are more tricky, and play the easier portions less.
Hi, Stephen Jessup,
I did some practice for study assignment "Malaguena".So far finger combination shown in music sheet e.g "measure 1" are p,i,m,a
For "measure 2" are p,m,i as shown in music sheet.Now look at "measures 37 and 39".What finger combination you suggest.
Hi Zafar, I too have started work on this piece. Personally, for measure 37 I use finger combination p,m,i,p,m; and for measure 39 I use p,a,m,i,m,p.
This feels most natural to me and makes sense to me.
Last edited by Stephen Jessup on Thu Oct 08, 2015 6:14 pm, edited 1 time in total.
I have not had time to work on any of the pieces so do not really have any tips. About learning long pieces, I often do a quick play from begin to end and note parts I seems to have the most troubles with. Then practice these parts in reverse order. The reasons being, first we are more likely to make mistake later in a piece, when our hands and focus are waning down. Second, we tend to quit recording after too many mistakes, so the first parts will end up having some extra practice time.
You may also want to note the scale used in the piece. D and G are sharped when the melody goes up, but normal when the melody goes down.