D05 Classical guitar lesson 02

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The classical guitar lessons are free. They are aimed at the isolated amateur who does not have access to a teacher. To join the class, apply for registration into the students group.

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Jean-François Delcamp
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D05 Classical guitar lesson 02

Post by Jean-François Delcamp » Thu Oct 06, 2016 8:48 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.


Today we're going to look at 5 pieces.

- page 6 Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas
Image
These "diferencias" (variations) are based on the sequence of four chords (C major, G major, A minor and E major) laid out in the first four bars of the work, and are among the oldest variations ever found in print.
Each "diferencia" consists of eight bars. The harmonies of the first four bars are repeated in the next four bars, with the last two chords (A minor and E major) both incorporated into bar 7. This makes it possible to conclude with a perfect cadence in A minor, while still fitting the phrase into an 8 bar structure.
The remaining "diferencias" elaborate on the initial harmonic sequence. Hemiolas abound, the rhythmic freeness giving the piece a jubilant lightness.
I indicate the hemiolas with broken lines above the staff. See this video extract, where I demonstrate the hemiolas in bars 9 to 12.

Youtube

These "Diferencias sobre guardame las vacas" conclude in a coda of 4 bars where the 4 initial chords (C major, G major, A minor and E major), which were until now dotted whole notes (dotted semibreves), are contracted at the end into 3 quarter notes and 1 half note (3 crotchets and 1 minim).

Youtube

Don't hesitate to improvise on this sequence of 4 chords, keeping strictly to 6/4 time.

Youtube



- page 14 John Dowland (1563-1626) Lady Laiton's almain
The allemande (almain or alman), a dance from the 15th and 16th centuries, is accompanied by music in a binary rhythm. According to Thoinot Arbeau, it is of a medium solemnity, which gives it the pace of a rather heavy pavane. The allemande is a very sober dance, in which the dancers promenade in pairs in open position (side by side). With its origins in very ancient popular tradition, it symbolizes not only seduction but also ravishment. It disappeared at the beginning of the 17th century and the only memory it leaves behind is in the instrumental suite.
http://youtu.be/2rXXHgCkcxg

Youtube



- page 40 François Campion (1680-1748) Prélude à 4 têms
François Campion is the next most significant French guitarist of the baroque period after Robert de Visée. He was Master of guitar and theorbo at the Royal Academy of Music in Paris.

Youtube



- page 56 Fernando Sor (1778-1839) Leçon XVIII opus 60
This is to be practised first with chords, and then with different patterns of arpeggio. As far as the right hand is concerned, the ring finger plays the first string, the middle finger plays the second, and the index finger plays the first, while the thumb plays the 3 bass strings.

Youtube

In bars 24 and 25 the third finger serves as a pivot, so leave it resting in position on the third string.

Youtube


Youtube



- page 90 Francisco Tàrrega (1852-1909) Estudio en forma de minuetto
This minuet in A major, in the A B A' form, starts with a 3 bar phrase which ends in an open manner (like a question) on the dominant E followed by a 3 bar response which concludes the first phrase with a perfect cadence in A major. The second section (bars 11 to 18) is in the key of the dominant (E). Finally, the third section repeats the first section with a small variation in bar 25.
In bars 3, 6, 10, 21, 24 and 28 damp the preceding bass note.

Youtube




I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 6 Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas
- page 90 Francisco Tàrrega (1852-1909) Estudio en forma de minuetto


Good luck!


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


Jean-François


Exam qualifying submissions: :
Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas
Francisco Tàrrega (1852-1909) Estudio en forma de minuetto

Angela Zhao
Francisco Tàrrega (1852-1909) Estudio en forma de minuetto
Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas

Rick Beauregard
Francisco Tàrrega (1852-1909) Estudio en forma de minuetto
Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas

Esteban Crespi
Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas
Francisco Tàrrega (1852-1909) Estudio en forma de minuetto

Marko Räsänen
Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas
Francisco Tàrrega (1852-1909) Estudio en forma de minuetto

Stewart Doyle
Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas
Francisco Tàrrega (1852-1909) Estudio en forma de minuetto
:( + ♫ = :)

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Angela Zhao
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Re: D05 Classical guitar lesson 02

Post by Angela Zhao » Fri Oct 07, 2016 9:33 am

Hi classmate
This is my Estudio en forma de minuetto.
Though try many times, there are some mistakes.
It's not easy to keep all the damp, thank you watch the video!
:merci:

Estudio en forma de minuetto

Youtube

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Marko Räsänen
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Re: D05 Classical guitar lesson 02

Post by Marko Räsänen » Fri Oct 07, 2016 4:44 pm

Well done, Angela! There are no big technical challenges for you with the piece, but you had a lot of rhythmic inaccuracies. Here are some things to pay attention to:

- Note that the key signature is 3/4, not 4/4 or 2/4. Make sure that you obey the quarter rest at the end of measures 3 and 6 (similarly 21 and 24).
- Note that the upper voice first note in measure 9 and two upper voice first notes in measure 13 are 8th notes, not 16th notes, so you'll need to play them twice as long as 16th notes.
- Make sure that your slurred (hammered-on) notes in measure 16 are of even duration. You are hammering on too soon, making the first note of each pair too short.

Other than that, a good job!
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Rick Beauregard
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Re: D05 Classical guitar lesson 02

Post by Rick Beauregard » Fri Oct 07, 2016 5:13 pm

Well done Angela, and so quickly mastered! I concur with Marko's detailed review above and won't repeat it.

I have a question for the group, and Marko, if this came up in prior years: Should the markings in measure 4 between the 2nd and 3rd beat, and similar markings in M 5, 20 and 23 indicate a slide or are they just guide fingers? At first I played them as slides, as Angela does, and it sounds good that way. But going back to JFD's demo, he plays them as guide fingers only and plucks the second note. How should these marks be interpreted?
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Marko Räsänen
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Re: D05 Classical guitar lesson 02

Post by Marko Räsänen » Fri Oct 07, 2016 5:45 pm

I think both ways are equally right, Rick. Sometimes an arc (similar to pull-off or hammer-on slur) is added on top of the slanted line to indicate that the latter note shouldn't be played with the right hand, but the omission of the arc doesn't imply the contrary. Just play them the way you think sounds the best.
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Rick Beauregard
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Re: D05 Classical guitar lesson 02

Post by Rick Beauregard » Fri Oct 07, 2016 8:43 pm

Cool, I kinda like the slur method.
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 02

Post by Angela Zhao » Fri Oct 07, 2016 11:03 pm

Marko Räsänen wrote:Well done, Angela! There are no big technical challenges for you with the piece, but you had a lot of rhythmic inaccuracies. Here are some things to pay attention to:

- Note that the key signature is 3/4, not 4/4 or 2/4. Make sure that you obey the quarter rest at the end of measures 3 and 6 (similarly 21 and 24).
- Note that the upper voice first note in measure 9 and two upper voice first notes in measure 13 are 8th notes, not 16th notes, so you'll need to play them twice as long as 16th notes.
- Make sure that your slurred (hammered-on) notes in measure 16 are of even duration. You are hammering on too soon, making the first note of each pair too short.

Other than that, a good job!

Hello Marko
Thank you give me comments,I'll notice them and correct them.the rhythm is always my pain, but I must correct it.
About the slur ,I always afraid the second note can't sound(or sound loundly),so when play the first one and hammered the second quickly,and do you have any suggestion. thank you very much! :merci:

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Marko Räsänen
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Re: D05 Classical guitar lesson 02

Post by Marko Räsänen » Sat Oct 08, 2016 8:35 am

Angela Zhao wrote:About the slur ,I always afraid the second note can't sound(or sound loundly),so when play the first one and hammered the second quickly,and do you have any suggestion.
I recognize the problem, Angela. The only remedy is practice. There are slur exercises in pages 132 and 133 in D05 lesson book. There are also plenty of instructional videos in youtube. The key is to do the hammer-on with sufficient force (speed), but relax the finger as soon as it touches the string/fret. You could even practice hammering on without playing the first note, and try to make it as loud as possible. The bass strings are easier in that respect, and the 1st string the hardest, so make sure to get lots of practice on the first string, and use all the finger combinations (1-2, 1-3, 1-4, 2-3, 2-4, 3-4). Hammering on from the open string is especially difficult, but worth some practice as well so add to those previously mentioned (0-1, 0-2, 0-3 and 0-4). Doing the open string hammer-ons from higher fret positions can be even more difficult.
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Re: D05 Classical guitar lesson 02

Post by Angela Zhao » Mon Oct 10, 2016 1:15 pm

The key is to do the hammer-on with sufficient force (speed), but relax the finger as soon as it touches the string/fret. You could even practice hammering on without playing the first note, and try to make it as loud as possible. The bass strings are easier in that respect, and the 1st string the hardest, so make sure to get lots of practice on the first string, and use all the finger combinations (1-2, 1-3, 1-4, 2-3, 2-4, 3-4). Hammering on from the open string is especially difficult, but worth some practice as well so add to those previously mentioned (0-1, 0-2, 0-3 and 0-4). Doing the open string hammer-ons from higher fret positions can be even more difficult.
Hi Marko
Thank you give me guides,I'll practice as you said, especially try the open string hammer-ons. :merci:

best regards

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Marko Räsänen
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Re: D05 Classical guitar lesson 02

Post by Marko Räsänen » Mon Oct 10, 2016 1:58 pm

Angela, there's a post in Classical Guitar Classes section with a youtube warmup lesson from Tatyana Ryzhkova: viewtopic.php?f=4&t=107739
On the video starting from time 10:10 she shows a slurring exercise. Actually the whole video is worth watching.
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Angela Zhao
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Re: D05 Classical guitar lesson 02

Post by Angela Zhao » Thu Oct 13, 2016 2:57 am

Hello Marko
Tatyana Ryzhkova: viewtopic.php?f=4&t=107739
Thank you very much! share the website with me.
Yes, you are right, the whole video is worth watching.Now I'm practicing as the video show everyday.
:merci:

I have another question.
page 14 John Dowland (1563-1626) Lady Laiton's almain, the score show the string 3=FA#, can I not lower the string 3 ,use 3=G,
I feel it can play easily.Is that OK?
Thank you answer me.
:merci:

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Rick Beauregard
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Re: D05 Classical guitar lesson 02

Post by Rick Beauregard » Thu Oct 13, 2016 4:24 am

I believe Prof Delcamp, in the interest of staying close to the original manuscripts for renaissance guitar or lute as possible, uses this F# tuning a lot. It often improves the fingering making it easier to play. But I have the same issue / question on Guardame Las Vacas, which I learned using standard guitar tuning years ago. But I am relearning with the F# tuning to stay consistent with the lessons. It is easier in places but difficult to "unlearn" how I've been playing it for years.
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 02

Post by Angela Zhao » Thu Oct 13, 2016 6:52 am

Rick Beauregard wrote:I believe Prof Delcamp, in the interest of staying close to the original manuscripts for renaissance guitar or lute as possible, uses this F# tuning a lot. It often improves the fingering making it easier to play. But I have the same issue / question on Guardame Las Vacas, which I learned using standard guitar tuning years ago. But I am relearning with the F# tuning to stay consistent with the lessons. It is easier in places but difficult to "unlearn" how I've been playing it for years.
Hi Rick
You are right, use FA#,sometimes can let the score play easily,but page 14 John Dowland (1563-1626) Lady Laiton's almain,this song,I don't feel it easier than use G,am I right? :?

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Marko Räsänen
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Re: D05 Classical guitar lesson 02

Post by Marko Räsänen » Thu Oct 13, 2016 7:20 am

Lady Laiton's almain isn't one of the mandatory pieces, so you may choose to play it any way you want to. But for pieces that you are posting recordings for, please consider that it will be very difficult for others to give any feedback when using drastically different fingerings (or even different tuning). Afterall, for the lessons you are expected to more or less follow the Delcamp scores. Also keep in mind, that when using an arrangement (instead of a transcription) there are copyright concerns. My advice is to stick to Delcamp transcriptions, but please use your own judgement.
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Re: D05 Classical guitar lesson 02

Post by Angela Zhao » Thu Oct 13, 2016 10:51 pm

Hi Marko
I'm sorry, I'll follow Delcamp transcriptions. :merci:

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