D03 Classical guitar lesson 04

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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.

PDF, MP3, Vidéos, Lessons : Level D01 - Level D02 - Level D03 - Level D04 - Level D05 - Level D06 - Level D07 - Level D08 - Level D09 - Level D10 - Level D11 - Level D12.
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Jean-François Delcamp
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D03 Classical guitar lesson 04

Postby Jean-François Delcamp » Mon Dec 05, 2016 2:46 pm

Hello everyone,
Please start by downloading the latest version of volume D03.
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 89, numbers 13, 14, 15 - Jean-François DELCAMP (1956) GAMMES - SCALE - SCALES – ESCALAS
When changes of position are needed, you will be using the "position shift" technique. Position I is the left hand position where the index finger (1) is placed behind the 1st fret, position V is the hand position where the index (1) is placed behind the fifth fret, etc. The position shift involves moving the left hand along the neck, from position to position, from fret to fret. In the scales we're looking at today, notice that my first finger never leaves the first string, I use it as a guide for my hand. Position shifts are shown by oblique lines linking two fingering indications given for the same finger.
The following videos are for numbers 13, 14, 15 on page 89. Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.

Youtube


Youtube


Youtube




- Page 94, numbers 29, 30, 31. Jean-François DELCAMP (1956) LIAISONS - LEGATURE - SLURS – LIGADOS
We have already worked on the rest stroke (apoyando) with the fingers of the right hand. Now we are going to work on doing a rest stroke with the fingers of the left hand. That is the best way to learn how to execute descending slurs. In number 30, bar 2, the fingers of the left hand execute the slurs with the help of the rest stroke. The fingers 4, 3, 2 and then 1 pluck the second string then finish their move by coming up against the first string. Place the left hand fingers vertically in relation to the fingerboard, that's the right position to play slurs.

Youtube


Youtube


Youtube







Finally, we'll look at 3 pieces, pages 14, 30, 46 et 47.
- page 14 Francis CUTTING (ca. 1600) PACKINGTON'S POUND
There are numerous repetitions, so vary the tone colour to avoid monotony. To obtain different tone colours, play:
- over the soundhole (the sound volume is at its best here and you get a good balance between the bass and treble notes);
- over the fingerboard (the sound here is softer, closer to the that of a clarinet, and the basses are softened);
- near the bridge (the sound here is more metallic, and becomes close to that of the harpsichord, the basses are strengthened and the trebles weakened).

Youtube




- page 30 Gaspar SANZ (1640-1710) SALTAREN
This dance will serve as a basis for improvisation work proposed in lesson N. 7. The sequence of the three following chords: D Major, G Major, A Major requires imagination to avoid monotony. In order to avoid monotony use dynamic changes (fortissimo, forte, piano, pianissimo), different sound colors (sound hole, fingerboard, bridge, with nail, no nail) and different strumming styles: rasgueados, plucked chords, arpegiated to the bass or treble, etc … .

Youtube




- page 46-47 Ferdinand CARULLI (1770-1841) ANDANTE
This piece consists of three sections, the third section being identical to the first, so it has an A-B-B-A structure, also called ternary form.
Vary the tone colour to avoid monotony.

Youtube





I advise you to work on all the exercises and the four pieces for a week. Then please record and upload your recordings of the following:
- page 14 Francis CUTTING (ca. 1600) PACKINGTON'S POUND
- page 30 Gaspar SANZ (1640-1710) SALTAREN




Good luck!


I thank Eric (wchymeUS) and Geoff (GeoffB) who have helped in the translation of my lessons into English.


Jean-François

---

Exam qualifying submissions:

PACKINGTON'S POUND
SALTAREN

Andrei Puhach
PACKINGTON'S POUND
SALTAREN

Chu Bun
PACKINGTON'S POUND
SALTAREN

Ed Butler
PACKINGTON'S POUND
SALTAREN

Colin Bullock
PACKINGTON'S POUND
SALTAREN

Edna Lopez
PACKINGTON'S POUND
SALTAREN

Bert Stendahl
PACKINGTON'S POUND
SALTAREN

Teodora Despotovic Kosanovic
PACKINGTON'S POUND
SALTAREN

Jose Ramon Martinez
PACKINGTON'S POUND
SALTAREN
:( + ♫ = :)

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Zafar Haq
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Re: D03 Classical guitar lesson 04

Postby Zafar Haq » Mon Dec 05, 2016 2:53 pm

Hi, Classmates,
Here is this month exam qualifying home assignment music sheets breakdown.

- page 14 Francis CUTTING (ca. 1600) PACKINGTON'S POUND
- page 30 Gaspar SANZ (1640-1710) SALTAREN

a. page 14 Francis CUTTING (ca. 1600) PACKINGTON'S POUND

1.Time Signature: 3/8
2.Tempo:132
3.Strokes: Not defined
4.Measures:48
5.Phrases: Not defined
6.Dampings:Yes,22
7.Repeats: No
8.Special effects:Not defined
9."#" symbol: Yes,measures 2,4,7,9,21,22,23,25,27,29,30,31,36,44
11.Lyrics: No
12.Rest:Yes,one eigth notes at measures 2,4,10,12,36,44
13. Articulation:No
14.Improvisation:No
15.Slur:No
16.Ornament:No
17.Tie:No

b.page 30 Gaspar SANZ (1640-1710) SALTAREN

1.Time Signature: 3/4
2.Tempo:48
3.Strokes: Not defined
4.Measures:4
5.Phrases: Not defined
6.Dampings:Yes,1
7.Repeats: Yes,measure 1 to 4
8.Special effects:Not defined,Mr.Delcamp advice students to practice "In order to avoid monotony use dynamic changes (fortissimo, forte, piano, pianissimo), different sound colors (sound hole, fingerboard, bridge, with nail, no nail) and different strumming styles: rasgueados, plucked chords, arpegiated to the bass or treble, etc … ."
9."#" symbol: Yes,C#,F# where these notes exists in the piece.
11.Lyrics: No
12.Rest:No
13. Articulation:Yes,signs under each chord showing the strum direction.
14.Improvisation:Yes
15.Slur:No
16.Ornament:No
17.Tie:No
18.Chords:Yes,D Major,G Major,A Major
How to create Any major scale and Major Chord?
Ans:Using the following formula to create scale,
W-W-H-W-W-W-H
Where,
W= Whole or two frets
H= Half or single fret
Lets Create D Major Scale
D-E = W
E-F#= W
F#-G= H
G-A = W
A-B = W
B-C# =W
C#-D =H
D Major Scale is:D-E-F#-G-A-B-C#-D
To create a D major chord is to select root,3rd and fifth degree notes from a major scale.
D major chord notes are D-F#-A
Try to create other major scales and chords by yourself.

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Chu Bun
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Re: D03 Classical guitar lesson 04

Postby Chu Bun » Wed Dec 07, 2016 4:26 pm

The Packington's Pound piece looks like a tough one, irregular rhythm and melody, a lot of dampings. It may take me till x-mass to learn the piece! Good luck guys and gals.

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Re: D03 Classical guitar lesson 04

Postby Colin Bullock » Wed Dec 07, 2016 5:13 pm

Chu Bun wrote:The Packington's Pound piece looks like a tough one, irregular rhythm and melody, a lot of dampings. It may take me till x-mass to learn the piece! Good luck guys and gals.


Just been looking at it. Boxed section at end of 2nd row looks tricky if we are to do the damping.
I think if you post by Xmas you will be ahead of me!

DaveMoutrie
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Re: D03 Classical guitar lesson 04

Postby DaveMoutrie » Sat Dec 10, 2016 7:23 am

I have just been practicing bar 13 - the boxed section and using the thumb to damp the base feels like trying to rub my tummy while trying to pat my head at the same time.

The alternative is to use the spare 2nd finger in the left hand to gently touch the base E string, but I'm not sure if this is any easier.
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Re: D03 Classical guitar lesson 04

Postby Colin Bullock » Sat Dec 10, 2016 10:30 am

davemoutrie wrote:I have just been practicing bar 13 - the boxed section and using the thumb to damp the base feels like trying to rub my tummy while trying to pat my head at the same time.

The alternative is to use the spare 2nd finger in the left hand to gently touch the base E string, but I'm not sure if this is any easier.

I'm playing the 1st 2 notes (p bass and m for E) then as i plays F, I drop the thumb onto low E to damp - this means the i and p are moving together in same direction and this seems easier to do. It means the low E rings over the A for that 1st note but stops for rest of sequence and sounds ok.

DaveMoutrie
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Re: D03 Classical guitar lesson 04

Postby DaveMoutrie » Sat Dec 10, 2016 4:23 pm

Another way to do it would be to allow the finger that is playing the c in the base to gently touch the E string.
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Chu Bun
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Re: D03 Classical guitar lesson 04

Postby Chu Bun » Sun Dec 11, 2016 6:16 am

I think trying to play the measure other ways defeats the purpose of the exercise. We won't learn anything new by staying in our comfort zone.
This piece is actually easier than it looks. After learning measures 9 to 15, you are almost done. Except for the middle sections, other parts follow the same or similar pattern only simpler. The middle section is more or less the same 2 measures repeated many times.

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Re: D03 Classical guitar lesson 04

Postby DaveMoutrie » Sun Dec 11, 2016 8:41 am

I think you raise a valid point Chu.

And it depends on what the purpose of the exercise is.

With classical guitar as with many things in life there is not one single right or wrong answer. If you were to be performing a particular piece in a concert you would probably experiment - with different ways of playing it and then choose the one that sounded the best, choosing the method that allowed the piece to be played with fluidity and at full tempo.

If on the other hand the object is merely to become proficient in this particular technique, then you are probably right.

Forgive me if I disagree with your opinion that we would not have learned anything. Experimentation is all part of the learning process.
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Re: D03 Classical guitar lesson 04

Postby DaveMoutrie » Mon Dec 12, 2016 7:11 am

Just been watching the video of Jean-François playing this piece - you can see the thumb damping quite clearly at 17s. He makes it look so easy and natural, so I'm having another bash at doing it this way.

Agree with Chu that the rest of this piece looks relatively easy.
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Re: D03 Classical guitar lesson 04

Postby Andrei Puhach » Thu Dec 15, 2016 6:47 am

Hi friends,
here is 2/3 of the assignment:
page 14 Francis CUTTING (ca. 1600) PACKINGTON'S POUND

Youtube

page 46-47 Ferdinand CARULLI (1770-1841) ANDANTE (optional)

Youtube

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Re: D03 Classical guitar lesson 04

Postby Chu Bun » Thu Dec 15, 2016 6:55 am

My submissions for this month. To me the most difficult part is to keep an even tone for the treble notes while doing the damping.


Youtube



Youtube

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Re: D03 Classical guitar lesson 04

Postby Colin Bullock » Thu Dec 15, 2016 11:59 am

Andrei Puhach wrote:Hi friends,
here is 2/3 of the assignment:


Chu Bun wrote:My submissions for this month.


I might have guessed you 2 would be setting the gold standard again.
Both very well played.
Andrei, I particularly liked your use of tone variation in the Cutting.

Ah well, back to the practice room!

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Re: D03 Classical guitar lesson 04

Postby Andrei Puhach » Thu Dec 15, 2016 5:59 pm

Chu Bun wrote:My submissions for this month. To me the most difficult part is to keep an even tone for the treble notes while doing the damping.


Congrats, Chu! I think you've mastered thumb damping and finger independence in the fullest extent :)
Very clean and nice performances.

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Re: D03 Classical guitar lesson 04

Postby Chu Bun » Fri Dec 16, 2016 6:08 am

Andrei and Collin,

Thank you for your compliments. I don't think my damping technique is correct. If you watch monsieur Delcamp's thumb in the clips, he slightly touched a string to damp it. Whereas my thumb presses down heavily on the string. This pressing pulls my whole hand up and affects the loudness as well as the consistency of the other fingers.


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