Postby Jean-François Delcamp » Tue Oct 31, 2017 3:13 pm
Please start by downloading the latest version of volume D01.
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.
First we will study some technical exercises from volume D01.
Page 54: G major scale and C major scale, numbers 2 and 3. Be sure to damp the notes properly in the descending passages. To damp the notes in the descending passages: lean the fingers of the left hand against the vibrating strings. Work on controlling the volume by playing crescendo and decrescendo.
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" ("1 and 2 and 3 and" 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.
You can memorize different tempi (tempos) by mentally associating each one with a tune you have learnt by heart. Learn a suitable tune for each tempo. Begin with Good-morning to all (the same tune as Happy Birthday) for the tempo of 120 (beats per minute).
I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
Jean-François Delcamp : SI SI RE
Anonyme : Good-morning to all
Dionisio Aguado : Leccion 5a
Anonyme : Lo, nous marchons sur un étroit chemin
I thank Geoff (GeoffB) who has helped in the translation of my lessons into English.
Exam qualifying submissions:
SI SI RE
Good-morning to all
Lo, nous marchons sur un étroit chemin
Hi Yucel, You are doing great. I didn't realize that this lesson was even out so I'm just starting. One thing I did notice is that on Lo, Nous Marchons Sur Un Etroit Chemin that when ever a passage ended with a half note you muted the half note too early so it sounded like there was a rest there. You don't want to mute that half note until you play the note following it. Great job!
You may be hearing the other strings pick up the vibrations of the guitar. That's pretty typical. There's a name for it but I can't remember what it is. It happens especially when you play bass notes. I assume that's because their pattern of vibration is larger. If this is the case you will hear more than one string. It's not a problem. It actually adds to the sound of an acoustic instrument.
Another possibility is that when pulling your finger off the string you may be pulling it slightly side ways. This is called a pull off and can be intentionally used to play a note. If that's the case you would only hear the one string you pulled off from.
You may also be somehow bumping a string but I'm assuming you would know if that is what's happening.
I’ve only practiced these a couple of days because somehow I didn’t notice this lesson was posted. My own fault to be sure. So they’re a bit choppy.
I definitely have a hard time muting with my thumb and my pinkies are definitely not relaxed. I’m going to slow down when I practice to try and get the pinkies to give up their fight to be curled up. I think going slow will help with the thumb muting too.
My rhythm is a bit messed up in places where I made a mistake.
Also, why do I look ticked off when I play....LOL I was even making the duck face in the last one. Geez
I do feel like some of it is coming back. I was able to pull out my old music and sort of play it. That made me happy. Anyhow, here are the videos.
I've been late getting started this month, I'll hopefully have videos this weekend (along with the final video that I missed from last month...)
Angela - the pieces are sounding good, but have a look at the suggested left hand fingerings on Aguado lesson 5a. There are a couple of places where it's noted to use your 4th finger for the G on the first string... I'm not convinced it's necessary everywhere it's written on that piece, but there are places like bar 11-12 where it makes it much easier to get to the D on the 2nd string, then onto the G quite soon after, then back to the D.
Not as any particular feedback, but just as an interesting article for everyone - Classical Guitar Corner posted a wee piece on common beginners mistakes which I thought was a good little collection of things to look out for. The linked article about string crossing and alternation is one that I'm struggling with - I just seem to naturally want to re-use the index finger on my right hand as I come down strings: https://www.classicalguitarcorner.com/mistakes/