Postby Jean-François Delcamp » Tue Oct 31, 2017 3:14 pm
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 88, numbers 10, 11, 12 - 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 video corresponds to bars 5 to 9 of the scale of F major, number 10 on page 88. In this video example, I am playing slowly to make it easier for you to see my first finger sliding from position I to position V, then from position V to position X. In the descending scale, notice that I do the same thing in reverse. When I return from position X to position V, my first finger slides from one position to the other without ever leaving the string.
- Page 94, number 30, bar 2. 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.
Finally, we'll look at 4 pieces, pages 11, 12, 34, 35 and 56.
- page 11 ANONYME (ca. 1600) GREENSLEEVES
In this piece, take care to hold the bass notes for their full duration, especially the C and G basses. In bars 16 and 24, as soon as you get to the second beat you can prepare the fourth finger which will be used for the top G of the following chord. You can see in the piece the Siciliana rhythm (dotted quaver, semiquaver, quaver, or dotted eighth note, sixteenth note, eighth note). The piece consists of three sections, the third section being identical to the first, so it has an A-B-A structure, also called ternary form.
- page 12 ANONYME MARO PONTKALLEG
This piece consists of three sections, the third section being identical to the first, so it has an A-A-B-B-A'-A' structure, also called ternary form.
From bar 25 onwards, arpeggiate your chords slowly from bass to treble, organizing the rhythm in such a way that you finish the arpeggio with the top note on the beat.
- pages 34-35 TURLOUGH O'CAROLAN (1670-1738) BRIAN BORU'S MARCH
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. You can see in the piece the Siciliana rhythm (dotted quaver, semiquaver, quaver, or dotted eighth note, sixteenth note, eighth note).
- page 56 Niccolò PAGANINI (1782-1840) VALTZ
Take care to damp the bass notes properly from the second quaver (eighth note) of the bar. This piece consists of two sections which are repeated, so it has an A-A-B-B structure, also called binary form. You can make particularly good use of the repeat if you aim to give it a different feel each time. Thus you could play the B section in a non-conclusive fashion the first time round, and in a conclusive fashion the second time.
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:
- page 88 number 10
- Page 94 number 30, bar 2
- page 11 ANONYME (ca. 1700) GREENSLEEVES
- page 56 Niccolò PAGANINI (1782-1840) VALTZ
I thank Geoff (GeoffB) who has helped in the translation of my lessons into English.
Exam qualifying submissions:
page 88 number 10
Page 94 number 30, bar 2
Postby Salvatore Lovinello » Mon Nov 06, 2017 5:22 pm
You are improving! If I may suggest keeping your ring and pinky fingers closer to the fret board. They should hover just above the strings. I also encourage you to start every practice session with at least 10 minutes of scale work. David Aiiken, a delcamper, has written and made available for download several very good scale books. Daily scales work will improve speed, accuracy, and stamina not to mention learning the fret board.
Salvatore, it doesn’t look like you can completely delete a post.Ive tried . Looks like you can edit over it. Erase you text and place a small character or emoji in its place. Full deletion may be reserved for the site manager.Regards
Postby Salvatore Lovinello » Sun Nov 26, 2017 2:19 pm
Thanks for your submissions. You have an interesting interpretation of the Pagini. You let the base notes ring through each measure. This whole time I've been giving each note equal time. It does sound nice though.