D04 Classical guitar lesson 03

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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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D04 Classical guitar lesson 03

Post by Jean-François Delcamp » Tue Oct 31, 2017 3:15 pm

Hello everyone,
Please start by downloading the latest version of volume D04.
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 112, numbers 11, 12, 13 - 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 11 on page 112. 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.

Youtube

The following videos are for numbers 11, 12 ands 13 on page 112. Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.

Youtube


Youtube


Youtube



- Page 120, numbers 31, 32 and 33. 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 32, 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.

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Youtube


Youtube



- page 128 - Improvisation
Improvisation work - D02
These exercises in improvisation are to be done several times a week, for several months.
Vary the volume (mf, pp, ff, p ...), timbres and rhythms. Never play the same thing twice, because it would cease to be improvisation, and would become composition.
8/ improvise a melody upon the bass-line of DANSE D'AVILA, using only these 7 notes (G# A B C# D E F#).
9/ improvise a melody upon the bass-line of OH! SUSANNA, using only these 7 notes (G# A B C# D E F#).

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Youtube




Finally we'll look at 4 pieces, pages 16, 49, 74, 75 and 103.

- pages 16, 17 Borrono da Milano, Pietro Paulo - Peschatore che va cantando
Here, as for "The sick tune" which we saw in the previous lesson, the even-numbered phrases are divisions (French: diminution; Italian: passaggio; Spanish: glosa) on the odd-numbered phrases. In this piece each bar (measure) contains a total of 3 half notes (minims). At the end of each of the phrases the rhythm changes to the length of a whole note (semibreve) and thus we have 3 whole notes in the space of 2 bars. This change of rhythm is known as a hemiola. In my PDFs I indicate the presence of hemiolas by dotted lines above the bars.
When you play the first beat in bar 3, make sure you simultaneously damp the open F# string which is still sounding from the previous bar, as I show you in the following short video.

Youtube



- page 49 Carulli, Ferdinando - Prelude opus 114 n°7
The double oblique stroke indicates that you should repeat the preceding group of notes.
See the example here: http://fr.wikipedia.org/wiki/Abr%C3%A9v ... une_mesure [The French explanation reads "Repetition of fragments shorter than a whole bar. When a fragment, pattern or motif needs to be repeated, each repetition can be replaced by a double oblique stroke."]
From a technical point of view, to perfect your fretting technique, I recommend that you practise this arpeggio while keeping 3 fingers on the strings throughout. This way of practising will teach you to execute the necessary fretting movement without producing involuntary movement of the other fingers.
Here is a video extract showing this finger practice, where you can see the fingers playing the strings with the greatest possible economy of movement.
At the bottom of the page, Carulli provides you with another two patterns (B and C) to use in your practice of this prelude.

Youtube



- pages 74, 75 Paganini, Niccolò - Ghiribizzo n°17 Le Streghe
Each section of 16 bars has a particular character. The first section is lively and rhythmical, and is best brought out by playing it with a certain crispness. To give the ends of the phrases more character, I speed up the tempo a little and avoid letting the arpeggios ring on in bars 7, 15, 23, 31 and 47. The second section, less tight than the first, begins with a harmonic progression (F# - B - E - A) in arpeggios for which a legato style of playing is suited. The third section contrasts strongly with the 2 previous sections; the key changes to minor, the rhythm to duple time, and finally the tessitura (general pitch) moves up from the mid-range to the treble.
The accomplished classicism of this brief composition is the hallmark of the great master that Paganini was.

Youtube



- page 103 Morin, Ludovic-Alexandre - Petite étude
The phrases of this Petite étude (little study) in E minor are made up of 9 bars, which is rare. Ludovic-Alexandre Morin has posted his recording of his composition on the French forum. If you are registered on that forum, you can listen to his MP3 here: http://www.guitareclassiquedelcamp.com/ ... 65&t=10321
In bar 18 I advise you to play the harmonics by using a half barré with the little finger (finger 4), placed 2 millimetres in front of the fourth fret, as I show you in the following short video.

Youtube



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 49 Carulli, Ferdinando - Prelude opus 114 n°7
- pages 74, 75 Paganini, Niccolò - Ghiribizzo n°17 Le Streghe
- page 103 Morin, Ludovic-Alexandre - Petite étude


Good luck!

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

Jean-François

---

Exam qualifying submissions:

Prelude opus 114 n°7
Le Streghe
Petite étude

Chu Bun
Prelude opus 114 n°7
Petite étude
:( + ♫ = :)

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Binh NguyenKhac
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Re: D04 Classical guitar lesson 03

Post by Binh NguyenKhac » Tue Oct 31, 2017 5:50 pm

Ludovic-Alexandre - Petite étude ! Such a beautiful and challenge song!

JohnEllis
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Re: D04 Classical guitar lesson 03

Post by JohnEllis » Tue Oct 31, 2017 6:53 pm

@Binh
Yes, very pretty! And they all seem challenging this lesson.
If music be the food of love, play on. --Shakespeare, Twelfth Night, 1.1

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Zafar Haq
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Re: D04 Classical guitar lesson 03

Post by Zafar Haq » Tue Oct 31, 2017 6:59 pm

Hi,Classmates,
This month exam qualifying exercises music sheet breakdown.I already prepared this so,I'm posting it.

a.page 49 Carulli, Ferdinando - Prelude opus 114 n°7

1.Time Signature:2/4
2.Tempo:Not defined
3.Strokes:Not defined
4.Measures:22
5.Phrases:Not defined
6.Damping:Yes,8
7.Repeats:No
8.Special effects:No
9.# symbol:Yes,m 2,3,7,9,13,15,17,19,21
11.Rest:No
12. Articulation:No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:No
17.sharp/flat/natural:Yes,Flat at m 9,15,
18.Barre:No


b.pages 74, 75 Paganini, Niccolò - Ghiribizzo n°17 Le Streghe

1.Time Signature: 6/8
2.Tempo:104,(Andantino. Andantino may refer to: Andantino (music), an Italian tempo marking meaning a tempo that is slightly slower than Andante (although in some cases it can be taken to mean slightly faster than Andante) (78–83 BPM)wiki.
3.Strokes: Not defined
4.Measures:48
5.Phrases: Not defined
6.Damping: No
7.Repeats: Yes,m 17 to 32, D.C.al Maggiore (The major key) until Fine.
8.Special effects:No
9.Sharp Symbol:Yes,c#,f#
10.Lyrics: No
11.Rest:Yes,1/8th note,1/4th note with dot,through out the sheet "half note with dot" at m 16,24,32,38,39,40,46,47,48
12. Articulation.No
13.Improvisation:No
14.Slur:Yes, m 33,35,41,43
15.Ornament:Yes, m 38,
16.Tie:No
17.sharp/flat:Yes
18.Barre:Yes,m 7,8,17,18,39,40

c.page 103 Morin, Ludovic-Alexandre - Petite étude

1.Time Signature: 2/4
2.Tempo:Andante,at a walking pace (76–108 bpm)
3.Strokes: Not defined
4.Measures:28
5.Phrases: Not defined
6.Damping: No
7.Repeats: Yes,m 1 to 9 and m 10 to 27
8.Special effects:Yes,Dynamic,p=piano ,Crescendo,Decrescendo,"mf meaning Mezzo forte"
Definitions:"Crescendo
A gradual increase in volume."
"decrescendo
A gradual decrease in volume. Can be extended in the same manner as crescendo."
"Mezzo forte
Moderately loud; softer than forte. If no dynamic appears, mezzo-forte is assumed to be the prevailing dynamic level."
"Piano
Soft; louder than pianissimo"
9.Sharp Symbol:Yes,f#
10.Lyrics: No
11.Rest:Yes,1/8 note m 8, half note m 10,14
12. Articulation.Yes,Fermata half moon symbol at m 28
13.Improvisation:No
14.Slur:Yes,Slurs and ties are similar in appearance. A tie is distinguishable because it always joins two immediately adjacent notes of the same pitch, whereas a slur may join any number of notes of varying pitches. In vocal music a slur normally indicates that notes grouped together by the slur should be sung to a single syllable.wiki
15.Ornament:No
16.Tie:Yes
17.sharp/flat/natural:Yes,sharp at m 2,4,10,11,14,15,16,17,19,21,
18.Barre:No
19.Octave sign:Yes,m 18
"Ottava
The 8va (pronounced ottava alta) sign is placed above the staff (as shown) to tell the musician to play the passage one octave higher."wiki

Definition:"rit" Ritardando (or rit.) is an indication to gradually decrease the tempo of the music (opposite of accelerando)wiki

Definition:"a tempo" A tempo – resume previous tempo.wiki

Definition:Volta brackets at m 27,28 A repeated passage is to be played with different endings on different playings; it is possible to have more than two endings (1st, 2nd, 3rd ...).wiki

Definition:Hormonic notes at m 18,A guitar harmonic is a musical note played by preventing or amplifying vibration of certain overtones of a guitar string. Music using harmonics can contain very high pitch notes difficult or impossible to reach by fretting.wiki

JohnEllis
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Re: D04 Classical guitar lesson 03

Post by JohnEllis » Tue Oct 31, 2017 7:12 pm

@Zafar
Thanks for posting this.
If music be the food of love, play on. --Shakespeare, Twelfth Night, 1.1

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Binh NguyenKhac
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Re: D04 Classical guitar lesson 03

Post by Binh NguyenKhac » Wed Nov 01, 2017 12:29 pm

Welcome back Zafar and thank you for your post.

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Zafar Haq
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Re: D04 Classical guitar lesson 03

Post by Zafar Haq » Wed Nov 01, 2017 1:19 pm

Hi,John,Binh,
Thanks,
I'm mentally here with you guys.Physically in state of mourning.As Chu said,look your peace in music instead of avoiding it.

Binh,you said "Ludovic-Alexandre - Petite étude ! Such a beautiful and challenge song!".At measure 18,two half harmonic notes at position"d#" and "b" to be played at 4th fret, string no 3 and 2.Yes these notes exists at string 3 and string 2.It is just a matter of practice to produce good harmonic sound.

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Binh NguyenKhac
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Re: D04 Classical guitar lesson 03

Post by Binh NguyenKhac » Wed Nov 01, 2017 5:14 pm

I hope you get better soon, Zafar. I have a question tho, how to play 2 notes in middle of measure 6. I'm really confused.
This etude tortures my left pinky, especially in measure 2, left middle to pinky, then middle, to pinky. Yay :cry:

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Zafar Haq
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Re: D04 Classical guitar lesson 03

Post by Zafar Haq » Wed Nov 01, 2017 5:39 pm

Hi,Binh,
Exercise "Ludovic-Alexandre - Petite étude" Measure 6,two notes,"C" and note "E".Both notes are located at 5th fret.I'll write few more lines watching the videos.
After watching Mr.Delcamp video.what I observed!
Completing the full measure 5,you aim your 4th finger (pinky) to slide to wards high "b" note at 7th fret.Once pinky on "b" note,your fingers 2 and 3 reach towards 5th fret for notes "C" and "E". :)

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Binh NguyenKhac
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Re: D04 Classical guitar lesson 03

Post by Binh NguyenKhac » Wed Nov 01, 2017 5:58 pm

Thank you for taking time answering my question, Zafar. Sometimes I wish we have a guitar tab for each classical guitar etude. So we dont have to guess 😁

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Zafar Haq
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Re: D04 Classical guitar lesson 03

Post by Zafar Haq » Wed Nov 01, 2017 7:22 pm

Hi.Binh,
"Tuxguitar" is a free software application ver 1.4.It shows you tablature as well full guitar neck.If you get a "midi" of any exercise and import it inside Tuxguitar,it generates all notes as well tablature for the exercise.Even you can print the same exercise in pdf format.

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Chu Bun
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Re: D04 Classical guitar lesson 03

Post by Chu Bun » Thu Nov 02, 2017 3:48 pm

On the Paganini's piece, do you think damping is done at the rests? For example, the quavers in the second measurement before the second beat. I can't seem to hear any damping there. By the way, the piece looks like a tough one to crack.

JohnEllis
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Re: D04 Classical guitar lesson 03

Post by JohnEllis » Thu Nov 02, 2017 7:01 pm

Chu Bun wrote:
Thu Nov 02, 2017 3:48 pm
On the Paganini's piece, do you think damping is done at the rests?
I believe so.
If music be the food of love, play on. --Shakespeare, Twelfth Night, 1.1

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Re: D04 Classical guitar lesson 03

Post by Andrei Puhach » Fri Nov 03, 2017 3:54 am

I'm curious, why scales should be played Apoyando?
Cordoba C9

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Zafar Haq
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Re: D04 Classical guitar lesson 03

Post by Zafar Haq » Fri Nov 03, 2017 4:40 am

Hi,Andrei,
In different discussions,it is advice to play scales both "tirando" and "Apoyando" techniques.
In same discussions,I picked more saying that for faster speed playing scales to use "Apoyando" technique. Segovia, suggesting and advising for his scales to use "Apoyando" technique.I don't know personally, what is good answer for your question.

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