D04 Classical guitar lesson 05

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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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D04 Classical guitar lesson 05

Post by Jean-François Delcamp » Thu Jan 04, 2018 1:08 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.




We are now going to work on a series of exercises:
- page 114 numbers 17, 18, 19 - Jean-François DELCAMP (1956) GAMMES - SCALE - SCALES - ESCALAS
The following videos correspond to numbers 17, 18 and 19 on page 114. Concentrate your practice on the passages highlighted in yellow, working to perfect the technique of position-shifting up and down the neck.

Youtube


Youtube


Youtube


- page 124 Delcamp, Jean-François ARPÈGES - ARPEGGI - ARPEGGIOS – ARPEGIOS

Youtube


Youtube




Finally we'll look at 5 pieces, pages 22, 54, 55, 56, 57, 78, 79 and 88.
- page 22 Dowland, John Mistris Winters Jumpe
Here we have a "jig". 6/8 time has two beats to the bar. The strong beats are on the first and fourth quaver (eighth note). The phrase structure (see previous lessons) is of 4 bars. Bars 5 to 8 are a division (see lesson D04 n°3) on bars 1 to 4. The 3rd phrase finishes in bar 12 with a half cadence (imperfect cadence), that is one ending on the dominant. The piece concludes with a slightly modified repetition of bars 1 and 2.
http://en.wikipedia.org/wiki/Cadence_(music%29#Half_cadence

Youtube




- page 54, 55 Sor, Fernando Exercice opus 35 n°22, en si mineur, Segovia n°5
The phrase structure is of 8 bars. This study is a polyphonic composition in three voices. At the beginning we have the impression of hearing just a single voice. In the first section, the times when you play two notes together are rare: the 1st beat of bars 1 and 9, and the 3rd beat of bar 13.
The polyphony is only fully expressed from bar 25, when the range of pitch (also known as ambitus or compass *) becomes wider and the bass notes start to appear on the first beat of the bar.

The rest stroke is well suited to bringing out the melody (the upper voice). Use the free stroke to play the accompaniment. In this study, from the beginning to bar 24, the melody takes place within a narrow range (a fifth). This narrow range calls for a low volume (mezzo piano or mezzo forte). From bar 25, the range becomes wider, calling for the fullest sound from the guitar, with an assertive volume (forte). From bar 33, go back to the mp or mf level. From bar 41 to the end, the range becomes wider again, so go back to a more powerful volume. Reduce the volume of the last two bars gradually to conclude the study mezzo piano.

Youtube




- page 56, 57 Sor, Fernando Valse opus 51 n°3
The phrase structure is of 8 bars. In this waltz, the melody of the first section, in E minor, takes place within a narrow range. For this E minor section, I advise a restrained articulation: "non legato" or "mezzo staccato" or maybe "portato".
http://www.dolmetsch.com/musictheory21.htm#accent
The range becomes wider in the second section in E major. In this E major section, the guitar is required to give its fullest sound with an assertive volume. For this section I advise a legato articulation.

Youtube




- page 78, 79 Paganini, Niccolò Perigoldino
There are many repetitions, so vary the tone colour to avoid monotony.
All the phrases start with an anacrusis (pick-up note or upbeat) on the 4th crotchet (quarter note). All the phrases end on the first crotchet (quarter note) of a bar.

The piece is in the key of A, and this key allows the 3 bass strings of the guitar to be used to their best effect: E (dominant) A (tonic) D (subdominant). Observe the precise length of the bass notes, and damp them by placing your thumb on the open string.

Youtube




- page 88 Tárrega, Francisco Estudio, en mi minor
Another piece in three voices. Here again I recommend that you use rest stroke for the melody (upper voice). The right-hand fingering is based on the most classic principle: the ring finger plays the first string, the middle finger plays the second, and the index finger plays the third, while the thumb plays strings 4, 5 and 6. To practise this type of fingering, see the arpeggios of Mauro Guiliani, pages 130 and 131 of volume D04.
Mauro Giuliani was the first teacher to publish a systematic study of arpeggios (http://www.guitareclassiquedelcamp.com/ ... liani.html : Opus. 1 - Studio per la chitarra, Prima parte : 120 arpeggi).
I recommend that you practise a few arpeggios each day and change them regularly with the aim of studying all of them in two years. You can hear the mp3s of the 120 arpeggios recorded by Marco Cairone here: http://www.chitarraclassicadelcamp.com/ ... 32&t=25253 .

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 22 Dowland, John Mistris Winters Jumpe
- page 54, 55 Sor, Fernando Exercice opus 35 n°22, en si mineur, Segovia n°5
- page 88 Tárrega, Francisco Estudio, en mi minor


Good luck!

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

Jean-François

---

Exam qualifying submissions:

Mistris Winters Jumpe
Exercice opus 35 n°22, en si mineur
Estudio, en mi minor
:( + ♫ = :)

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Zafar Haq
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Re: D04 Classical guitar lesson 05

Post by Zafar Haq » Fri Jan 05, 2018 5:12 am

Hi,Classmates,
This month exam qualifying exercises music sheet breakdown.
- page 22 Dowland, John Mistris Winters Jumpe
- page 54, 55 Sor, Fernando Exercice opus 35 n°22, en si mineur, Segovia n°5
- page 88 Tárrega, Francisco Estudio, en mi minor

a. page 22 Dowland, John Mistris Winters Jumpe
en la majeur

1.Time Signature:6/8
2.Tempo:56
3.Strokes:Not defined
4.Measures:16
5.Phrases:Not defined
6.Damping:Yes,11
7.Repeats:Yes, m 9 to m 16
8.Special effects:No
9.# symbol:Yes,C#,F#,G#
11.Rest:Yes,1/8th note at m 1,5,9,11,
12. Articulation:No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:Yes,m 1,5,6,
17.sharp/flat/natural:Yes,natural at m 3,7,
18.Barre:Yes,m 12


b.page 54, 55 Sor, Fernando Exercice opus 35 n°22, en si mineur, Segovia n°5

1.Time Signature: 3/4
2.Tempo:Allegretto,Allegretto — moderately fast (but less so than allegro) 110.wiki
3.Strokes: Not defined
4.Measures:48
5.Phrases: Not defined
6.Damping: Yes,16
7.Repeats: Yes,m 17 to 48
8.Special effects:No
9.Sharp Symbol:Yes,C#,F#
10.Lyrics: No
11.Rest:Yes,1/8th note m 25,quarter note,m 16,40,48
12. Articulation.No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:Yes,
Definition: "Tie
Indicates that the two (or more) notes joined together are to be played as one note with the time values added together. To be a tie, the notes must be identical – that is, they must be on the same line or the same space. Otherwise, it is a slur"wiki
17.sharp/flat:Yes, sharp at m 5,7,8,15,20,22,24,25,31,32,37,39,40,42,43,47,natural at m 29,30,
18.Barre:yes, m 1,2,8,9,10,17,24,25,32,33,41,42,45,46,47



c.page 88 Tárrega, Francisco Estudio, en mi minor

1.Time Signature: 3/4
2.Tempo:96
3.Strokes: I recommend that you use rest stroke for the melody (upper voice)
4.Measures:16
5.Phrases: Not defined
6.Damping: Yes,5
7.Repeats: Yes,m 1 to 8, m 9 to 16
8.Special effects:No
9.Sharp Symbol:Yes,F#
10.Lyrics: No
11.Rest:Yes,1/8th note all measures except m 8,16
12. Articulation.No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:No
17.sharp/flat/natural:Yes,sharp at m 3,7,15
18.Barre:Yes, m 3,7,10,15
19.Octave:No
20.Harmonic notes:Yes,m 16

DaveMoutrie
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Re: D04 Classical guitar lesson 05

Post by DaveMoutrie » Sat Jan 06, 2018 8:58 pm

Just been playing through the pieces for week 5. Can anyone see a reason for the C II in bar 41 of the Sor study in B minor? A barree would seem to be a little redundant as the exact same notes are played at the beginning of the bar with no barree.
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DaveMoutrie
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Re: D04 Classical guitar lesson 05

Post by DaveMoutrie » Sat Jan 06, 2018 9:01 pm

DaveMoutrie wrote:
Sat Jan 06, 2018 8:58 pm
Just been playing through the pieces for lesson 5. Can anyone see a reason for the C II in bar 41 of the Sor study in B minor? A barree would seem to be a little redundant as the exact same notes are played at the beginning of the bar with no barree.
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Chu Bun
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Re: D04 Classical guitar lesson 05

Post by Chu Bun » Sun Jan 07, 2018 5:25 am

Maybe to slide up to the G# in measure 41? I agree that that C II does not seem necessary. But in the sample clip, the Prof clearly wanted to do so and made a buzzed note in the process.

I have a hard time with measure 3 in the Tarrega's piece. It seems my pinky is too short to reach the D# and my middle is too long to squeeze in the G. That measure is very painful for my hand and even more painful for my ears.

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Re: D04 Classical guitar lesson 05

Post by DaveMoutrie » Sun Jan 07, 2018 9:49 am

Chu Bun wrote:
Sun Jan 07, 2018 5:25 am
Maybe to slide up to the G# in measure 41? I agree that that C II does not seem necessary. But in the sample clip, the Prof clearly wanted to do so and made a buzzed note in the process.

I have a hard time with measure 3 in the Tarrega's piece. It seems my pinky is too short to reach the D# and my middle is too long to squeeze in the G. That measure is very painful for my hand and even more painful for my ears.
Thanks for your reply Chu, I have tried playing it both ways now. As its a fairly slow piece, the jump straight to the barree on the 4th fret works ok, but I guess the slide up is a little smoother - I managed to avoid the buzz by just sliding a half barre up on the trebbles, then moving my finer across a bit more. This is a sort of compromise between the 2 methods.

As far as the barree in measure 3 of the Tarrega piece is concerned, you are stretching from the 2nd to the 5th fret - a stretch of 3 frets. I'm not sure what the problem is here, you are barreeing over the first 5 strings and making your barree exactly over the fret wire, right? - Or is it just that you need to build up a bit more strength in your fingers for the barrees? Do you have any issues with any of the barrees in the Sor piece?

Anyway good luck, I'm sure you will get there - your playing has been excellent just lately! :D
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Re: D04 Classical guitar lesson 05

Post by DaveMoutrie » Wed Jan 10, 2018 5:38 am

Here is my attempt at the e minor piece. A few slight hesitations here and there and the odd muffled note - I'll keep trying.



Youtube


All comments welcome.
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Andrei Puhach
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Re: D04 Classical guitar lesson 05

Post by Andrei Puhach » Fri Jan 12, 2018 12:20 am

DaveMoutrie wrote:
Wed Jan 10, 2018 5:38 am
Here is my attempt at the e minor piece. A few slight hesitations here and there and the odd muffled note - I'll keep trying.



Youtube


All comments welcome.
Looks effortless, sounds great. I did not start learning this piece yet, so, it is difficult to provide a detailed feedback.
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Re: D04 Classical guitar lesson 05

Post by DaveMoutrie » Fri Jan 12, 2018 5:48 am

Andrei Puhach wrote:
Fri Jan 12, 2018 12:20 am
DaveMoutrie wrote:
Wed Jan 10, 2018 5:38 am
Here is my attempt at the e minor piece. A few slight hesitations here and there and the odd muffled note - I'll keep trying.



Youtube


All comments welcome.
Looks effortless, sounds great. I did not start learning this piece yet, so, it is difficult to provide a detailed feedback.
Thank you for your comment andrei, I guess you've started with the B minor study. :wink:
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Andrei Puhach
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Re: D04 Classical guitar lesson 05

Post by Andrei Puhach » Fri Jan 12, 2018 8:02 pm

DaveMoutrie wrote:
Fri Jan 12, 2018 5:48 am

Thank you for your comment andrei, I guess you've started with the B minor study. :wink:
Shame, but I did not start this lesson at all... Doing exercises from Kitharologus (by Ricardo Iznaola) mostly targeting the right hand (arpeggios and pre-tremolo patterns). Also, trying to get better at sight reading, going through D03 (all pieces). It turns out I cannot play well without looking at the fretboard, missing 80% of notes :? ...
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DaveMoutrie
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Re: D04 Classical guitar lesson 05

Post by DaveMoutrie » Wed Jan 17, 2018 9:13 am

Andrei Puhach wrote:
Fri Jan 12, 2018 8:02 pm
DaveMoutrie wrote:
Fri Jan 12, 2018 5:48 am

Thank you for your comment andrei, I guess you've started with the B minor study. :wink:
Shame, but I did not start this lesson at all... Doing exercises from Kitharologus (by Ricardo Iznaola) mostly targeting the right hand (arpeggios and pre-tremolo patterns). Also, trying to get better at sight reading, going through D03 (all pieces). It turns out I cannot play well without looking at the fretboard, missing 80% of notes :? ...
Always a good thing to go back to basics - have you tried playing a piece that you know really well with your eyes shut?

Sight reading is a real challenge for me - you need to read ahead and work out your right hand and left hand fingering on the fly while playing the piece at the same time - extreme multitasking or what?

I actually bought Kitharologus and started on the exercises, but found them very boring - how is that going for you?

I'm sure you'll soon be up to speed on this month's pieces... I on the other hand have lots to catch up on from previous lessons. :(
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