D05 Classical guitar lesson 04

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Jean-François Delcamp
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D05 Classical guitar lesson 04

Post by Jean-François Delcamp » Tue Dec 05, 2017 9:20 pm

Hello everyone,
Please start by downloading the latest version of volume D05.
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.



Now we are going to work on a series of exercises:
- page 131 Jean-François DELCAMP (1956) EXTENSIONS
Play this left-hand exercise trying to leave your fingers in place on the strings as long as you can, as I show you in the following video. If the stretches between your fingers feel too much for you, you can make it easier for the left hand by using a capo so that you play on the higher frets which are closer together and your fingers will not have to stretch so far apart. Avoid bending your left wrist, as this not only hurts, but also hinders the mobility of your fingers. Aim for the position (of the guitar neck, your elbow and your shoulder) which will allow you to play without bending your left wrist, as shown in the following video. You will be able to play this exercise more effectively if you place your left thumb below your ring finger, i.e. below the third fret.



- page 148 Degli arpeggi 48-98
Mauro Giuliani is the first teacher to have published 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 listen to the mp3s of the 120 arpeggios recorded by Marco Cairone here: http://www.chitarraclassicadelcamp.com/ ... 32&t=25253 .


Don't forget, thoughout the year, to work on scales (pages 136 to 142) several times per week.
Page 142, I suggest some varied rhythms which will help you to achieve greater speed.


Today we'll look at 5 pieces.
- page 8 Luys de Narvàez (ca. 1500-1555) Tres Diferencias por otra parte
These diferencias, or variations, follow on from the "Diferencias sobre guardame las vacas" which we studied in lesson number two. Here the key is D minor and each of the 3 variations consists of a total of 10 bars broken up into (4)+(4+2) bars. An increasing number of hemiolas appear at the end of each variation. The shorter note values occur in the middle voice in the first variation, the upper voice in the second, and the lower and then all three voices to finish.




- page 29 Jean-Baptiste Besard (1567-1625) Ballet
Each phrase begins with an upbeat in the fourth beat. Bars 9 to 13 are repeated as a division in bars 14 to 18. A division is a variation where the same theme is repeated in shorter note values, owing to the addition of notes of ornamentation between the original notes. In the following illustration, the added notes are circled.
Image



- page 50 Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
Here the range of pitch (from the lowest to the highest note, sometimes also called the ambitus or compass) is one of the two key elements. The other key element of this allegro is the expression of duality on several levels: two sections (AABB), two tempi, two voices, etc. Each phrase is repeated a second time, either exactly or with a small variation. In the first two phrases the range of pitch decreases gradually: the treble notes descend while the basses rise. In bar 1 the range is 2 octaves, and it decreases eventually to 1 octave by bar 4. Likewise from bar 5 to bar 8. Then Brescianello reverses the process: he starts bar 9 with a unison, then the bass descends while the treble goes up to finish with a wider range. Bars 9 to 16 give the feeling of two successive waves and then, in his search for duality, Brescianello introduces a brief lull in bars 17 and 18. He concludes in bars 19 to 23 by returning to the energy and the jubilation of the allegro. Still seeking duality, Brescianello introduces the second key of D major for his second section, which repeats the phrases of the first while enriching them with the new phrase of bars 32 to 35.



- page 67 Matteo Carcassi (1792-1853) Etude XVI opus 60
Here the melody evolves within a small range of pitch. The melody is played almost exclusively on the first string using rest stroke. The accompaniment occupies the free spaces between the melody notes. Accompaniment and melody are always distinct, and their meeting, on the third beat of the last bar, brings the étude to a close.




- page 114 João Guimarães (Pernambuco) (1883-1947) Sons de carillhões
The maxixe is sometimes called the Brazilian tango.
The first section in D major is based mostly on the use of 3 chords: D major, E minor and A seventh. In bars 13 and 14 we find a diminished chord arpeggio, like those we've come across in lesson number 3, in the Preludio en ré mayor by Juliàn Arcas (1832-1882). The second section modulates into the key of G major, that is to say the subdominant of D major, the main key of this chôro. At the beginning of this second section the rhythm which was that of the accompaniment (one eighth note [quaver] - 2 sixteenth notes [semiquavers]) becomes, in bars 18 and then 26, the rhythm of the main part.





I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 50 Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
- page 114 João Guimarães (pernambuco) (1883-1947) Sons de carillhões




Good luck!


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


Jean-François


Exam qualifying submissions:
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

Jeffrey Chan
João Guimarães (pernambuco) (1883-1947) Sons de carillhões
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII

Maria Anisimova
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

luis alberto garcia
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões
:( + ♫ = :)

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Jeffrey Chan
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Re: D05 Classical guitar lesson 04

Post by Jeffrey Chan » Sat Dec 16, 2017 7:34 pm

Here is my video for João Guimarães, Sons de carillhões



It was a fun song to play, I really like this choro style of guitar. In the same style as Heitor Villa-Lobos Choro No.1. Btw, David Russell has a great recital of him playing both pieces on youtube!
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Jesús Morote
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Re: D05 Classical guitar lesson 04

Post by Jesús Morote » Mon Dec 18, 2017 5:12 pm

Hi Jeffrey,
I am a student of Italian Forum.

I have listened to your recording of "Sons de carrilhões" (with only one "l"; "lh" not "llh") and I have observed some musical reading mistakes:

1) You have omitted measures 8, 9 and 10
2) The last two chords of bar 15 are eighth notes, and you have played them as quarter (the same in bar 32)
3) In bars 19-20 and 27-28 you play B (on fret VII) instead of C natural (on fret VIII)
4) At measure 34 you must go back to the beginning and repeat the first part to end where it indicates "Fine" (bar 17); (D.C. al Fine, "Da Capo al Fine", in italian language: from Beginning to the word End).

You should correct that.

Regards
D06 Student

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Jeffrey Chan
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Re: D05 Classical guitar lesson 04

Post by Jeffrey Chan » Mon Dec 25, 2017 1:17 am

Hi Jesus..

Thanks for the detailed feedback. I'll work on those changes.

Jeff
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Maria Anisimova
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Re: D05 Classical guitar lesson 04

Post by Maria Anisimova » Wed Jan 03, 2018 7:52 pm

João "Pernambuco" - Sons de carrilhões




Guiseppe Antonio Brescianello Allegro de la Partita VII



I surely need more time to work on these ones, but the next lesson is just around the corner...
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Jeffrey Chan
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Re: D05 Classical guitar lesson 04

Post by Jeffrey Chan » Thu Jan 04, 2018 8:38 pm

Hi Maria..

Great job getting your submissions in time. With the holiday season activities and travelling, this was a tough month for me to devote enough time for me personally. And next month's lessons were just posted!

Some specific comments on the pieces:

Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
- the timing of the last two bars on measure 15 are eighth notes, not quarter notes
- i feel you are rushing at points, i would suggest trying to slow down and keeping an more even tempo and use more legato ( vs stacatto )

João Guimarães (pernambuco) (1883-1947) Sons de carillhões
- trills on measure 12, you should use your 3rd finger for the last trill, e.g. start with 2nd finger, pull off to the first finger, then hammer-on with 3rd. sorry for the electric guitar teminology. This happened in a few other places also.
- measure 20, consider sliding your first finger up from the C to D. Makes the rest of the measure a little easier.
- measure 27, consider damping the low e string, so it doesn't muddle with the upcoming D note in measure 28. I have a similar problem with dampening that I am working out also.
- measure 30, consider using an open D instead of the closed D. It reduces hand movement.
- measure 35, consider playing the C note on the 3rd string. It flows nicely from the D note just before.

Great job overall!
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Jeffrey Chan
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Re: D05 Classical guitar lesson 04

Post by Jeffrey Chan » Thu Jan 04, 2018 8:41 pm

My submission for Allegro de la Partita VII:

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Mark Bacon
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Re: D05 Classical guitar lesson 04

Post by Mark Bacon » Fri Jan 05, 2018 3:25 pm

D05,

Hi all. I'm a former student with sadly no time for lessons any more. I still play-and have been having a go at Sons De Carhillhoes. What a great piece!

Question though: Do you think there's a missing natural sign for the C's in measure 23? I do.

Thanks and happy playing!

Mark

Maria Anisimova
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Re: D05 Classical guitar lesson 04

Post by Maria Anisimova » Fri Jan 05, 2018 10:01 pm

Mark Bacon wrote:
Fri Jan 05, 2018 3:25 pm

Question though: Do you think there's a missing natural sign for the C's in measure 23? I do.
Hello, Mark.
I am not sure about the way it should sound. I suggest you ask in the Italian forum, there seem to be more knowledgeable students there.
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Re: D05 Classical guitar lesson 04

Post by Maria Anisimova » Fri Jan 05, 2018 10:06 pm

Jeffrey Chan wrote:
Thu Jan 04, 2018 8:41 pm
My submission for Allegro de la Partita VII:
Hello Jeffrey

Let me praise your clarity of sound again. That's something I'd like to achieve. I think you might work at greater fluency though. I don't mean the tempo, but the overall flow of the music.

And I sincerely thank you for your very detailed analysis of my playing. I'll carefully consider all your suggestions and will probably agree with most of them.
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Jeffrey Chan
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Re: D05 Classical guitar lesson 04

Post by Jeffrey Chan » Sat Jan 06, 2018 3:31 pm

Mark Bacon wrote:
Fri Jan 05, 2018 3:25 pm
D05,

Hi all. I'm a former student with sadly no time for lessons any more. I still play-and have been having a go at Sons De Carhillhoes. What a great piece!

Question though: Do you think there's a missing natural sign for the C's in measure 23? I do.

Thanks and happy playing!

Mark
Hi Mark..

I really like that piece also. It has a great rhythm and flow to it. Please post a video if you have the chance.

Jeff
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PREVIOUS
2015 Hippner Torres Cedar #813
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Anonymous Cedar
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Yamaha CG101, Spruce

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Re: D05 Classical guitar lesson 04

Post by luis alberto garcia » Tue Feb 06, 2018 7:42 am

Hi everyone, I upload the pending pieces of this session, what carillhoes sons have their charm and details. :D


regards. :bye:

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John Montes
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Re: D05 Classical guitar lesson 04

Post by John Montes » Tue Feb 13, 2018 12:07 am

luis alberto garcia wrote:
Tue Feb 06, 2018 7:42 am
Hi everyone, I upload the pending pieces of this session, what carillhoes sons have their charm and details. :D
Nicely played Luis, very good :bravo:

On the Sons De Carillhoes, double-check the notes in the descending scale pattern in measure 30, and the repeated bass notes in measure 33 should be 16th notes
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luis alberto garcia
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Re: D05 Classical guitar lesson 04

Post by luis alberto garcia » Tue Feb 13, 2018 2:35 am

John Montes wrote:
Tue Feb 13, 2018 12:07 am
luis alberto garcia wrote:
Tue Feb 06, 2018 7:42 am
Hi everyone, I upload the pending pieces of this session, what carillhoes sons have their charm and details. :D
Nicely played Luis, very good :bravo:

On the Sons De Carillhoes, double-check the notes in the descending scale pattern in measure 30, and the repeated bass notes in measure 33 should be 16th notes
thanks John, it seems to me that the scale of measure 30 is fine, in measure 30 I have the error of doing 8th instead of 16th, I had already noticed, :mrgreen: thanks for the appreciation.

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