D04 Classical guitar lesson 06

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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 06

Post by Jean-François Delcamp » Mon Feb 04, 2019 4:26 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:
- pages 115, 116 Delcamp, Jean-François Gammes, numéros 20, 21 et 22
Concentrate your practice on the passages highlighted in yellow, working to perfect the technique of position-shifting up and down the neck.







- page 125 Delcamp, Jean-François BARRÉ - BARRÉ - BARRÉ – CEJILLA
You have to be careful and listen to what your body is telling you when you begin to practise the barré. Be sure to keep in mind that if you overdo your practising of the barré, you risk developing tendonitis which often takes a long time to heal and will cause you a good deal of stress if, like me, you love the guitar with a passion. Pain is a warning sign that should be respected. As soon as you feel pain, you should have the wisdom to stop practising immediately until the next day. In the 80's, I wasn't prepared to listen to the pain caused by practising the barré, and only a total break from the guitar lasting a whole year enabled me to start playing again. Now I stop immediately at the first warning sign of pain. Since I started being careful, I've had no more problems.

To acquire the technique for the barré, it is essential above all not to force it. The ideal is to practise a little, but every day.

- For greater effectiveness, the thumb is placed opposite the middle finger, rather than behind the index finger making the barré.
- Place the index finger very close to the fret, almost on top of it.
- Make sure that your shoulder, forearm, wrist and hand are really relaxed. Only the fingers should be exerting a light pressure, otherwise you'll be heading for disaster and at risk of jeopardizing your future progress by giving yourself tendonitis. Relaxing the arm and forearm allows you to take advantage of the weight of the arm and forearm to help the index finger to press more easily against the strings.
- Avoid bending the left wrist, as that will hurt and will impede the action of the fingers. Find the position (of the guitar neck, your elbow and your shoulder) which will allow you to make the barré without bending your wrist.

- The creases of the finger joints cause some slight problems. In particular the crease of the joint between the last two bones of the index finger (the middle and distal phalanges).

To illustrate this, here are 2 photos of my right hand index finger ready to make a barré (I am left handed). I am not pressing on the strings, so that the crease of the joint is more visible.
1. In this photograph, the joint crease of the index finger is situated exactly over the third string, so the third string will not be pressed fully against the fingerboard, and the sound will be muffled or non-existent.
joint crease of the index finger on the 3rd string
Image
2. A solution is to position this crease where it will not cause a problem (between the strings)
joint crease of the index finger between the 3rd and 4th strings
Image

Practising the barré demands patience. The first results of this practice (improvement in strength) only become noticeable after several weeks or months of daily practice.

The tension of the strings (normal, hard, or extra hard) also plays a role in barrés. A set of "extra hard" tension strings requires more strength than a "normal" tension set. A "normal" tension set of strings and a low action* will help you.
* The action of a guitar is the distance between the stationary string and the frets, usually measured at the 12th fret. You can have the action adjusted by a luthier.





Finally we'll look at 4 pieces.
- page 6, 7 Milán, Don Luys Pavane I
Image



- pages 50, 51 Sor, Fernando Exercice opus 35 n°13, en do majeur, Segovia n°2
This piece consists of a melody with accompaniment. Bring out the melody notes (those with the stem pointing up) by using rest strokes with your third finger. Play the accompaniment (the notes with the stem pointing down) quietly, with gentle free strokes using the thumb, middle and index fingers.
These two simultaneous strokes, one a strongly played rest stroke, the other a gentle free stroke, will seem very difficult, or even impossible, to achieve. But don't worry, my students manage this double stroke after 15 minutes. The first few minutes of practising this right-hand skill are always agonizing for students, because they feel that they will never succeed. In my lessons, my role is to reassure the students and encourage them to persevere. Often, after 15 minutes of repeating the same movements, students start to get there. Sometimes they are quite amazed at having succeeded at what seemed impossible. Because by repeatedly failing to perform rest and free strokes simultaneously, you end up convincing yourself that it's impossible. In short, persevere! Have courage!

Be patient, stay relaxed, don't get annoyed with yourself, don't curse me, just repeat the same movements over and over again while making an effort to get it right. In a few hours or a few days you will achieve mastery of this simultaneous rest and free stroke. This technique is used in the piece "Jeux interdits".



- page 86 Coste, Napoléon Barcarolle opus 51
Barcarolle opus 51 is in two sections, each of 16 bars. It has a phrase structure of 4 bars. The piece is in the key of A, and this key allows the optimal use of the 2 bass strings of the guitar: E (dominant), A (tonic). Observe the exact duration of the bass notes, and damp them by placing your thumb on the string as and where indicated by the damping symbols and finger indications on the first line.



- page 93 Francesco Roggi Lu primm'ammore
This piece consists of a melody with accompaniment. Bring out the melody notes (those with the stem pointing up) by using rest strokes with your third finger. Play the accompaniment (the notes with the stem pointing down) quietly, with gentle free strokes using the thumb, middle and index fingers.





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:
- pages 50, 51 Sor, Fernando Exercice opus 35 n°13, en do majeur, Segovia n°2
- page 86 Coste, Napoléon Barcarolle opus 51
- page 93 Francesco Roggi Lu primm'ammore


Good luck!

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

Jean-François

---

Exam qualifying submissions:

Exercice opus 35 n°13, en do majeur
Barcarolle opus 51
Lu primm'ammore

David Florea
Exercice opus 35 n°13, en do majeur
:( + ♫ = :)

David Florea
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Re: D04 Classical guitar lesson 06

Post by David Florea » Wed Mar 27, 2019 4:51 pm

Wanted to let everyone know that I’m still studying and working consecutively on on level D04 -06 along with D04- Lessons 04,05,,07. My plan is to work through this summer and retake Level 4 next year post all submissions. And hopefully begin Level 05.

Colin Bullock
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Re: D04 Classical guitar lesson 06

Post by Colin Bullock » Thu Mar 28, 2019 8:51 am

OK David, thanks for letting us know.
You will need to reregister as a student in September, but I think you’ll have company on D04 next year
All the best
Colin

David Florea
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Re: D04 Classical guitar lesson 06

Post by David Florea » Sat Apr 06, 2019 3:12 pm


David Florea
Student of the online lessons
Posts: 160
Joined: Sat Sep 12, 2015 12:04 am

Re: D04 Classical guitar lesson 06

Post by David Florea » Sat Apr 06, 2019 3:23 pm

WellI I was making what felt to be a mad rush to finish this year. I found that nervously hurrying and precise guitar music are incompatible. I actually sounded fairly good when not recording.There must be a happy medium. Best regards.

Colin Bullock
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Re: D04 Classical guitar lesson 06

Post by Colin Bullock » Sun Apr 07, 2019 5:41 pm

David Florea wrote:
Sat Apr 06, 2019 3:12 pm
Fernando Sor Excercice XIII
Reasonable first attempt. Try a little slower and make the melody slightly louder compared to accompaniment.

David Florea
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Re: D04 Classical guitar lesson 06

Post by David Florea » Sun Apr 07, 2019 9:30 pm

Thanks

Robert Goodwin
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Re: D04 Classical guitar lesson 06

Post by Robert Goodwin » Tue Apr 09, 2019 7:11 am

Colin Bullock wrote:
Thu Mar 28, 2019 8:51 am
OK David, thanks for letting us know.
You will need to reregister as a student in September, but I think you’ll have company on D04 next year
All the best
Colin
Indeed you will have company. There is so much pleasurable music here I intend to do it properly before moving on.

Best regards,
Bob G.

Colin Bullock
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Re: D04 Classical guitar lesson 06

Post by Colin Bullock » Tue Apr 09, 2019 9:03 pm

Robert Goodwin wrote:
Tue Apr 09, 2019 7:11 am
There is so much pleasurable music here I intend to do it properly before moving on.

Best regards,
Bob G.
Excellent, see you then in what will be a larger group

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