D05 Classical guitar lesson 07

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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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D05 Classical guitar lesson 07

Post by Jean-François Delcamp » Wed Mar 06, 2019 9:45 am

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're going to work on a study:
- pages 156, 157 Agustín Barrios Mangoré (1885-1944) Estudio del ligado
Do your best to obtain an even volume whichever way the note is produced, whether by plucking, hammer-on (ascending slur) or pull-off (descending slur). Of these three ways of producing the sound, it is the note produced by the hammer-on (ascending slur) which demands the most energy. When you first start practising this, emphasize the hammer-ons forcefully, while playing the plucked notes and pull-offs gently.





Today we'll look at 5 pieces.
- page 5 Alonso Mudarra (1510-1580) Gallarda
I recommend that you stress beats 2 and 3 only lightly, then give full emphasis to beat 1, in order to clearly bring out the stress on the 1st beats, that is to say on all the dotted half notes (dotted minims). The dance ends with hemiolas in bars 22 and 23. In these two bars, the stress changes, falling on each half note (minim).



- page 34 Gaspar Sanz (1640-1710) Pavanas Por La D, Con Partidas Al Aire Español
In Gaspar Sanz's time, European guitarists notated chords with a system whereby letters of the alphabet symbolised the positions of the fingers on the fingerboard of the guitar. These finger positions served to produce the usual chords. This system is called "alfabeto italiano": http://www.guitareclassiquedelcamp.com/ ... liano.html. Under this system, the chord of A minor is represented by the letter D. Hence the title of these pavanes in A minor.
In bar 16 you will notice the presence of a double cross or # above the staff. This symbol indicates to the player that he should play the note or notes under the symbol with vibrato.
In the last section, Gaspar Sanz makes frequent use of campanella passages, in order to give an effect of prolonged resonance to the notes of the scales, somewhat in imitation of the harp. I have indicated the fingerings which will allow this harp effect to be achieved in the scales.




- page 82 Napoléon Coste (1806-1883) Etude I opus 38
While the bass is present throughout on the strong beats, the treble part falls on the weak parts of the beat. Practise phrase by phrase, each phrase starting with an upbeat on the second beat and ending on the first beat. The phrase structure of the study is of 4 bars. Napoléon Coste breaks the phrase structure between bars 24 and 30, and again from the end of bar 38 to bar 43.



- page 89 Francisco Tàrrega (1852-1909) Làgrima
Here we are in the presence of a masterpiece of the classical guitar repertoire. This prelude, in the key of E, has a marvellous ringing quality. Tàrrega, as always, makes admirable use of the guitar's possibilities. The only serious technical difficulty concerns bars 5 and 6. In these bars, the barrés require a muscular force which takes a long time to develop, so I suggest an alternative, less demanding fingering without barrés. Bring out the melody in the upper voice by a stronger free stroke, or a rest stroke, on the first string. In bar 9 the acciaccatura (the small note) is produced by rapidly sliding the second finger from the G to the C. This C represented by the small note is followed immediately afterwards by the same C, played with rest or free stroke, as I demonstrate in the following short video.




Julio Sagreras (1879-1942) Lecciones III n°6
To get an even sound in the triplet slurs, it is necessary to concentrate on the hammer-on. The hammer-on demands energy and concentration, while it is easy to get a clear sound from the pull-off which follows it. Practise these slurs slowly, accentuating the volume of the notes produced by the hammer-ons, as I demonstrate in the following short video extract.






I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 89 Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Leccione III n°6




Good luck!


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


Jean-François


Exam qualifying submissions: :
Francisco Tàrrega (1852-1909) Làgrima
Julio Sagreras (1879-1942) Lecciones III n°6
:( + ♫ = :)

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Chu Bun
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Re: D05 Classical guitar lesson 07

Post by Chu Bun » Fri Mar 22, 2019 4:04 am

Submission 1/2. I know this piece, so it took only one take (yeah!). There are a few misfretted or wrong notes. I also tend to follow my own tempo when playing from memory. Please give suggestions for improvement.

Colin Bullock
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Re: D05 Classical guitar lesson 07

Post by Colin Bullock » Fri Mar 22, 2019 10:03 am

Chu Bun wrote:
Fri Mar 22, 2019 4:04 am
Submission 1/2. I know this piece, so it took only one take (yeah!). There are a few misfretted or wrong notes. I also tend to follow my own tempo when playing from memory. Please give suggestions for improvement.
First playthrough on ipad sounds good, very musical. Yes, some misfrets etc but no real problems.
I’ll listen on headphones over weekend.

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