Postby Jean-François Delcamp » Tue Nov 03, 2015 4:09 pm
Please start by downloading the latest version of volume D03.
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 88, numbers 10, 11, 12 - 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 10 on page 88. 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.
- Page 94, number 30, bar 2. 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 30, 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.
Finally, we'll look at 4 pieces, pages 11, 12, 34, 35 and 56.
- page 11 ANONYME (ca. 1600) GREENSLEEVES
In this piece, take care to hold the bass notes for their full duration, especially the C and G basses. In bars 16 and 24, as soon as you get to the second beat you can prepare the fourth finger which will be used for the top G of the following chord. You can see in the piece the Siciliana rhythm (dotted quaver, semiquaver, quaver, or dotted eighth note, sixteenth note, eighth note). The piece consists of three sections, the third section being identical to the first, so it has an A-B-A structure, also called ternary form.
- page 12 ANONYME MARO PONTKALLEG
This piece consists of three sections, the third section being identical to the first, so it has an A-A-B-B-A'-A' structure, also called ternary form.
From bar 25 onwards, arpeggiate your chords slowly from bass to treble, organizing the rhythm in such a way that you finish the arpeggio with the top note on the beat.
- pages 34-35 TURLOUGH O'CAROLAN (1670-1738) BRIAN BORU'S MARCH
This piece consists of three sections, the third section being identical to the first, so it has an A-B-B-A structure, also called ternary form. You can see in the piece the Siciliana rhythm (dotted quaver, semiquaver, quaver, or dotted eighth note, sixteenth note, eighth note).
- page 56 Niccolò PAGANINI (1782-1840) VALTZ
Take care to damp the bass notes properly from the second quaver (eighth note) of the bar. This piece consists of two sections which are repeated, so it has an A-A-B-B structure, also called binary form. You can make particularly good use of the repeat if you aim to give it a different feel each time. Thus you could play the B section in a non-conclusive fashion the first time round, and in a conclusive fashion the second time.
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 88 number 10
- Page 94 number 30, bar 2
- page 11 ANONYME (ca. 1700) GREENSLEEVES
- page 56 Niccolò PAGANINI (1782-1840) VALTZ
I thank Geoff (GeoffB) who has helped in the translation of my lessons into English.
Exam qualifying submissions:
page 88 number 10
Page 94 number 30, bar 2
Greetings to all my colleagues, and above all thank the Maestro Delcamp for the class, and I hope we are ready for this class. A greeting and you know they are happy in their lives.
Jorge, my brother, how do you find you're ready to see who goes first ?; be fine.
Un saludo a todos mis compañeros, y antes que nada agradecer al Maestro Delcamp por la clase, espero y ya estemos listos para esta clase. Un saludo y ya saben sean felices en sus vidas.
Jorge, mi hermano, ¿cómo te encuentras ya estás listo para ver quien la sube primero?; que estés bien.
Health all colleagues , MIGUEL clear that I am ready on Wednesday, sending all my videos , this day ended with Paganini Waltz is so you hope .
And a fraternal hug to all of motivation because they will all do well !!!!!!!!!! .
Jorge, my brother, your job well, but for me it lacks a little speed to work, I do not know perhaps the Maestro Delcamp touches slow for us to see the implementation as Greensleeves the score mark 120 BPM Waltz if I'm not mistaken must be tagged at a rate roughly 130 to 140 bpm, if someone could remove this doubt is the welcome; There is a video that appears only pure league, if you could upload it again I'd appreciate it; Paganini in waltz I think you run badly linked to the second part, I think it's the Sun # to F # F # and you do Mi. Otherwise very good Take care and be happy in your life.
Jorge, mi hermano, muy bien tu trabajo, aunque para mi que le falta un poco de velocidad a las obra, no sé quizás el Maestro Delcamp las toca lento para que nosotros podamos ver la ejecución, ya que Greensleeves la partitura marca 120 Bpm y el Vals si no me equivoco debe ser tocado a una velocidad más o menos de 130 a 140 Bpm, si alguien pudiera quitarme esta duda se los agradecería; hay un vídeo que aparece únicamente la pura liga, si pudieras volver a subirlo te lo agradecería; en el vals de Paganini creo que ejecutas mal el ligado de la segunda parte, creo que es del Sol# al Fa# y tu haces Fa# Mi. Por lo demas muy bien cuidate y que seas feliz en tu vida.
Sparrowhawk ( Miguel Grajeda ) thank you for your wise counsel is true Paganini Waltz I just FA # .
The difficulty I have always had before because I do not look good .
I will take on speed
consider your comments .
I hope you send us something soon.
MIGUEL Hello I ask the intervention of the moderators
MARKO RASANEN and JOHN MONTES because Paganini Waltz sign " Mordente " mistakenly thought that was played on the same note appears this is new to me and now I see that is the same as a " Linked " .
So I am asking the advice of the moderators because they have more experience.
MIKEY know that I appreciate and treasure.
Hello MODERATORS and MIGUEL I could not put off the clear up the confusion I have .
I was call to VENEZUELA and communicate with fellow ELIECER ORTIZ from spanish forum he is one of the more advanced students and gave me a brief explanation.
I made a new video which I will post in the next 30 minutes.
MIGUEL GRAJEDA thanks for the observation that made me find and keep looking is the only way to learn.
Last edited by jorge nuño guerrero on Tue Nov 10, 2015 8:02 pm, edited 1 time in total.