D02 Classical guitar lesson 3

[Jean-François Delcamp]

Hello everyone,
Please start by downloading the new version of volume D02 that I updated today.
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.



First we'll revise some technical exercises from volume D02.
- page 73, numbers 6 and 7.
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 seem too much for you, you can make it easier for the left hand by playing these exercises in 3rd or 5th position. Then your fingers won't need 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.

Youtube




- page 74 Chromatic scale
Play this scale trying to leave your fingers on the strings as long as possible, as shown in this 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.

Youtube




Finally, we'll look at 2 pieces, pages 10, 16 and 17.
- page 10 ANONYME (1600) A TOYE
A Toye consists of three sections of four bars each, the third section being identical to the first. So this piece has an a-b-a structure, also sometimes called a Lied form (or ternary form).

The first section is in the key of A major, and you can see in it the Siciliana rhythm (dotted quaver, semiquaver, quaver, or dotted eighth note, sixteenth note, eighth note). The second section is in the key of D major. A major and D major are closely related keys, which means that they have 6 notes in common and just one different note between them. The G is sharp in A major but natural in D major.

Youtube
The Lied (ternary) form is often used by composers, and you will find five other examples in the same volume:
Juan Bobrowitz : Danse polonaise
Joseph Meissonnier : Andante affettuoso
Mauro Giuliani : Écossaise n°10 opus 33
Fernando Sor : Allegretto n°2 opus 44
Felix Horetzky : Amusement opus 18 no.10



- pages 16-17 Jean-François DELCAMP (1956) SOLEARES
This piece comes from flamenco music, but the rhythm doesn't follow the traditional pattern of accented beats over a 12 beat phrase (1 2 3 4 5 6 7 8 9 10 11 12). The mode used is the Andalusian mode: E F G# A B C D E. The repeats are necessary, in order to preserve the structure based on groups of four bars.

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 10 ANONYME (1600) A TOYE
- pages 16-17 Jean-François DELCAMP (1956) SOLEARES


I look forward to hearing you play these exercises and pieces.

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

Jean-François

[Richard Judge]

Is the word "Lied" pronounced like "Leed"?
A quick google suggests that it is a German derivative.

[GeoffB]

That's right, it's the German word. After further discussion we decided that since the expression "Lied form" is used with slightly differing meanings by different people, "ternary form" might be a better English equivalent to describe the A-B-A structure, so I've just inserted it as an alternative in the lesson above.

Geoff

[Peter Johnson]

I am sure a lied is a song...
Thank you for this most interesting looking lesson Mr Delcamp. Here I am in New Zealand, horribly jet lagged, visiting family for the festive season, and, sans guitar.
I should have brought it then I could have spent time on it in the early hours when I am awake and they are asleep.
I am just going to have to spend overtime catching up when I get home, horribly jet lagged again.

[Ned Henderson]

M. Delcamp, and Geoff too, for these exciting and challenging lessons. This new lesson looks as if it has some tricky sections to execute and I think I will have to start playing these pieces really slowly. "A Toye" looks to have some grace notes which I find it hard to execute at any speed, and as yet I cannot get a clear feel of the rhythm of the flamenco Soleares. But I am glad to be stretched a bit.
I have already been doing some practice on the extensions, I have found a tendency to fluff some of the notes by unintentionally damping strings with my left hand.
This time around I am going to have a go at posting a Youtube video. I have found it very helpful and also encouraging to see the videos of fellow students and I thank Stewart and Jack for posting your work on the last lesson and for your thoughts and comments, it gives a feeling of mutual support which is very welcome. Also I appreciated seeing your video Michael and admired the clarity and precision of your technique.
I wish you all good practice and I look forward to sharing our efforts and our comments in a week or two.

Ned H.

[Ned Henderson]

Hi

I have been looking up Soleares in the Dolmetsch online music dictionary, which offers the following information.

Soleares, or soleá, is one of the most important styles of flamenco singing, guitar playing and dancing. It has a peculiar rhythm (or compás) that is found in other styles of flamenco such as alegrías, and other members of the cantiñas group. The soleá rhythm consists of twelve beats accented on beats three, six, eight, ten and 12. Tension starts on three, increases on six, peaks on eight and resolves on 10.

Falsetas - melodic variations played on a flamenco guitar.


Ned H.

[Stewart Doyle]

Hello everyone, I'm pretty sure I've got the 21 December version of the score, so am I right in thinking that some ornamentation for ATOYE has been added by M. Delcamp and it's left to us to either try something similar ourselves or just stick to the score? Apologies if I missed something obvious.
Stewart

[Jack Jarrett]

My thanks as well to M. Delcamp and Geoff. These do look challenging and fun to work on and having these excellent videos to use as models to work towards is the best part. And Stewart I did download the Do2 version just now and do not see the ornaments indicated on the score so must assume we are to add our own as demonstrated in the video. Having the proper fingering written would have been helpul, but hopefully from viewing enough times it will become clearer.Is there a way to slow down a you tube video?
Jack

[GeoffB]

Thanks, Ned and Jack, but I only translate them. M. Delcamp does all the hard work!

Geoff

[GeoffB]

All students please note, part of lesson 7, on improvization, has been published early to give you time to start familiarizing yourselves with the process. The lesson will remain visible but locked until it falls due.
viewtopic.php?f=41&t=55238

Geoff

[Gregory Martell]

Hello everyone, I'm pretty sure I've got the 21 December version of the score, so am I right in thinking that some ornamentation for ATOYE has been added by M. Delcamp and it's left to us to either try something similar ourselves or just stick to the score? Apologies if I missed something obvious.
Stewart

Wondering the same thing here...??

[Duk Lee]

Hello Mr. Delcamp,

I just want to assure that I "as a student of online class" am following your lessons 1, 2, and 3, although I have been quiet, not putting a video or sound of my play. One of these days, I will be courageous enough to upload myself in video or something.
Thank you for all you do in these generous lessons. Your videos are greatly helpful.

-Duk

[Porgy_M]

Hello everyone, I'm pretty sure I've got the 21 December version of the score, so am I right in thinking that some ornamentation for ATOYE has been added by M. Delcamp and it's left to us to either try something similar ourselves or just stick to the score? Apologies if I missed something obvious.
Stewart

Wondering the same thing here...??

Same here. Are we supposed to figure out the grace notes?

[GeoffB]

I don't think you are expected to play exactly what's in the video. As I understand it, M. Delcamp is illustrating the fact that as you grow in confidence you will probably make use of repeated sections in the music to introduce some variety, by means of ornamentation, etc., though I'm sure you can just stick to the score at the this stage if you wish.

Geoff

[Stewart Doyle]

Hello everyone, here's my attempts after a week of practice. Soleares in particular isn't really ready - I don't feel too secure with the Finale, although in the version below I go wrong in several places starting at about bar 6 where I just play several random notes. I also found Falseta 4 more difficult than during individual practice as I think the use of 'p' and 'a' in the previous sections threw me somewhat during the full piece. I haven't tried to do too much with these versions in terms of damping (both pieces) or ornamentation (A Toye). (I did add one deliberate ornament in A Toye, but followed it with a mistake!)
I'm working on the principle that these are designed to make my next submissions look quite good....

Stewart

D02 p10 Anonyme - A Toye

Youtube


D02 p16-17 Delcamp - Soleares

Youtube