D03 Classical guitar lesson 01

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Jean-François Delcamp
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D03 Classical guitar lesson 01

Post by Jean-François Delcamp » Wed Sep 16, 2015 6:06 am

Hello everyone,
Please start by downloading the latest version of volume D03.

We are going to talk about the minimum time you need to devote to the study of the guitar, about the position for holding the guitar, and finally about some techniques, exercises and pieces.



The schedule of a student in the third year:
In order to progress, you need a little time each day for 6 days of the week. Here is the minimum necessary for players of this level :
3 days when you can devote 15 minutes to repeating each difficult passage 6 to 12 times. I'll indicate these difficult passages to you by putting a box (a rectangular border) around them.
and
3 days when you can devote 40 minutes to studying the guitar, made up of
- 15 minutes practicing the difficult (boxed) passages,
- 15 minutes repeating the individual phrases several times in succession (3 to 6 times)
- and finally 10 minutes playing the piece or pieces in full.

Note that you must play for 6 days of the week. If you combine all this time into one day, that is to say, 2 hours 45 minutes in a single day, you will not make progress and furthermore you will risk injuring yourself by making demands on certain muscles for too long. Divide up your practice and play a little each day.

Spend most of your practice time on the parts you have trouble playing: difficult passages, difficult phrases. Only play pieces the whole way through once or twice a week.
So we understand one another properly, here is an example of a timetable where sessions alternate between 15 and 40 minutes:
Monday 40 minutes
Tuesday 15 minutes
Wednesday 40 minutes
Thursday 15 minutes
Friday 40 minutes
Saturday 15 minutes



The position for the classical guitar is the product of past experience. The classical position enables us to reduce effort to a minimum, and has arisen from a compromise between the needs for stability, comfort and the efficient use of both hands.

The principles of this position are:
sitting position, back straight, shoulders level,
the guitar rests on whichever thigh is on the neck side.
We raise the head of the guitar level with our head, with the aid of a footstool or of a support placed on the thigh.
The hand which plays the strings is placed over the sound hole, the elbow rests on the edge of the body of the guitar, level with the bridge.
The arm on the neck side is bent to bring the hand up to the height of the shoulder, the thumb is placed behind the neck, beneath the second fret and behind the third string, the fingers are over the strings.
Try to achieve relaxation, from the shoulders right down to the hands.
Finally, choose a chair of a height that allows your thigh to be horizontal, so that your guitar will be supported in a
stable manner. If your thigh is angled in one direction or the other, your guitar will slip and interfere with your playing.



To begin the course we will firstly look at, or relook at, pages 26 and 58 of volume D01.
- page 26 of volume D01 : Jean-François DELCAMP (1956) POLYPHONIE - Apoyando
- page 58 of volume D01 : Jean-François DELCAMP (1956) REST STROKE - APOYANDO
These exercises will work upon the technique of simultaneous rest strokes (apoyando) with the thumb and index finger, and also with the thumb and middle finger.
The rest stroke is a way to play the string with a finger movement which plucks the string and then continues to move until it comes to rest on the adjacent string. Working on this technique will allow you to discover the best position for your plucking hand (the right hand if you are right-handed).
If you are already used to plucking the strings with free strokes, the simultaneous rest strokes with the thumb and a finger will seem difficult to you, even impossible. But be assured, with patience and perseverence, this difficulty will be resolved in 30 minutes. I know from experience that the first tries are truly discouraging, particularly for adults. It is for this reason that I wish to reassure you in advance, take heart, you will be able to do it.

D01 p26 n1 - Delcamp Polyphonie - Apoyando

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D01 p26 n2 - Delcamp Polyphonie - Apoyando

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D01 p58 n15 Buté - Apoyando - Rest stroke

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D01 p58 n16 Buté - Apoyando - Rest stroke

Youtube




Once done, we will continue studying an exercise and 4 pieces, among the simplest in the volume D03.

- Page 86 Jean-François DELCAMP (1956) STRING DAMPING
These techniques are essential in polyphonic playing. Guitar playing is unique in that we must stop the resonances, in particular those of the open strings. Without these string damping techniques, polyphony is blurred by dissonance.

D03 p86 n1 - STRING DAMPING

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D03 p86 n2 - STRING DAMPING

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D03 p86 n3 - STRING DAMPING

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D03 p86 n4 - STRING DAMPING

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D03 p86 n5 - STRING DAMPING

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- Page 8 Giorgio MAINERIO (1535-1582) SCHIARAZULA MARAZULA
This piece is a passemeze that uses two chords, those of A minor and G major. GWIN AR C'HALLAOUED in volume D03 is based on the same chords. Also in volume D03, BRIAN BORU'S MARCH is similarly based on these two chords.
The bass accompaniment is so simple and functional that I recommend it as a model for anyone who wants to begin working on improvisation.
To start work on improvisation, play the following bass part :
| A E | A E | A E | A E | G D | A E | G D | A E |
and use your free fingers to improvise over a melody over it.
First improvise a melody over the bass made up of whole notes (semibreves). When you've mastered the improvisation of a melody composed of whole notes, start using quarter notes (crotchets), which is more difficult. Finally improvise over the bass a melody made up of whole notes, quarter notes and eighth notes (quavers). We will not go any further in this third year course.

D03 p8 Giorgio MAINERIO - Schiarazula marazula

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D03 p8 Improvisation 1 - Passemeze

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D03 p8 Improvisation 2 - Passemeze

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D03 p8 Improvisation 3 - Passemeze

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- Page 9 Guillaume MORLAYE (1510?-1558?) GAILLARDE
Here William Morlaye constantly plays on the ambivalence in the pattern of accented beats. The rhythm is based at the same time on two measures in 3/8 time (ie 2 strong beats for a total of 6 eighth notes) and also on one long measure in 3/4 time (ie 3 strong beats for a total of 6 eighth notes). This practice, already common in the Renaissance, has been in constant use by composers right up to our own time. These changes in the rhythm are called hemiola. A hemiola refers to the insertion of a triple rhythm into a duple rhythm, or vice versa.

D03 p9 Guillaume MORLAYE - Gaillarde

Youtube




- Page 45 Ferdinand CARULLI (1770-1841) ARPEGGI
Two simple pieces, perfect for an introduction to arpeggios. In these arpeggios, only your fingers move, be sure to keep your right hand in the same position.

D03 p45 Ferdinand CARULLI - Arpeggi di 3 note

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D03 p45 Ferdinand CARULLI - Arpeggi di 4 note

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- page 63 Mattéo CARCASSI (1792-1853) ANDANTINO opus 59
This andantino is a small masterpiece of brevity. For my part, I damp the resonance of the bass strings and I suggest you do the same. To damp the resonances, I rest my thumb on the string when I play with the index finger and I rest my index finger on the string when I play with the thumb, as in this video example.

D03 p63 exercice andantino

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D03 p63 Mattéo CARCASSI -andantino opus 59

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 26 du volume D01 : Jean-François DELCAMP (1956) POLYPHONIE - Apoyando
- page 45 Ferdinand CARULLI (1770-1841) ARPEGGI
- page 8 Giorgio MAINERIO (1535-1582) SCHIARAZULA MARAZULA



Good luck!


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


Jean-François

---

Exam qualifying submissions:

POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA


Dennis Stewart
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Jorge Nuño Guerrero
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Mark Farber
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Eva Pakaki
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Miguel Grajeda
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Bill Davis
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

David Yang
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Derek Shi
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Angela Zhao
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Archit Junnarkar
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA
:( + ♫ = :)

Miguel Grajeda
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Re: D03 Classical guitar lesson 01

Post by Miguel Grajeda » Thu Sep 17, 2015 7:53 pm

Hello to all my colleagues, he has started a new course, only to wish you much success and thank the teacher Delcamp for such a noble task, here we will be aware of their publications. Be happy.

Hola a todos mis compañeros, ha comenzado un nuevo curso, sólo para desearles mucho éxito y agradecer al maestro Delcamp por tan noble tarea, por aquí estaremos al pendiente de sus publicaciones. Sean felices.

jorge nuño guerrero

Re: D03 Classical guitar lesson 01

Post by jorge nuño guerrero » Thu Sep 17, 2015 10:50 pm

Health to all partners and moderators, thanks also to the " MASTER DELCAMP " by the opportunity offered , we are committed to make every effort to move forward more each day .
MIGUEL GRAJEDA companion of a thousand battles ....
A hug to everyone

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Eva Pakaki
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Re: D03 Classical guitar lesson 01

Post by Eva Pakaki » Fri Sep 18, 2015 4:42 pm

Hello everyone!
Thanks again for the classes :)
Soon I will upload my video recordings.
I am looking forward to exchange our opinions about the lesson :)

Miguel Grajeda
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Posts: 36
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Re: D03 Classical guitar lesson 01

Post by Miguel Grajeda » Fri Sep 18, 2015 5:24 pm

Jorge, my brother, we are ready to begin, let's see who is the first to climb the class, it is now the challenge.
Eva, if you like we can begin to analyze the scores of the class, give me a day or two to express my opinion.

Jorge, mi hermano, ya estamos listos para comenzar, vamos a ver quien es el primero en subir la clase, ya está el reto.
Eva, si gustas podemos comenzar a analizar las partituras de la clase, dame un día o dos para expresar mi opinión.

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Eva Pakaki
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Re: D03 Classical guitar lesson 01

Post by Eva Pakaki » Fri Sep 18, 2015 5:42 pm

"The bass accompaniment is so simple and functional that I recommend it as a model for anyone who wants to begin working on improvisation.
To start work on improvisation, play the following bass part :
| A E | A E | A E | A E | G D | A E | G D | A E |
and use your free fingers to improvise over a melody over it.
First improvise a melody over the bass made up of whole notes (semibreves). When you've mastered the improvisation of a melody composed of whole notes, start using quarter notes (crotchets), which is more difficult. Finally improvise over the bass a melody made up of whole notes, quarter notes and eighth notes (quavers). "

Hello again!
Is it possible to have some more information on this part?
Does it mean I have to play the bass part
| A E | A E | A E | A E | G D | A E | G D | A E | and then the bass and the melody together?
I try to do what I listen on the video, but I don't think I get this

Thanks a lot

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Eva Pakaki
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Re: D03 Classical guitar lesson 01

Post by Eva Pakaki » Fri Sep 18, 2015 5:43 pm

As for the rest they are quite easy. I just don't understand this part

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Marko Räsänen
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Re: D03 Classical guitar lesson 01

Post by Marko Räsänen » Fri Sep 18, 2015 6:29 pm

Hi Eva,

The improvisation is a separate exercise aside from playing the actual piece "SCHIARAZULA MARAZULA". You are instructed to use the bass pattern from the piece, and invent (improvise) as you play a melody part that you play with the bass pattern. You are instructed to first come up with a simple melody consisting only of whole notes, and then move towards more complex melodies using notes with shorter duration.

Let me know, if you still don't understand, because I'm not sure which part it is exactly that you don't understand :)
Alhambra 4P spruce
Almansa 457 cedar
Cordoba C12 spruce

jorge nuño guerrero

Re: D03 Classical guitar lesson 01

Post by jorge nuño guerrero » Fri Sep 18, 2015 7:00 pm

Hello MIGUEL GRAJEDA my videos arrive on Wednesday 23 without fail.
EVA really do not get exercise but I feel that you're doing well !!!!
Greetings from Panama
Eva no entiendo tampoco los ejercicios pero siento que lo vas hacer bien!!!!!

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Eva Pakaki
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Joined: Tue Aug 25, 2015 7:57 pm

Re: D03 Classical guitar lesson 01

Post by Eva Pakaki » Sun Sep 20, 2015 4:08 pm

Marko Räsänen wrote:Hi Eva,

The improvisation is a separate exercise aside from playing the actual piece "SCHIARAZULA MARAZULA". You are instructed to use the bass pattern from the piece, and invent (improvise) as you play a melody part that you play with the bass pattern. You are instructed to first come up with a simple melody consisting only of whole notes, and then move towards more complex melodies using notes with shorter duration.

Let me know, if you still don't understand, because I'm not sure which part it is exactly that you don't understand :)
So, that does not mean I have to play the melody of the actual piece, but only the bass, and try a melody I find on my own?

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Marko Räsänen
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Re: D03 Classical guitar lesson 01

Post by Marko Räsänen » Sun Sep 20, 2015 4:12 pm

For your recording that you submit here, you play the bass and the melody of the actual piece. As an additional exercise you play the bass of the actual piece combined with a melody of your own.
Alhambra 4P spruce
Almansa 457 cedar
Cordoba C12 spruce

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Eva Pakaki
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Re: D03 Classical guitar lesson 01

Post by Eva Pakaki » Sun Sep 20, 2015 4:32 pm

In Schiarazula marazula its played tirando, right? I use apoyando in some notes of the melody I think it fits, I choose the parts I play apoyando a bit instinctively. I am not sure that what I mean is clear, my English are not perfect unfortunately

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Eva Pakaki
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Re: D03 Classical guitar lesson 01

Post by Eva Pakaki » Sun Sep 20, 2015 4:33 pm

Marko Räsänen wrote:For your recording that you submit here, you play the bass and the melody of the actual piece. As an additional exercise you play the bass of the actual piece combined with a melody of your own.
Ok :) :merci:

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Eva Pakaki
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Re: D03 Classical guitar lesson 01

Post by Eva Pakaki » Sun Sep 20, 2015 4:34 pm

jorge nuño guerrero wrote:Hello MIGUEL GRAJEDA my videos arrive on Wednesday 23 without fail.
EVA really do not get exercise but I feel that you're doing well !!!!
Greetings from Panama
Eva no entiendo tampoco los ejercicios pero siento que lo vas hacer bien!!!!!
Greetings from Greece!

Dennis Stewart
Posts: 97
Joined: Sat Jul 18, 2015 9:22 am
Location: Switzerland

Re: D03 Classical guitar lesson 01

Post by Dennis Stewart » Tue Sep 22, 2015 11:51 am

Hi everybody

First I would like to thank Mr. Delcamp for the opportunity he provides with these lessons. Also I am looking forward to exchange thougths and comments with everyone participating in the lessons.

Here are my videos for the first lessons. They are probably a bit rushed as we still have lots of time to post them. The Schiarazula Marazula I just couldent get up to speed. Everytime I try a bit faster i mess it up. Hopefully i will be able to record another one in a week or so.

In the notation of the Pholyphonie there are signs f and mf. What do they mean?

Good luck


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