D03 Classical guitar lesson 01

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.
Forum rules
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.

PDF, MP3, Vidéos, Lessons : Level D01 - Level D02 - Level D03 - Level D04 - Level D05 - Level D06 - Level D07 - Level D08 - Level D09 - Level D10 - Level D11 - Level D12.
User avatar
Jean-François Delcamp
Administrator
Administrator
Posts: 4253
Joined: Sun May 30, 2004 7:49 pm
Location: Brest, France

D03 Classical guitar lesson 01

Post by Jean-François Delcamp » Wed Sep 07, 2016 6:56 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

Youtube


D01 p26 n2 - Delcamp Polyphonie - Apoyando

Youtube


D01 p58 n15 Buté - Apoyando - Rest stroke

Youtube


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

Youtube


D03 p86 n2 - STRING DAMPING

Youtube


D03 p86 n3 - STRING DAMPING

Youtube


D03 p86 n4 - STRING DAMPING

Youtube


D03 p86 n5 - STRING DAMPING

Youtube




- 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

Youtube


D03 p8 Improvisation 1 - Passemeze

Youtube


D03 p8 Improvisation 2 - Passemeze

Youtube


D03 p8 Improvisation 3 - Passemeze

Youtube




- 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

Youtube


D03 p45 Ferdinand CARULLI - Arpeggi di 4 note

Youtube




- 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

Youtube


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

Zafar Haq
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Ed Butler
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Chu Bun
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Andrei Puhach
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Andrew Goodell
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Edna Lopez
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

DaveMoutrie
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Mike Modjeski
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Bert Stendahl
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Colin Bullock
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Teodora Despotovic Kosanovic
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Joshua E Behnke
SCHIARAZULA MARAZULA

Jose Ramon Martinez
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Warley Lima
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Binh NguyenKhac
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

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

User avatar
Zafar Haq
Student of the online lessons
Posts: 544
Joined: Tue Aug 26, 2014 6:19 pm
Location: Missisuga,Toronto,Canada

Re: D03 Classical guitar lesson 01

Post by Zafar Haq » Wed Sep 07, 2016 9:59 am

Hi, Classmates,
Here is the music sheet breakdown for this month assignments.

a. page 26 du volume D01 : Jean-François DELCAMP (1956) POLYPHONIE - Apoyando

1.Time Signature: 4/4
2.Tempo:132
3.Strokes: Rest Stroke (Apoyando)
4.Measures:12
5.Phrases: Not defined
6.Dampings:Yes,2
7.Repeats: No
8.Special effects:Yes, Dynamics,"f"forte, meaning "loud". "mf", standing for mezzo-forte, meaning "moderately loud"
9."#" symbol: No
10.Lyrics: No
11.Rest:Yes,half notes at measures 1,3,5,7,9,
12. Articulation.
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:No

b.page 45 Ferdinand CARULLI (1770-1841) ARPEGGI

Arpeggi di tre note
1.Time Signature: 4/4
2.Tempo:112
3.Strokes: Not defined
4.Measures:8
5.Phrases: Not defined
6.Dampings:Yes,1
7.Repeats: No
8.Special effects:No,
9."#" symbol: No
10.Lyrics: No
11.Rest:Yes,Quarter notes at measure 8
12. Articulation:No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:No
17.Triplet:Yes

Arpeggi di Quatro note
1.Time Signature: 4/4
2.Tempo:112
3.Strokes: Not defined
4.Measures:8
5.Phrases: Not defined
6.Dampings:Yes,2
7.Repeats: No
8.Special effects:No,
9."#" symbol: Yes
10.Lyrics: No
11.Rest:Yes,Quarter notes at measure 8
12. Articulation:No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:No
17.Triplet:No

c.page 8 Giorgio MAINERIO (1535-1582) SCHIARAZULA MARAZULA

1.Time Signature: 2/4
2.Tempo:112
3.Strokes: Not defined
4.Measures:33
5.Phrases: Not defined
6.Dampings:Yes,6 "simile" meaning "In a similar way" apply string dampings where applicable in rest of music sheet.
7.Repeats: No
8.Special effects:No,
9."#" symbol: No
10.Lyrics: No
11.Rest:Yes,1/8 notes at measures 1
12. Articulation:No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:No
17.Triplet:No
Mr.Delcamp said "This piece is a passemeze that uses two chords, those of A minor and G major."
I'll write down the procedure how to create these chords and what notes are used. :)
How to create or form a G Maj Scale?
Ans:Using this formula
W=Whole=Two frets
H=half=single fret
Formula is" W W H W W W H"
G A=W
A B=W
B C=H
C D=W
D E=W
E F#=W
F# G=H
G Maj Scale is
G A B C D E F# G
CHORD definition:
In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously(Strum), but they can be played sequentially in an arpeggio.Wiki :)
I will write more about chords.
Chords are based on 3rd interval.Two kind of thirds , Major 3rd(interval of 4 half steps) and Minor 3rd(interval of 3 half steps).
Let's start by stacking 2 thirds on the first note (1, also called root) of the G major scale
"G B D"
The result is a G major triad (triad is a chord that contains 3 notes)
From note G to B is Major 3rd are 4 half steps i-e G# A A# B
From note B to D is a minor 3rd are 3 half steps i-e C C# D

How to create an A Minor Chord?
Ans:Look at C maj scale which is written as C D E F G A B C,no sharp and flat.From C maj scale we can create any major scale keeping the same intervals. e.g A Major Scale taken from 6th degree of C major Scale,Write down next degree letters after A to write the scale.
A B C# D E F# G# A
Formula for minor chord is "root 3rd flattened 5th" or "1 b3 5"
Root=A
3b=C
5=E
So, A minor chord have notes: A C E
You do not have the required permissions to view the files attached to this post.

User avatar
Chu Bun
Student of the online lessons
Posts: 266
Joined: Tue Nov 11, 2014 10:15 pm
Location: Houston, TX, USA

Re: D03 Classical guitar lesson 01

Post by Chu Bun » Sat Sep 10, 2016 4:23 am

Anybody sees a pattern or logic in the fingering for the Schiarazula Marazula piece (page 8 )? It looks pretty random and impossible to memorize for me.

User avatar
Zafar Haq
Student of the online lessons
Posts: 544
Joined: Tue Aug 26, 2014 6:19 pm
Location: Missisuga,Toronto,Canada

Re: D03 Classical guitar lesson 01

Post by Zafar Haq » Sat Sep 10, 2016 5:31 am

Hi, Chu Bun,
I visited deep into archive to read about students asking question about what left hand fingers to be used?
Marko explain it nicely here.
viewtopic.php?f=118&t=80454&start=30#p876657
I, followed the finger pattern shown in the first six measures and mostly apply same pattern in the rest of measures.

Colin Bullock
Moderator
Moderator
Posts: 456
Joined: Wed May 14, 2014 5:16 pm
Location: NW London, England

Re: D03 Classical guitar lesson 01

Post by Colin Bullock » Sat Sep 10, 2016 8:44 am

Thanks for that piece of research Zafar, I was about to start writing the fingerlings in for rest of piece to try and make sense of it

User avatar
Chu Bun
Student of the online lessons
Posts: 266
Joined: Tue Nov 11, 2014 10:15 pm
Location: Houston, TX, USA

Re: D03 Classical guitar lesson 01

Post by Chu Bun » Sun Sep 11, 2016 5:11 am

Good find Zafar. It's very interesting that we used the exact same words in our questions.
I understand the rules, but still don't see any easy way to memorize the fingering.
Personally, I would play the piece like this:
m | a m a m | a m a m | a m i m | a m i m | a m a m ... (pattern: start a measure with a m, then if melody stays even or goes down continue using a m. If melody goes up, use i m).

Colin Bullock
Moderator
Moderator
Posts: 456
Joined: Wed May 14, 2014 5:16 pm
Location: NW London, England

Re: D03 Classical guitar lesson 01

Post by Colin Bullock » Sun Sep 11, 2016 7:49 am

I don't have a problem using the im fingering to start bars 2 onwards, but like Chu can't follow the logic eg end bar 2 there is no string crossing - unless it is intended that the B is played 3rd string - so im is ok; also end of 3rd and 4th bars could both be played im.

User avatar
Zafar Haq
Student of the online lessons
Posts: 544
Joined: Tue Aug 26, 2014 6:19 pm
Location: Missisuga,Toronto,Canada

Re: D03 Classical guitar lesson 01

Post by Zafar Haq » Sun Sep 11, 2016 8:32 am

Hi, Classmates,
Here is a video link for study assignment "Apoyando Polyphony #1". :)

Youtube

User avatar
Zafar Haq
Student of the online lessons
Posts: 544
Joined: Tue Aug 26, 2014 6:19 pm
Location: Missisuga,Toronto,Canada

Re: D03 Classical guitar lesson 01

Post by Zafar Haq » Sun Sep 11, 2016 3:01 pm

Hi, Classmates,
Here is my study assignment "Apoyando Polyphony # 2" video link. :)

Youtube

Ed Butler
Student of the online lessons
Posts: 155
Joined: Thu Mar 24, 2016 11:46 am
Location: Plymouth, MA, USA

Re: D03 Classical guitar lesson 01

Post by Ed Butler » Tue Sep 13, 2016 5:51 pm

Zafar - I just need to say thank you for posting this. I was a little intimidated about taking this course, especially ay level 3. I am 66 and started with the guitar about 8 months ago. Fingerings, memorization, etc at my age are a challenge. But seeing your efforts and the excellent result have inspired me to continue. Thank you.

User avatar
Zafar Haq
Student of the online lessons
Posts: 544
Joined: Tue Aug 26, 2014 6:19 pm
Location: Missisuga,Toronto,Canada

Re: D03 Classical guitar lesson 01

Post by Zafar Haq » Tue Sep 13, 2016 6:55 pm

Hi, Ed Butler,
Thanks, Welcome to D03 class.
We are here to encourage,help,support to all members.Forum spirit is to watch other students assignments and comment how he or she can improve the results.Soon you will meet other members to watch see how they perform their assignments.Keep your feedback coming.

Ed Butler
Student of the online lessons
Posts: 155
Joined: Thu Mar 24, 2016 11:46 am
Location: Plymouth, MA, USA

Re: D03 Classical guitar lesson 01

Post by Ed Butler » Wed Sep 14, 2016 6:58 pm

First POLYPHONY exercise - a little rough - still learning the recoding process. Welcome the feedback

Ed Butler
Student of the online lessons
Posts: 155
Joined: Thu Mar 24, 2016 11:46 am
Location: Plymouth, MA, USA

Re: D03 Classical guitar lesson 01

Post by Ed Butler » Wed Sep 14, 2016 7:13 pm

Sorry - foot the video here is Polyphony #1


Youtube

Ed Butler
Student of the online lessons
Posts: 155
Joined: Thu Mar 24, 2016 11:46 am
Location: Plymouth, MA, USA

Re: D03 Classical guitar lesson 01

Post by Ed Butler » Wed Sep 14, 2016 7:14 pm

and here is Polyphony #2


Youtube

User avatar
Zafar Haq
Student of the online lessons
Posts: 544
Joined: Tue Aug 26, 2014 6:19 pm
Location: Missisuga,Toronto,Canada

Re: D03 Classical guitar lesson 01

Post by Zafar Haq » Wed Sep 14, 2016 9:04 pm

Hi,Ed Butler,
Well done.
Few observations.
1.Sound quality
2.Playing Dynamics.
3.Guitar posture
Is your sound device picking surrounding sound e.g air conditioner or a fan?This noise is quite strong and drown your playing notes.
Regarding dynamics,you have to play loud, where in music sheet shows forte "f" sign.Play softer sound where it shows "mf" sign.Apply damping with your right hand thumb.Guitar neck to be pointing towards your shoulder and left hand rest beside your body.
Keep your counting loud habit in your rest of assignments as you demonstrated in this assignment.With practice you will be able to press low and high notes in sync.
Keep practice for the other assignment pieces to be ready for recording and viewing.

Return to “On-line classical guitar lessons”

Who is online

Users browsing this forum: Andrei Puhach, CommonCrawl [Bot] and 1 guest