D05 Classical guitar lesson 01

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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.

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.
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Jean-François Delcamp
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D05 Classical guitar lesson 01

Post by Jean-François Delcamp » Wed Sep 07, 2016 6:57 am

Hello everyone,
Please start by downloading the latest version of volume D05.

We are going to begin by talking 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.

Timetable for the fifth year student:
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 25 minutes to repeating each difficult passage 9 to 16 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 60 minutes to studying the guitar, made up of
- 20 minutes practising the difficult (boxed) passages,
- 20 minutes repeating the individual phrases several times in succession (3 to 6 times)
- and finally 20 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, 4 hours 15 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 25 and 60 minutes:
Monday 60 minutes
Tuesday 25 minutes
Wednesday 60 minutes
Thursday 25 minutes
Friday 60 minutes
Saturday 25 minutes


The playing 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.


Let us start with a little exercise to warm up the hands:
bend the fingers several times from the first (large) joint
bend them at the middle joint
bend at the middle joint until the fingertips touch the palm, then (maintaining contact with the palm) draw the fingertips as far up as possible before stretching the fingers out again.
Slide the thumb along the length of each of the four fingers in turn
Slide each of the four fingers in turn along the thumb.
http://www.youtube.com/watch?v=aZWyVFpr-AA



Next we will look at, or revise, 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) BUTÉ - APOYANDO - 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. Don't hesitate to try different positions for the hand: higher, lower, further forward or back. 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.
http://www.youtube.com/watch?v=oGRecjRgT_c
http://www.youtube.com/watch?v=6FzTEb2kaiA
http://www.youtube.com/watch?v=zEl7aPi0grg
http://www.youtube.com/watch?v=349-wPh0LVQ



Let us now look at some exercises from volume D04.
- Page 126 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.
http://www.youtube.com/watch?v=wdBD103k1GM
http://www.youtube.com/watch?v=6q-q-mcYpWI



Now we'll work on developing greater speed in playing scales.
For that, we'll use two techniques:
- speeding up the tempo while keeping the same number of notes (D05, n° 19 to 36, page 136-142).
- increasing the number of notes played while keeping a constant tempo (D05 n° 105 and 106 page 158).
Practise this with both free stroke and rest stroke.

When working on improving your technique, I recommend that you invent your own exercises to fit your needs. The basis of a good exercise is repetition as well as variation in rhythm, dynamics, articulation and notes. We always start by simplifying the passage that we want to practise, for example by practising with only one of the hands at a time, or by playing the passage slowly at first. It is very productive to take exercises designed by other people and adapt them to your own specific needs in a particular work.

Finally, we'll look at 4 pieces.

- page 21 Anonyme - Vaghe bellezze e bionde trecce d'oro vedi che per ti moro
Bar 1, first beat: starting from the bass, accelerate the thumb stroke in order to bring out the highest note of the first chord.

Youtube


Youtube


- page 32 Gaspar Sanz - Preludio, o capricho arpeado por la cruz
This is an unmeasured prelude: http://en.wikipedia.org/wiki/Unmeasured_prelude
The ties group together the notes that make up a chord.
For Gaspar Sanz and the guitarists of the baroque era, the "Cruz" (cross) symbolises the chord of E minor.
(See the Italian alphabet system here http://www.guitareclassiquedelcamp.com/ ... liano.html )
In the following video I play the first line in a measured way, then the same line unmeasured.

Youtube


Youtube


- page 52 François de Fossa - Campanella sobre las folias de España opus 12

Youtube


- page 58 Fernando Sor - Exercice opus 35 n°8
Line 6, second boxed phrase, anticipate the placing of fingers 1 and 4 in order to make the execution of the following triplet easier.

Youtube


Youtube


- page 92 Anonyme - Melodía de Sor attribué à Fernando Sor
I recommend that you use rest stroke for the melody notes (upper voice, played with the ring finger).
The fingering of the right hand is based on the most classical principle: the ring finger plays string 1, the middle finger string 2, and the index finger string 3, while the thumb plays strings 4, 5 and 6. To practise this type of fingering, see the arpeggios of Mauro Giuliani, pages 153, 154 and 155 of volume D05.
In bar 5, play the appoggiatura before the beat, then slide the 4th finger to sound the top E on the first beat at exactly the same time as you play the bass note.
Take care not to cut short the dotted half notes (dotted minims) in bars 16 and 32. For this I recommend that you count to yourself 9 eighth notes (quavers) in triplets.

Youtube


Youtube


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 126 (D04) Delcamp, Jean-François Terminer - Fermare - Damp – Apagar
- page 158 increasing the number of notes played while keeping a constant tempo (n° 105 and 106 page 158).
- page 21 Anonyme - Vaghe bellezze e bionde trecce d'oro vedi che per ti moro
- page 92 Anonyme - Melodía de Sor attribué à Fernando Sor


Good luck!


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


Jean-François


Exam qualifying submissions: :
page 126 TERMINER - FERMARE - DAMP - APAGAR (D04)
page 158 Speed exercises (D05)
Vaghe bellezze e bionde trecce d'oro vedi che per ti moro
Melodía de Sor attribué à Fernando Sor


Marko Räsänen
Melodía de Sor attribué à Fernando Sor
page 126 TERMINER - FERMARE - DAMP - APAGAR (D04)
page 158 Speed exercises (D05)
Vaghe bellezze e bionde trecce d'oro vedi che per ti moro

Rick Beauregard
page 126 TERMINER - FERMARE - DAMP - APAGAR (D04)
page 158 Speed exercises (D05)
Vaghe bellezze e bionde trecce d'oro vedi che per ti moro
Melodía de Sor attribué à Fernando Sor

Esteban Crespi
Vaghe bellezze e bionde trecce d'oro vedi che per ti moro
page 126 TERMINER - FERMARE - DAMP - APAGAR (D04)
page 158 Speed exercises (D05)
Melodía de Sor attribué à Fernando Sor

Angela Zhao
page 126 TERMINER - FERMARE - DAMP - APAGAR (D04)
page 158 Speed exercises (D05)
Vaghe bellezze e bionde trecce d'oro vedi che per ti moro
Melodía de Sor attribué à Fernando Sor

Stewart Doyle
page 126 TERMINER - FERMARE - DAMP - APAGAR (D04)
page 158 Speed exercises (D05)
Melodía de Sor attribué à Fernando Sor
Vaghe bellezze e bionde trecce d'oro vedi che per ti moro
:( + ♫ = :)

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Marko Räsänen
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Re: D05 Classical guitar lesson 01

Post by Marko Räsänen » Wed Sep 07, 2016 9:11 am

Mod note to D05 students: There are several arrangements of the piece known as "Melodía de Sor", "Romanza", "Spanish Romance" or "Jeux Interdits". Most of those arrangements are copyrighted, or derived from copyrighted arrangements, and for that reason it is important that you practice and record the version in D05 collection, distinguished from other arrangements by the direction of the arpeggio (aim instead of ami), the use of appoggiatura in bar 5, and the bass note in bar 29.

The moderators will remove recordings of other arrangements.
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abel
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Re: D05 Classical guitar lesson 01

Post by abel » Sat Sep 10, 2016 4:23 pm

Hello,
I think that "Romanza" is very difficult to perform it.
grettings.

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Rick Beauregard
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Re: D05 Classical guitar lesson 01

Post by Rick Beauregard » Sat Sep 10, 2016 4:36 pm

Welcome back from summer everyone. I hope there's someone else out there!

I've played (Badly) Romanza for years. I started looking at this lesson over the summer. At first I was annoyed at the revised fingering to a-i-m. But after a while I found this to be a good exercise in arpeggio and now I can play it either way, but better more fluidly ami. Maybe I'll post my efforts next weekend.

Who else is here? I know Carl is not doing the lessons. I think Haris is here. Abel? Anyone else? Do I need to go the the Spanish Forum?
Last edited by Rick Beauregard on Sat Sep 10, 2016 6:57 pm, edited 2 times in total.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
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Marko Räsänen
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Re: D05 Classical guitar lesson 01

Post by Marko Räsänen » Sat Sep 10, 2016 5:10 pm

Rick Beauregard wrote:Anyone else?
John and myself, at least.
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Rick Beauregard
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Re: D05 Classical guitar lesson 01

Post by Rick Beauregard » Sat Sep 10, 2016 6:55 pm

Oh good. I thought you two did this level twice already. I will be in good company with experience like yours!
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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Marko Räsänen
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Re: D05 Classical guitar lesson 01

Post by Marko Räsänen » Sat Sep 10, 2016 8:28 pm

This will be my third time indeed, Rick. I didn't even get to the fifth lesson last year, and I don't feel comfortable enough to proceed to the next level yet. Like many students with job and family, I'm struggling to find enough time and energy for guitar practice.
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Haris Karachristianidis
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Re: D05 Classical guitar lesson 01

Post by Haris Karachristianidis » Sat Sep 10, 2016 8:54 pm

Hello and I wish a nice guitar year to everyone!
I am here too after a 3 months break of guitar because of the hot Greek summer.

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Angela Zhao
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Re: D05 Classical guitar lesson 01

Post by Angela Zhao » Sun Sep 11, 2016 12:34 am

Hello classmates

I'm new here,The D05 is really challenge for me.
About page 32 Gaspar Sanz - Preludio,the teacher diaplay the measured way and unmeasured way.But I cann't understand,
Could anyone tell me the different, thank you!

Hope on the following class,classmates can guide me. I'm very happy to study with your.
Thank you very much!
:merci:

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Rick Beauregard
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Re: D05 Classical guitar lesson 01

Post by Rick Beauregard » Sun Sep 11, 2016 2:32 am

I am not sure of the technically correct answer, Angela, but I am assuming that the measured way is played normally following discrete measures and beats per measure. The unmeasured way basically eliminates measures or bars and is meant to be played fluidly without strict attention to beats per measure.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

Colin Bullock
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Re: D05 Classical guitar lesson 01

Post by Colin Bullock » Sun Sep 11, 2016 12:59 pm

Angela Zhao wrote: About page 32 Gaspar Sanz - Preludio,the teacher diaplay the measured way and unmeasured way.But I cann't understand,
Could anyone tell me the different, thank you!
Unmeasured music specified the pitch but note lengths were left to the performer to interpret. If you look at the manuscript in the top half of the page you can see there are no tails on the notes. As Rick says, at this time the music was not divided into bars/measures so rhythmic stress and phrasing was also left to the performer.
So the measured performance plays each note as exactly the same length, whereas in the unmeasured performance the performer varies the note lengths, usually as improvisation.

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Re: D05 Classical guitar lesson 01

Post by Stewart Doyle » Sun Sep 11, 2016 2:10 pm

Marko Räsänen wrote:This will be my third time indeed, Rick. I didn't even get to the fifth lesson last year, and I don't feel comfortable enough to proceed to the next level yet. Like many students with job and family, I'm struggling to find enough time and energy for guitar practice.
Hi everyone, I'm hoping to take D05 for a third time too! After (only just) passing the first time, I'd tried again but really struggled to motivate myself. Without the lessons though I just didn't play very much, which is part of the motivation to start again. My job certainly takes up too much time and energy, but as my children are adults, I should really be able to find the time.
Knowing what great company I'll be in certainly helps!

Best wishes

Stewart
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Re: D05 Classical guitar lesson 01

Post by Rick Beauregard » Sun Sep 11, 2016 6:19 pm

Stewart Doyle wrote:
Marko Räsänen wrote:This will be my third time indeed, Rick. I didn't even get to the fifth lesson last year, and I don't feel comfortable enough to proceed to the next level yet. Like many students with job and family, I'm struggling to find enough time and energy for guitar practice.
Hi everyone, I'm hoping to take D05 for a third time too! After (only just) passing the first time, I'd tried again but really struggled to motivate myself. Without the lessons though I just didn't play very much, which is part of the motivation to start again. My job certainly takes up too much time and energy, but as my children are adults, I should really be able to find the time.
Knowing what great company I'll be in certainly helps!

Best wishes

Stewart

Welcome Stewart. Well Haris, looks like we'll be among some experienced players this year and the bar will be raised. There is definitely a lot more material to learn each lesson than previous years. Stewart, Marko and John should have some valuable advice for us. I fortunately have time to practice, being retired. I also am seeing more pieces that I've been playing a while coming up: a la Romanza, Lagrima, Adelita... Looking forward to another great year.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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Angela Zhao
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Re: D05 Classical guitar lesson 01

Post by Angela Zhao » Mon Sep 12, 2016 4:52 am

Rick Beauregard wrote:I am not sure of the technically correct answer, Angela, but I am assuming that the measured way is played normally following discrete measures and beats per measure. The unmeasured way basically eliminates measures or bars and is meant to be played fluidly without strict attention to beats per measure.
Hi Rick

Thank you reply me. I think you are right, and I try to watch the teather's video again, It helps me understand better.
Thank you again!
:merci:

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Angela Zhao
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Re: D05 Classical guitar lesson 01

Post by Angela Zhao » Mon Sep 12, 2016 4:57 am

Unmeasured music specified the pitch but note lengths were left to the performer to interpret. If you look at the manuscript in the top half of the page you can see there are no tails on the notes. As Rick says, at this time the music was not divided into bars/measures so rhythmic stress and phrasing was also left to the performer.
So the measured performance plays each note as exactly the same length, whereas in the unmeasured performance the performer varies the note lengths, usually as improvisation
Hello Colin
Thank you guide me.
The unmeasured music need more improviastion, it's difficult for me with less music knowledge.
But I think what anyway you choose, the best way is lets the music sound better.
Thank you very much!
:merci:

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