D03 Classical guitar lesson 03

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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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D03 Classical guitar lesson 03

Post by Jean-François Delcamp » Wed Nov 02, 2016 8:47 am

Hello everyone,
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.

Youtube

The following videos are for numbers 10, 11 and 12 on page 88. Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.

Youtube


Youtube


Youtube



- 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.

Youtube




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.

Youtube



- 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.

Youtube



- 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).

Youtube



- 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.

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 88 number 10
- Page 94 number 30, bar 2
- page 11 ANONYME (ca. 1700) GREENSLEEVES
- page 56 Niccolò PAGANINI (1782-1840) VALTZ


Good luck!


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


Jean-François

---

Exam qualifying submissions:

page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Ed Butler
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Chu Bun
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Andrei Puhach
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Colin Bullock
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Edna Lopez
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Bert Stendahl
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

DaveMoutrie
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Teodora Despotovic Kosanovic
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Jose Ramon Martinez
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ

Warley Lima
page 88 number 10
Page 94 number 30, bar 2
GREENSLEEVES
VALTZ
:( + ♫ = :)

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Zafar Haq
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Re: D03 Classical guitar lesson 03

Post by Zafar Haq » Wed Nov 02, 2016 1:27 pm

Hi, Classmates,
This month exam qualifying music sheets breakdown. :)
- page 88 number 10
- Page 94 number 30, bar 2
- page 11 ANONYME (ca. 1700) GREENSLEEVES
- page 56 Niccolò PAGANINI (1782-1840) VALTZ

a.page 88 Scale FA Majeur number 10
Position Shift technique

1.Time Signature: 2/4
2.Tempo:100
3.Strokes: Apoyando (Rest Strokes)
4.Measures:13
5.Phrases: Not defined
6.Dampings:Yes at measures 9,11,12
7.Repeats: No
8.Special effects:No
10.Lyrics: No
11.Rest:No
12. Articulation.No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:No
17.Sharps/Flats:Yes flat b
How to create F Major Scale?
Ans: Formula, W-W-H-W-W-W-H
W=Whole or two frets
H=Half or single fret
F-G=W
G-A=W
A-bB=H
bB-C=W
C-D=W
D-E=W
E-F=H
F Major Scale=F-G-A-bB-C-D-E-F
(bB is B Flat)

b.Page 94 SLURS number 30, bar 2


1.Time Signature: 4/4
2.Tempo:100
3.Strokes: Not defined
4.Measures:1
5.Phrases: Not defined
6.Dampings:No
7.Repeats: No
8.Special effects:No
10.Lyrics: No
11.Rest:No
12. Articulation.No
13.Improvisation:No
14.Slur:Yes at meaures 6,17,23
15.Ornament:No
16.Tie:No
17.Sharps/Flats:No

c.page 11 ANONYME (ca. 1700) GREENSLEEVES


1.Time Signature: 3/4
2.Tempo:120
3.Strokes: Not defined
4.Measures:32
5.Phrases: Not defined
6.Dampings:Yes,measures 7,9,14,15,23,30,31
7.Repeats: Yes,D.C al Fine,Fine
Definition:(lit. "From top") Tells the performer to repeat playing of the music from its beginning. This is usually followed by al fine (lit. "to the end"), which means to repeat to the word fine and stop, or al coda (lit. "to the coda (sign)"), which means repeat to the coda sign and then jump forward.wiki
8.Special effects:No
10.Lyrics: No
11.Rest:Yes,1/4 note at measure 1,8,
12. Articulation.No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:Yes,measures 23,31
Definition Tie:Indicates that the two (or more) notes joined together are to be played as one note with the time values added together. To be a tie, the notes must be identical – that is, they must be on the same line or the same space. Otherwise, it is a slur (see below).
17.Sharps/Flats:No

d.page 56 Niccolò PAGANINI (1782-1840) VALTZ

1.Time Signature: 3/8
2.Tempo:Not defined
3.Strokes: Not defined
4.Measures:16
5.Phrases: Not defined
6.Dampings:No
7.Repeats: Yes,measures 1 to 8, meaures 9 to 16
8.Special effects:No
10.Lyrics: No
11.Rest:No
12. Articulation.No
13.Improvisation:No
14.Slur:Yes at meaures 6,17,23
15.Ornament:Yes,measure 13
Definition:"In music, ornaments or embellishments are musical flourishes that are not necessary to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line."wiki
16.Tie:No
17.Sharps/Flats:Yes sharps C,F,G
Last edited by Zafar Haq on Sun Nov 06, 2016 11:09 pm, edited 1 time in total.

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Bert Stendahl
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Re: D03 Classical guitar lesson 03

Post by Bert Stendahl » Sun Nov 06, 2016 6:07 pm

Zafar, maybe you can add something in your breakdown about the ornament measure 13 in Paganini. I don't even know what that is called? :? :?
Zafar Haq wrote:Hi, Classmates,
This month exam qualifying music sheets breakdown. :)
Never Mind the Bollocks

Colin Bullock
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Re: D03 Classical guitar lesson 03

Post by Colin Bullock » Sun Nov 06, 2016 9:41 pm

Bert Stendahl wrote:Zafar, maybe you can add something in your breakdown about the ornament measure 13 in Paganini. I don't even know what that is called? :? :?
Zafar Haq wrote:Hi, Classmates,
This month exam qualifying music sheets breakdown. :)
It's called Acciaccatura and you should be able to find mp3 egs on the web. Basically it's a brief crushed in note played as a slur (pull off) before the main note and often before the beat of the main note. You can hear it on the prof's video as well.

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Zafar Haq
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Re: D03 Classical guitar lesson 03

Post by Zafar Haq » Sun Nov 06, 2016 11:21 pm

Hi, Bert,
Watch this video.
Here is a you tube lesson explaining type of grace notes in music sheet.Also demonstrate how to play it.
-----://---.youtube.com/watch?v=YfwT0Frgwhw

Ed Butler
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Re: D03 Classical guitar lesson 03

Post by Ed Butler » Wed Nov 09, 2016 8:24 pm

Here are my class 3 exercises - all rough drafts after the first week

SCALES - need to work on my timing, focused on the movement of hand up/down the fretboard

Youtube


SLURS - I noticed a lot of difficulty with slur of my pinkie, and that as I pulled off my fingers/hand was cramping up instead of staying near the strings - I assume that is tension


Youtube


PAGNINI - took this really slow to work on the damping


Youtube


GREENSLEAVES - very much a work in progresss - still learning to make sure my fingers go where they are supposed to go


Youtube

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Chu Bun
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Re: D03 Classical guitar lesson 03

Post by Chu Bun » Thu Nov 10, 2016 6:32 am

Ed,

Good effort. All the notes are there, just need more practice.
You may want to keep your fretting finger on the fret board a bit longer before moving to the next note. That way, the notes don't sound muted and staccato. For the slur piece, you move from one string to the next instead of staying on the same string.

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Chu Bun
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Re: D03 Classical guitar lesson 03

Post by Chu Bun » Thu Nov 10, 2016 6:39 am

My submissions for this month. Please give comments. Thanks.


Youtube


Youtube


Youtube


Youtube

Ed Butler
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Re: D03 Classical guitar lesson 03

Post by Ed Butler » Thu Nov 10, 2016 12:39 pm

Chu - thank you. I will include your comments in m y practice

Ed Butler
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Re: D03 Classical guitar lesson 03

Post by Ed Butler » Thu Nov 10, 2016 2:20 pm

Chu - well done on all of the exercises. I enjoyed listening to them. I picked up a few techniques you used that I will include in my own practice.

Ed Butler

Andrei Puhach
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Re: D03 Classical guitar lesson 03

Post by Andrei Puhach » Thu Nov 10, 2016 6:22 pm

Chu Bun wrote:My submissions for this month. Please give comments. Thanks.
Hi Chu, all exercises and pieces are played very well, as usual. I think your RH thumb synchronization with other fingers is much better now.

2 minor suggestions:
  • In SLURS the finger should move down and hit the string below. It should not fly into the air. Even though your exercise sounds good and smooth it is still not the most efficient way to play slurs. But it is difficult to do it right actually: the finger tends to snag the string and that breaks the timing and produces nasty sound.
  • Add a bit more rubato (varying tempo) to Valtz
Overall, great A-grade work :)
Cordoba C9

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Chu Bun
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Re: D03 Classical guitar lesson 03

Post by Chu Bun » Fri Nov 11, 2016 12:31 am

Andrei and Ed,

Thank you for the comments.
For the slurs, I used to pull "up" and not "down" as in the prof's rest stroke way. I'm still learning and hope to get better over time.
For the Valtz piece, after take number 25, I just tried to get it done! As the pieces become more difficult, I can't sight-read fast enough and am prone to make mistakes. Maybe it's time to try to memorize and play from memory.

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Re: D03 Classical guitar lesson 03

Post by Andrei Puhach » Fri Nov 11, 2016 5:40 am

Hi friends, here is my lesson 03 assignment:

- page 88 number 10

Youtube


- page 94 number 30

Youtube


- page 11 ANONYME (ca. 1700) GREENSLEEVES

Youtube


- page 56 Niccolò PAGANINI (1782-1840) VALTZ

Youtube
Cordoba C9

Ed Butler
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Re: D03 Classical guitar lesson 03

Post by Ed Butler » Fri Nov 11, 2016 4:36 pm

Chu - I have the same problem with learning the exercises. Memorization is hard for me, if you have any good techniques or processes that work for you, please let me know.

Ed Butler

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Re: D03 Classical guitar lesson 03

Post by Ed Butler » Fri Nov 11, 2016 4:52 pm

Andrei - excellent job. After watching you play, I listen again with my eyes closed just to enjoy the music. Question on the PAGANINI. I noticed you move down the fretboard on (I think) measure 5 or 6 - why? Is there a shift that I am not seeing when I read the music?

Ed Butler

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