Postby Jean-François Delcamp » Wed Mar 22, 2017 7:56 am
Please start by downloading the latest version of volume D04.
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.
- pages 118 Delcamp, Jean-François Scales n°27 and 28
For n° 28, try to find the best compromise between playing without any finger noise and playing legato. Bars 4, 5 and 6 don't present this type of difficulty, as the fingers can slide along the nylon strings without any noise.
Finally we'll look at 3 pieces.
- page 25 Anonyme, Oscar Chilesotti Se io m'accorgo ben
As in scale n°28, the main difficulty is to achieve legato playing. For the dynamics, start the first bar with a crescendo, then in the second bar play a decrescendo. Then continue using crescendo and decrescendo to match the melody. When the melody goes up, play a crescendo. When it goes down, play a decrescendo.
- page 82, 83 Strauss, Johann Lockvögel, valse opus 118
After the forte in the first two beats (which gets the attention of the listener), Johann Strauss uses the piano dynamic to maintain and sharpen the listener's attention. The valse (waltz) gets into its true rhythm from bar 4. From this bar onwards the rest of the piece has a 4-bar phrase structure.
- page 96, 97 Anonyme Mi Favorita
The first 3 bars are an introduction which serves to establish the rhythm and key of the piece. The (soft) accompaniment makes its entry in bar 4. The accompaniment is on its own from the first beat of bar 4 to the second beat of bar 5, in order to create a sense of expectation which will heighten the receptivity of the listener and prepare him for the imminent arrival of the melody. I advise you to play these two bars of accompaniment with a metronome. That will allow the melody (which starts with an upbeat at the end of bar 5) to display a free quality (a rubato) which will appear to have all the more character for having followed on from the strictness of bars 4 and 5. The contrast between strict rhythm and free rhythm will give savour and character to the beginning of this mazurka. Later there are many repetitions (bars 10-11, bars 14-15); vary the articulation (legato, staccato) and vary the tone colour (over the soundhole, towards the bridge, towards the neck).
After that, nothing else of significance happens, except for the modulation into G major.
Very, very well Mi Favorita Some mistake without importance, any damp skipped, but nothing serious.
But the Waltzer is to improve. The indicated volume (except a few notes) is "piano"; so we must play soft almost the whole piece. You play it "forte".
Your melodic line is right, but you don't do the accent in measures 7 and 15 (second time of the bar; accord A-C#-E); in these measures the line of the melody is delayed a time: The melody is: C#-B-A#//B-silence-silence//B-silence-silence//*silence*-E-silence. The A simultaneous of *silence* is an accompaniment note, not a melody note.
With the second part of the Waltzer you have a big problem. As usual you don't do the slurs with regular duration, and the rythm is lost. Have you tried to practice every day ten minutes the exercices 31, 32, 33 and 34 (p. 120-121) from D04, paying attention to make every note with the same duration?
After two weeks, you can practice the second part of Lockvögel, but without mordents, only with the crochets and quavers and their slurs. After two weeks more, you can try to play all the notes, including mordents, with the correct duration for everyone.
This is a german word composed from "locken", to attract, and "Vögel", birds. A Lockvögel is a decoy, a bird made of wood or cork, painted with vivid colors. This fake bird attracts the true birds, fascinated by his nice color and form, and they fall into the trap of the hunters.
The Waltz collection of Strauss op. 118 named Lockvögel is longer than the only Waltz addapted by Mertz for Guitar (There are an Introduction, five Waltzer and a Coda); here we have only the number 3 of the Strauss composition. But it has the same idea: they are dancers who go to the Vienna Salons, dressed up, with nice dresses and makeup to hunt unwary people, who fall in their traps of liar love, and they finish plucking.
I think that the spirit of the piece is satirical and mocking.
Thank your comments, as the Waltzer, I havn't notice the accent of M 7,15,and play it on the first, and I must correct it, about the slur I parctice the D05 P156-157, not practice the D04 exercices 31, 32, 33 and 34 , but I'll do as you said.
You are so kindly explain the Lockvögel and the whole Waltzer story, so I can understand it more clearly, thank you very much!
If time permit,I'll record it again, cause now I have to play D05-08.
Can I ask everyone to check here viewtopic.php?f=41&t=106993#p1181444 that the list confirms your submissions up to end Wednesday 29th.
Let me know if I have missed any of your submissions, or if they are not appearing on the list.
You will need the blue 'qualifies for exam' before you can enter.
(I've used the D05 score, p. 26, not the D04 score.)
Most of the Renaissance pieces of the repertoire are dances (pavanes, gallardas, etc.), but here we are before a completely different and very Renaissance musical form: the madrigal. This form has been well known since its exhaustive study by Alfred Einstein (The Italian Madrigal, 1949) and was used profusely from the middle of the Cinquecento (16th century) at the beginning of the Seicento (17th century), reaching its culmination in the madrigals of Claudio Monteverdi .
In contrast with dances, which must be carried out with a sustained and constant rhythm, the madrigal is characterized by formal freedom, or rather, music being at the service of a narration, a dialogue or the expression of a developing feeling or passion . Therefore, you must flee from the rigidly and strictly interpreted interpretation and put yourself at the service of what is happening.
In view of the score we can make a series of conjectures that will help us to execute the piece.
The title, "Se io m'accorgo ben mio d'un altro amante," we can translate it as: "If I find out, my good, that there is another lover" (note that the Delcamp edition contains an error, since it has omitted "mio", my). Thus, it is a scene of jealousy: the lover thinks that his lover can have another lover and he takes it to face the beloved. The scene would develop like this:
The lover begins by making a manifestation of deep love for the beloved who concludes with an interrogative character: I love you passionately, but do you love me the same? (Bars 1 to 4). The sentence is repeated.
The beloved responds in a somewhat frivolous and playful way (bars 6-7) and saying something like, "Leave me alone, heavy."
Then begins a fight of lovers: the grave voice is the jealous lover and the sharp the beloved fickle (measures 8-10). The lover begs in vain (bar 11) to stop the quarrel, but the discussion returns (measures 12-13). The piece ends with the worst omens of the jealous lover, plunged in despair as he does not see his fidelity matched by the beloved (bars 14-15). Let's hope it did not end the affair in a case of gender violence ...
Last edited by Jesús Morote on Sun Apr 02, 2017 10:54 am, edited 1 time in total.
Your song Se io m'accorgo ben mio d'un altro amante... is very beautiful.
I look though the D05 find the song onn page 26,and I'll try to learn it.
I haven't understand all your explanation,but I'll read it later, thank you very much.
I record my valse opus 118 again
maybe it will be better.
But you don't do the silence in measure 2, between the two accords.
The slurs in M 21, 22, 23 and 24, in the first string, are easier to do if you put the thumb as opposite as possible the little finger (between frets 4-5, frets 3-4) and you do that the little finger falls perpendicular to the string, as vertical as possible.
Thank you always watch my video and give me comments.
I also notice my left hand positon not very good. I think maybe my pinky finger too short, so it's not easy for me to nail the large extension fret.
but I still need more practice to do it better.