D04 Classical guitar lesson 09

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Jean-François Delcamp
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D04 Classical guitar lesson 09

Post by Jean-François Delcamp » Wed Apr 26, 2017 9:11 am

Hello everyone,
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 119 Delcamp, Jean-François Gammes n°29 et 30

Youtube


Youtube

- pages 122 Delcamp, Jean-François Mordants et Trilles, numéros 36 et 37
viewtopic.php?f=118&t=30257

Youtube




Finally, we'll look at three pieces.

- page 27 Gaspar Sanz: Zarabanda
In this Zarabanda by Gaspar Sanz, the time signature changes constantly, as in the Canario and Guajira rhythms.
In the original tablature (reproduced at the top of page 27) changes in time signature are not indicated.
This Zarabanda in D ends with a half-cadence on the dominant (A).
http://en.wikipedia.org/wiki/Cadence_%2 ... lf_cadence

Youtube



- page 34 Robert de Visée: Minuet in A major, R. 4.09
http://en.wikipedia.org/wiki/Hemiola
In this Minuet by Robert de Visée, the length of the measure doubles at the end (bars 14 and 15). So we go from a 3/4 rhythm to a 3/2 rhythm. I've added dotted lines above the bars to indicate this change.
In my video I chose to play the end of this minuet with a rhythm of notes inégales (unequal notes). The use of notes inégales in playing is typical of the Baroque period. http://www.dolmetsch.com/musictheory20.htm#egal http://en.wikipedia.org/wiki/Notes_in%C3%A9gales

Youtube



- pages 58, 59, 60, 61 Anton Diabelli Prélude No.6 Opus 103
This prelude is a great exercise for practising repeated notes and an effective preparation for playing the tremolo. I recommend that you practise the six different fingering patterns that are suggested above the first bar. Be ambitious and persevere on the patterns which you find the most difficult, so that eventually you master them all equally well.

Youtube



I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 27 Gaspar Sanz: Zarabanda


Good luck!

I thank Tuk and Geoff (GeoffB), who have helped in the translation of my lessons into English.

Jean-François

---

Exam qualifying submissions:

Gaspar Sanz: Zarabanda

Angela Zhao
Gaspar Sanz: Zarabanda
:( + ♫ = :)

Colin Bullock
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Re: D04 Classical guitar lesson 09

Post by Colin Bullock » Thu Apr 27, 2017 8:14 pm

Exam announced here http://www.guitarraclasicadelcamp.com/v ... 57#p192113

Piece is D04 Julio Salvador Sagreras : Maria Luisa, mazurka opus 19, p. 94, 95.

Good luck

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Angela Zhao
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Re: D04 Classical guitar lesson 09

Post by Angela Zhao » Sun Apr 30, 2017 9:16 am

Hi classmate

this is my assignments

Youtube


:merci:

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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Mon May 01, 2017 7:53 pm

Hi Angela,
very good performance, as usual :bravo:

The "rasgueado" in the second part is not in the score. You have imitated M. Delcamp, but the chords aren't the same.
It is a sequence of chords of Tonic-Subdominant-Dominant: Dmajor-Gmajor6-Amajor.
Then (from 5th to 1st string):
X-D-A-D-F# (X-0-2-3-2)
B-D-G-B-G (2-0-0-0-3)
A-E-A-C#-E (0-2-2-2-0)

:bye:
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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Tue May 02, 2017 7:49 pm

Hello everybody.

Here my Zarabanda:


Youtube


I haven't played the Delcamp "Adaptation", but the original score of Gaspar Sanz, which is reproduced in the Delcamp score in the top of the page 27 of D04 Book. I have two reasons for that: a reason of sonority and a musical reason.

The lines in the Sanz Tablature represent the strings, from 5th string (in the top) to 1st string (in the bottom). The numbers are the frets, being 0 an open string, 1 the first fret, and so. The X representing the 10th fret.

You can see that the baroque guitar of Sanz had only 5 strings (five lines in the Tablature); then a shorter length than our guitars. I don't know why M. Delcamp has shorten more the length of the "ambitus", moving the A (open string in 5th) to the 3rd string. So he has reduced the sonority of the Zarabanda.

The musical reason for playing the original score (with A in open 5th string and the beginning of the 9th measure also in the 5th string) is to respect the soul of a Zarabanda. The spanish offical Dictionary says that a Zarabanda is: "Danza popular española de los siglos XVI y XVII, que fue frecuentemente censurada por los moralistas". Popular spanish dance of centurys XVI and XVII, wich was frequently criticized by the moralists". Why? Because it is a sinful dance, wich excites Lust. I think it is a nocturnal dance, to play in summernights to seduce girls. So, we need a deep bass to evoke a Spanish sensual night.

If someone wants the score of Sanz in modern notation (Musescore), I can send it by PM.
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Angela Zhao
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Re: D04 Classical guitar lesson 09

Post by Angela Zhao » Wed May 03, 2017 1:33 am

Hi Jesus
Thank your comments.
Yes,I just imitated Mr.Delcamp.
Because I don't know how to play it, and I only know little about the chords knowledge.
I wonder how do you know these chords,and why Delcamp play it like this, does it just impromptu?

I watch your video, you play the original score, it's very well! :bravo:
Though I didn't totally understand you said, I think sound nice is correct. :)

Thank you very much!

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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Wed May 03, 2017 11:55 am

Angela Zhao wrote:
Wed May 03, 2017 1:33 am
I wonder how do you know these chords,and why Delcamp play it like this, does it just impromptu?
There is nothing magic! And it isn't an impromptu. Delcamp want replace measures 5 and 6 for some "rasgueados" with chords.
The basis of a chord in Western Music is the triad (three notes): the main note, its third (major o minor) and its fifth. So: C-E-G (C major), A-C#-E (A major), A-C-E (A minor), and so.

The first part of M5 is on D; then, we play a D major chord, wich has D-F#-A. We can play four strings (with D as basis): D in 4th (open string), in 3rd string we play A (2nd fret), in 2nd string we play D (3rd fret), and in 1st string we play F#.

The second beat of M5 is a G major chord, with the notes G-B-D; you can see B and G in the bass voice (A is only a note to go from B to G) and D in the treble voice. We have a chord using the 5th string with these three notes: B(5th)-D(4th)-G(3rd)-B(2nd)-G(1st). Sixth string doesn't exist in the Sanz Guitar.

M6 hass an A major chord with the notes A-C# (B is only a passing note), and we add the third note E. Then: A(5th)-E(4th)-A(3rd)-C#(2nd)-E(1st).

:discussion:
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Re: D04 Classical guitar lesson 09

Post by Angela Zhao » Thu May 04, 2017 8:21 am

Hi Jesus

Thank you explain this for me.
The basis of a chord in Western Music is the triad (three notes): the main note, its third (major o minor) and its fifth.
You said very clear, I can totally understand. Thank you very much!

But I have a question,
The first part of M5 is on D; then, we play a D major chord
, this is D major.
The second beat of M5 is a G major chord
it's still on D,why is G major? not A major?
M6 hass an A major chord with the notes A-C#
it's on C,why not is C major

though I change the last two chord,sound not good? I'd like to know how to choose the correct chord?
Maybe it's not easy to explain. :merci:

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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Thu May 04, 2017 12:09 pm

Angela Zhao wrote:
Thu May 04, 2017 8:21 am
But I have a question,
The first part of M5 is on D; then, we play a D major chord
, this is D major.
The second beat of M5 is a G major chord
it's still on D,why is G major? not A major?
M6 hass an A major chord with the notes A-C#
it's on C,why not is C major

though I change the last two chord,sound not good? I'd like to know how to choose the correct chord?
Maybe it's not easy to explain. :merci:
Hi Angela,

The second part of the measure 5 has a D in 1st string and B-(A)-G in 2nd string. A is an accidental note, to go soft from B to G. These three notes D, B and G form the G major triad. It is not important the order, the matter is what notes are in the chord. It cannot be a A major chord (formed by: A-C#-E) nor a D major chord, formed by D-F#-A. You must discriminate between the tone of a piece (in this case all the Zarabanda is in D major) and a single chord.

The measure 6 has only two significant notes: A and C# (don't forget the frame of the piece: two sharps in the key, F and C), being B only a transition from C# to A. It cannot be a C major chord (nor C# major chord), because this chord has not A (it is: C-E-G); then, it must be an A major chord.

If you play the chords as I have said to you in the message following your record, where I have suggest the frets, you cannot have problems.

:bye:
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Re: D04 Classical guitar lesson 09

Post by Angela Zhao » Fri May 05, 2017 3:18 am

Hi Jesus
Thank you tell me every detail of chord.
The order is not important,but what notes are in the chord.
So according what you teach me, I try to find the chord on P81 of D04.Form M1to M16,
I can get most of them right.there are still more practices for me to do.

Thank you!
:merci:

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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Fri May 05, 2017 9:16 am

HI Angela, all right.

But attention with the chords of p. 81 (D04)

In the Folías the chord A is minor; then C has not # (in the Zarabanda is C#: 2nd fret, 2nd string).
In the Folías the chord D is minor; then F has not # (in the Zarabanda is F#: 2nd fret, 1st string).
In the Folías you play with 6 strings; in the Zarabanda only with 5; then, in the G chord, you don't have to play the G in 6th string.

:bye:
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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Sun May 07, 2017 6:53 pm

My record of the Menuet of De Visée; perhaps too much rough the sound, I think.


Youtube


It is the original version of the "Livre de Pièces pour la guitarre", not the M. Delcamp's version. As in the Zarabanda of Sanz, Delcamp displace the A of 5th string to 3rd string, reducing the ambitus, more even than the 5 string baroque guitar.

I've place a piece of cotton in the 6th string, damping the resonances. This is not necessary in the Zarabanda of Sanz, because the E in 6th string doesn't resonate, since E doesn't soun with the D chords of the Zarabanda. But this Menuet is in A, and the 6th resonates with the A major chord. It is more comfortable to cancel the 6th string than to have to do cdamping continously.

The trills in the Delcamp's score are, in the original score, "tremblements". Usually these are played as simple apoggiatura from above. But the player is free to execute it following his pleasure. I have chosen to play appoggiaturas the first time, and trills the second one of every part of the Menuet.

Curious thing, the appoggiatura in the last measure of the Delcamp's score is not in the original score of De Visée. I don't know why Delcamp has wroten this appoggiatura.

:bye:
Last edited by Jesús Morote on Tue May 09, 2017 5:52 pm, edited 3 times in total.
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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Sun May 07, 2017 6:54 pm

:desole: I have posted twice the same message.
Last edited by Jesús Morote on Sun May 07, 2017 6:56 pm, edited 1 time in total.
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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Sun May 07, 2017 6:55 pm

Good luck in the exam for everybody!
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Re: D04 Classical guitar lesson 09

Post by Jesús Morote » Mon May 22, 2017 8:16 pm

I cannot post the Preludio of Diabelli, because I haven't time to work it well, in exam period,
But I have done a record of the Study 17 from opus 35 of Fernando Sor.
https://www.youtube.com/watch?v=obRmbxiYQpE
It is my second favorite Study of Sor, being the first the Study 11 from opus 6 (the score, in D07).
Following with María Luisa
:bye:
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