D04 Classical guitar lesson 03

[Jean-François Delcamp]

Hello everyone,
Please start by downloading the new version of volume D04 that I updated today.
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 112, numbers 11, 12, 13 - 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 11 on page 112. 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.

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The following videos are for numbers 11, 12 ands 13 on page 112. Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.

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- Page 120, numbers 31, 32 and 33. 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 32, 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.

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- page 128 - Improvisation
Improvisation work - D02
These exercises in improvisation are to be done several times a week, for several months.
Vary the volume (mf, pp, ff, p ...), timbres and rhythms. Never play the same thing twice, because it would cease to be improvisation, and would become composition.
8/ improvise a melody upon the bass-line of DANSE D'AVILA, using only these 7 notes (G# A B C# D E F#).
9/ improvise a melody upon the bass-line of OH! SUSANNA, using only these 7 notes (G# A B C# D E F#).

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Finally we'll look at 4 pieces, pages 16, 49, 74, 75 and 103.

- pages 16, 17 Borrono da Milano, Pietro Paulo - Peschatore che va cantando
Here, as for "The sick tune" which we saw in the previous lesson, the even-numbered phrases are divisions (French: diminution; Italian: passaggio; Spanish: glosa) on the odd-numbered phrases. In this piece each bar (measure) contains a total of 3 half notes (minims). At the end of each of the phrases the rhythm changes to the length of a whole note (semibreve) and thus we have 3 whole notes in the space of 2 bars. This change of rhythm is known as a hemiola. In my PDFs I indicate the presence of hemiolas by dotted lines above the bars.
When you play the first beat in bar 3, make sure you simultaneously damp the open F# string which is still sounding from the previous bar, as I show you in the following short video.

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- page 49 Carulli, Ferdinando - Prelude opus 114 n°7
The double oblique stroke indicates that you should repeat the preceding group of notes.
See the example here: http://fr.wikipedia.org/wiki/Abr%C3%A9v ... une_mesure [The French explanation reads "Repetition of fragments shorter than a whole bar. When a fragment, pattern or motif needs to be repeated, each repetition can be replaced by a double oblique stroke."]
From a technical point of view, to perfect your fretting technique, I recommend that you practise this arpeggio while keeping 3 fingers on the strings throughout. This way of practising will teach you to execute the necessary fretting movement without producing involuntary movement of the other fingers.
Here is a video extract showing this finger practice, where you can see the fingers playing the strings with the greatest possible economy of movement.
At the bottom of the page, Carulli provides you with another two patterns (B and C) to use in your practice of this prelude.

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- pages 74, 75 Paganini, Niccolò - Ghiribizzo n°17 Le Streghe
Each section of 16 bars has a particular character. The first section is lively and rhythmical, and is best brought out by playing it with a certain crispness. To give the ends of the phrases more character, I speed up the tempo a little and avoid letting the arpeggios ring on in bars 7, 15, 23, 31 and 47. The second section, less tight than the first, begins with a harmonic progression (F# - B - E - A) in arpeggios for which a legato style of playing is suited. The third section contrasts strongly with the 2 previous sections; the key changes to minor, the rhythm to duple time, and finally the tessitura (general pitch) moves up from the mid-range to the treble.
The accomplished classicism of this brief composition is the hallmark of the great master that Paganini was.

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- page 103 Morin, Ludovic-Alexandre - Petite étude
The phrases of this Petite étude (little study) in E minor are made up of 9 bars, which is rare. Ludovic-Alexandre Morin has posted his recording of his composition on the French forum. If you are registered on that forum, you can listen to his MP3 here: http://www.guitareclassiquedelcamp.com/ ... 65&t=10321
In bar 18 I advise you to play the harmonics by using a half barré with the little finger (finger 4), placed 2 millimetres in front of the fourth fret, as I show you in the following short video.

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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 49 Carulli, Ferdinando - Prelude opus 114 n°7
- pages 74, 75 Paganini, Niccolò - Ghiribizzo n°17 Le Streghe
- page 103 Morin, Ludovic-Alexandre - Petite étude


Good luck!

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

Jean-François

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Exam qualifying submissions:

Prelude opus 114 n°7
Le Streghe
Petite étude

Michael Collings
Prelude opus 114 n°7
Le Streghe
Petite étude


Elías López Cruz
Prelude opus 114 n°7
Le Streghe
Petite étude


Giuseppe Gasparini
Prelude opus 114 n°7
Le Streghe
Petite étude


Jack Jarrett
Prelude opus 114 n°7
Le Streghe
Petite étude


Coen van Dijk
Prelude opus 114 n°7
Petite étude


Michael Collings
Prelude opus 114 n°7
Le Streghe
Petite étude


Jeremy Hickerson
Prelude opus 114 n°7
Le Streghe
Petite étude

[Elías López Cruz]

Hi Maestro! The video for Carulli´s prelude doesn´t correspond, it is the Pescatore which is repeated.

[Michael Collings]

Oops, it appears that the Borrono di Milano was posted in place of the Carulli Prelude.

[Jean-François Delcamp]

Hi Maestro! The video for Carulli´s prelude doesn´t correspond, it is the Pescatore which is repeated.

Elías and Michael,
it's fixed now.

[Coen van Dijk]

Dear professor Delcamp.
It seems the first three bars of the sheet music of Peschatore che va cantando do not correspond to what I think I hear you playing.
Or is it just to early in the morning for me?
Best regards,
Coen

edit: I think if we take bar 30 and insert it inbetween bar 0 and bar 1, its ok.

[Jean-François Delcamp]

Dear professor Delcamp.
It seems the first three bars of the sheet music of Peschatore che va cantando do not correspond to what I think I hear you playing.
Or is it just to early in the morning for me?
Best regards,
Coen

edit: I think if we take bar 30 and insert it inbetween bar 0 and bar 1, its ok.

Coen,
it's fixed now : viewtopic.php?f=49&t=7402

[Coen van Dijk]

Hi All I have a question about the Carulli arpeggio study.
How to best practice it? Following the dissucion in d03-3 on page 4 http://www.classicalguitardelcamp.com/viewtopic.php?f=41&t=63796&p=700383#p700383, it seems I misunderstood the part where mr Delcamp says:

I recommend that you practise this arpeggio while keeping 3 fingers on the strings throughout

Apparenty this was meant for the left hand, but I misunderstood and kept three fingers on the strings for the right hand. This makes the arpeggio study a horrably difficult damping excercise, but, it turned out that this increased my right hand accuracy and efficiency. This is what happened "all by itselve" when I tried playing the study fast: When I played the second note of the arpegio with i, my m finger was already on the next string, waiting. WHen I played the next note with m, my a finger was already on the next string waiting, and so on.
So I thought, wow, this is a cool practicing technique. But apparenty I am doing it wrong. However, I read that similar practicing techniques exist for starting to learn tremolo. Which is bassically an arpeggio on one string.

Apparently the quoted text is refering to the left hand. If it was meant for the left hand to always leave three fingers on the strings, which fingers should be on the strings if only two fingers are fretting?

I want to practice these arpeggios correctly. I did already a lot of arpeggio studies, but I never could build up speed and they always sounded messy. Now is the time for me to do it right. Finally.

What are your ideas about practing this?

[Michael Collings]

I was inspired by Jeremy's bulk posts so I decided to post all four pieces in one shot. This is more to keep me honest than for anyone's enjoyment. There are tons of wrong notes and rhythmic issues but here goes!

1. Morin Etude
2. Paganini Ghiribizzzo 17- Le Streghe
3. Carulli Prelude No. 7 Op. 114
4. Da Milano Pescatore che va Cantando


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[Giuseppe Gasparini]

Bravo Michael, after a week, great job.

[Michael Collings]

Thanks Giuseppe

[Elías López Cruz]

Hello everyone! Here is my first attempt at recording the prelude no. 7 by Carulli, this is the video
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[Goran Penic]

Michael. Very good.

There are tons of wrong notes and rhythmic issues but here goes!

You promised tons of errors, but I am disappointed because there are only a few almost undetectable.

Elias, good playing

[Michael Collings]

Goran--thanks for the support

Elias--nice job on the Carulli.

Also, you have a lovely instrument.

[Elías López Cruz]

Hi Goran! Thanks a lot for your words.

Hey Michael, yesterday I wasn´t able to see your video, but today it was a task not complicated. Good rendering of the pieces and the sound you got is quite good.

[Giuseppe Gasparini]

Bravo Elijah, I propose two pieces, tell me what you think.
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