Classical Guitar

by **Jean-François Delcamp** » Tue Mar 27, 2012 9:33 am

Hello everyone,
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.

First we will study some technical exercises from volume D02.
- page 77 Jean-François DELCAMP (1956) GAMMES - SCALE - SCALES – ESCALAS
When changes of position are needed, you will be using the "position shift" technique. The position shift involves moving the left hand along the neck, from position to position, from fret to fret. Position shifts are shown by oblique lines linking two fingering indications given for the same finger.
Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.

Youtube

- page 80 Jean-François DELCAMP (1956) LIAISONS - LEGATURE - SLURS - LIGADOS
Ascending slurs are produced by striking (hammering down on) the string with a left hand finger. The faster and more decisive this movement is, the more volume is obtained. Practise particularly on the nylon (unwound) strings, as these are the most difficult to get a clear sound from.

Youtube

- page 82 number 34 Jean-François DELCAMP (1956) ARPÈGES - ARPEGGI - ARPEGGIOS – ARPEGIOS

Youtube

- page 86 6/ Improvise using only 6 notes (D E G A B C) for 20'.

Youtube

Youtube

Next we'll work on five pieces :
- page 35 Johann-Philipp KRIEGER (1652-1735) MENUET
- page 37 Henry PURCELL (1659-1695) MENUET Z. 649
http://en.wikipedia.org/wiki/Hemiola

Youtube

Youtube

The Tarentela and the 2 Villanos are played using strums with the index finger. The arrows indicate the direction of the strum. In the strum, several strings are struck in rapid succession, to give the effect of a chord, that is to say of notes played simultaneously.

- page 43 Gaspar SANZ (1640-1710) LA TARENTELA
In bars 1, 2, 4, 5 and 8 the thumb rests on the 6th string. In bars 3, 6 and 7 the thumb rests on the 5th string. It is important not to move the hand while the index finger moves up and down. Resting the thumb on a bass string helps to keep the hand still. It also prevents the accidental sounding of one or more bass strings that are not used in certain chords.
http://en.wikipedia.org/wiki/Tarantella

Youtube

- page 49 Gaspar SANZ (1640-1710) 2 VILLANOS
2 Villanos: While the index finger is playing the strums, the thumb rests on the 5th string. Except when the chord of A major is being played, where the thumb rests on the 6th string.

by **Vlad Kosulin** » Tue Mar 27, 2012 7:26 pm

I can only see d02_2012-02-28 which is supposedly one month old. Is this the updated pdf, or another one will be uploaded?

by **Penelope Phillips-Armand** » Wed Mar 28, 2012 6:02 pm

Vlad,

Since no mention of an update occurs at this point on the French site, that reference have been picked up in error when the introduction on the English-language site was copied from the previous lesson. We'll watch for confirmation from a moderator, but in the meantime it looks as though we can continue with last month's revision.

by **GeoffB** » Wed Mar 28, 2012 10:39 pm

Penelope Phillips-Armand wrote:Since no mention of an update occurs at this point on the French site...

That's a good point, Penelope, and I think your explanation is very likely. I'll check it with M. Delcamp, but I think you can assume that you can use the existing pdfs.

Geoff

by **Jean-François Delcamp** » Thu Mar 29, 2012 8:32 am

Penelope Phillips-Armand wrote:Vlad,

Since no mention of an update occurs at this point on the French site, that reference have been picked up in error when the introduction on the English-language site was copied from the previous lesson. We'll watch for confirmation from a moderator, but in the meantime it looks as though we can continue with last month's revision.

by **GeoffB** » Thu Mar 29, 2012 11:40 am

Jean-François has now removed that sentence in question.

Geoff

by **Goran Penic** » Mon Apr 02, 2012 11:05 pm

Hi all,
Krieger Menuet:

Youtube

for watching. :bye:

by **Michael Young** » Tue Apr 03, 2012 12:19 am

Goran,
Great job as always! I've just finished learning this piece but am still working on making the runs smoother before I try to record it. Good luck with the rest of the assignment.
Michael

by **Robert Goodwin** » Wed Apr 04, 2012 12:08 am

Hi Goran,
as always, your playing is spot on. :bravo:

Here is the result of my first week effort. It's not much better than the first time I played it a week ago. I had a lot of trouble with playing the alternate 'B' in measure 7. My smaller hands just didn't like stretching that far so I spent a large part of several sessions just going over that small section. It was worth the effort because the baroque trill that Prof. Delcamp plays in measure 7 relies on making that alternate 'B' instead of playing the open 'B2' string. I've actually managed a pathetic trill in the same style but wasn't ready to do it for this video. Maybe at the end of the month when I've had a few weeks to rehearse.

Youtube

Thanks for watching :merci:

by **Goran Penic** » Wed Apr 04, 2012 11:04 pm

Bob very good.

Ligados:

Youtube

for watching. :bye:

by **Mike Modjeski** » Thu Apr 05, 2012 1:29 am

Very good Goran and Bob.

Like Michael, I'm still working it out. I can't quite get thru that one yet.

by **Eli McDougal** » Fri Apr 06, 2012 9:10 pm

Very well played, both of you. I'm still getting hung up on that stretch in measure 7, and the whole 2nd part doesn't want to click quite yet. oh well, enjoy the best you can.

Youtube

by **Robert Goodwin** » Sat Apr 07, 2012 8:41 pm

Hi Eli,
Back at you. That was very well played. :bravo:

I thought you might have increased the audio gain of the recording just speaking from the attempts I have made to do the same. it was uncomfortably loud until I adjusted my volume setting. It also seems to introduce a background hiss. So much for recording tech. You are well on your way to mastery of this piece. Are you going to attempt the embellishments? No guts, no glory.

To all,
I usually make my own notes on the scores. I often write the fret fingers in large numbers to aid my fuzzy eyesight. The Menuet is marked all over. I circled in red, the parts that I consistently mess up on just as a reminder to pay special attention. The first note in the second measure is circled because if I look at the treble note I miss the bass note and vice-verse.

In measure six and seven I added my own RH notation which allows the right fingering to do the baroque trill at the end of measure seven. Starting with the last note of measure six, it's m, a, m, trill-imimi where the i is playing 'B' on the 'G3' string and the m finger is playing a 'C" on the B2 string held over after playing the 'C' in measure seven.

Best regards,
Bob G.

by **Mike Modjeski** » Sun Apr 08, 2012 2:41 am

My weeks worth,

do2-8 Krieger-Menuet.mp3

improv,

do2-8 improv.mp3

by **Penelope Phillips-Armand** » Mon Apr 09, 2012 10:19 am

Mike, I like the way you worked chords into your improvisation; it's pleasant to listen to. As in Eli's recording, It sounds as though the Menuet is progressing on solid groundwork.

Bob, thanks for the tips on that trill. I've been fiddling around with ornaments--the passing notes are easy enough--but the trills and mordants get me tied up in knots and I feel that I still need more time to get the basic voice lines moving along smoothly.

Even after almost two weeks, in fact, I feel less ready than usual to upload the initial assignment. During several sessions, I lost valuable practice time trying to walk my fingers into the chords for the Tarentela--which I've since learned is less effective than placing all the fingers simultaneously. Since chords are relatively new to me on the guitar, i probably need some time to practice alternating between just two chords, then circulating among three or four....after having memorized the diagrams for finger placement.

Having a narrowly tapered fourth fingertip, I find it difficult to get a strong sound out of any string fretted with that finger; hence you'll hear almost nothing on the last liaison (A#-C). I'm trying to hit it more squarely on the tip, but other suggestions would be welcome.

Here, then, is where I was yesterday evening. Let's think of it as a point of departure....

Classical Guitar

D02 Classical guitar lesson 08

D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Re: D02 Classical guitar lesson 08

Who is online

Classical Guitar window.___gcfg = {lang: 'en'}; (function() { var po = document.createElement('script'); po.type = 'text/javascript'; po.async = true; po.src = 'https://apis.google.com/js/plusone.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(po, s); })();

Who is online

Classical Guitar