D04 Classical guitar lesson 02

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Jean-François Delcamp
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D04 Classical guitar lesson 02

Post by Jean-François Delcamp » Wed Oct 08, 2014 8:53 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.
- page 111 Jean-François DELCAMP (1956) EXTENSIONS
Play this left-hand exercise trying to leave your fingers in place on the strings as long as you can, as I show you in the following video. If the stretches between your fingers feel too much for you, you can make it easier for the left hand by using a capo so that you play on the higher frets which are closer together and your fingers will not have to stretch so far apart. Avoid bending your left wrist, as this not only hurts, but also hinders the mobility of your fingers. Aim for the position (of the guitar neck, your elbow and your shoulder) which will allow you to play without bending your left wrist, as shown in the following video. You will be able to play this exercise more effectively if you place your left thumb below your ring finger, i.e. below the third fret.

Youtube



Improvisation work - D04
- pages 127-128
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.
1/ improvise on a single note (A) for 20 seconds.

Youtube


Youtube


2/ improvise using only two notes (G - A) for 20 seconds.

Youtube


Youtube


3/ improvise using only three notes (G - A - B) for 20 seconds

Youtube


Youtube


4/ improvise using only four notes (D - G - A - B) for 20 seconds.

Youtube


Youtube


5/ improvise using only 5 notes (D - E - G - A - B) for 20 seconds.

Youtube


6/ improvise using only 6 notes (D - E - G - A - B - C) for 20 seconds.

Youtube


7/ improvise using only 7 notes ((D - E - F - G - A - B - C) for 20 seconds.

Youtube



Finally, we'll look at 4 pieces, pages 24, 30, 64, 68, 69 and 92.
- page 24 Anonyme - The sick tune
This piece is made up of phrases of 4 bars. The second and fourth phrases are divisions on the first and third phrases [i.e. embellished repetitions of those phrases using notes of shorter duration]. The third string is tuned down a semitone, so that the guitar tuning corresponds to that of the Renaissance lute for which this piece was composed.

Youtube


- page 30 Losy, Jan Antonín - Capriccio, en la mineur
There are three beats to the bar, and the classical harmonic rhythm is that of one harmony per bar. At the end of each of the two sections of the Capriccio, the harmonic rhythm changes to the length of a half note (minim) and thus we get 3 harmonies (3 chords) in 2 bars, this change being known as a hemiola. A hemiola consists of the insertion of a triple rhythm into a duple rhythm, or conversely of a duple rhythm into a triple rhythm. The hemiola is used at the conclusion of the two sections of the dances of the Renaissance and Baroque period. In my PDFs I indicate the presence of hemiolas by dotted lines above the bars.

Youtube


- page 64 Giuliani, Mauro - Valse opus 58 n°3
In this waltz, each phrase begins with an upbeat (or anacrusis) on the third beat. The ascending octaves and the use of dotted notes in the rhythm (dotted eighth note/quaver followed by sixteenth note/semiquaver) give this waltz a very lively feel.

Youtube


- page 68, 69 Carcassi, Matteo - Valse opus 11 n°9
This waltz is made up of contrasting elements. The first section is played pianissimo, and the melody is in the bass. The second section begins forte. In the third section the melody is in the upper part, and is played with rest stroke (apoyando), the accompaniment being played with free stroke (tirando). On the second page, the crossed lines are an indication not to slide the fingers along the fourth string, so as not to cause unwanted noise.

Youtube


- page 92 Tárrega, Francisco - Andantino, en la mayor
Bar 15 is particularly difficult. In order to play this succession of thirds successfully, leave your fingers on the strings and slide them from one position to another, as I show you in this video, where I play bar 15 slowly and then faster.

Youtube


Youtube





When you start working on a new piece, start by working very slowly, concentrating on precision. The essential thing is that you should play the music perfectly, that your rhythm should be precise, your sound well controlled, and your playing musical and expressive.
Speed will come with your new skills acquired in time through work. You should not worry about speed when tackling a new piece. At the beginning, such a preoccupation would only hinder you in your progress. It is only once you have mastered the piece within the comfort of a slow tempo, that you can start to think about playing progressively faster until finally you reach the right tempo.

The work I'm asking of you is difficult and requires you to be both organized and disciplined. It is certain that you will struggle to get your fingers to perform the exact movements required for the exercises. In order to succeed in this, you need to make the same movements several dozen times daily. The goal of these exercises is to strengthen and stretch your finger muscles, to make your fingers stronger and more agile. Put in plenty of work, every day, on the difficult parts, focus on them and play the easy parts only occasionally.
To get the best out of your practice time, split it up into 15 minute sessions, and leave your hands to rest for at least 30 minutes between sessions. If your hands hurt, leave them to rest for an hour, the time it takes your body to eliminate the lactic acid in your muscles, which is the main cause of muscle pain.


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 127 Delcamp, Jean-François Improvisation - 4/ Improvise using only 4 notes (D G A B) for 20 seconds.
- page 24 Anonyme - The sick tune
- page 64 Giuliani, Mauro - Valse opus 58 n°3
- page 92 Tárrega, Francisco - Andantino, en la mayor

Good luck!

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

Jean-François

---

Exam qualifying submissions:

Improvisation - 4/
The sick tune
Valse opus 58 n°3
Andantino, en la mayor

Mark Bacon
Improvisation - 4/
The sick tune
Valse opus 58 n°3
Andantino, en la mayor

Catherine Livingston
Improvisation - 4/
The sick tune
Valse opus 58 n°3
Andantino, en la mayor

Mark Bacon
Valse opus 58 n°3

George Karpenkov
Improvisation - 4/
The sick tune
Valse opus 58 n°3
Andantino, en la mayor

William Tee
Improvisation - 4/
The sick tune
Valse opus 58 n°3
Andantino, en la mayor

John Montes
Improvisation -4/
The sick tune
Valse opus 58 n°3
Andantino, en la mayor

Satyajit Kadle
Improvisation -4/
Valse opus 58 n°3
The sick tune
Andantino, en la mayor

Marko Räsänen
Improvisation -4/
Valse opus 58 n°3
The sick tune
Andantino, en la mayor

Eric de Vries
Valse opus 58 n°3
The sick tune
Andantino, en la mayor
:( + ♫ = :)

Marian Kmet
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Re: D04 Classical guitar lesson 02

Post by Marian Kmet » Thu Oct 16, 2014 9:50 am

oh yeah, this lesson seems to be a good technique and sight-reading workout!
Last edited by Marian Kmet on Fri Oct 17, 2014 6:07 am, edited 1 time in total.
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Catherine Livingston

Re: D04 Classical guitar lesson 02

Post by Catherine Livingston » Thu Oct 16, 2014 1:53 pm

Hi Marian, I'm glad you are planning to join us. :) There is quite a bit to accomplish in this lesson. I am trying to follow Professor Delcamp's advice,
"The essential thing is that you should play the music perfectly, that your rhythm should be precise, your sound well controlled, and your playing musical and expressive." I doubt I will accomplish this anytime soon, but it is a nice goal. I'll be posting next week due to a crazy schedule this week.
I hope to see some posts from you and others soon.
:) Cat

Mark Bacon
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Re: D04 Classical guitar lesson 02

Post by Mark Bacon » Fri Oct 17, 2014 1:59 pm

Group,

I'd like to try and encourage some more interaction within the group, especially since we're pretty small in number. I'm going to discuss some of the things I'm struggling with even before making any video posts. Hopefully that'll encourage some discussion early in the month. Even better-maybe some of you have a solution to some of my trouble spots or vice versa. What do you all think? I'm sure we could all eventually benefit. We'll think outside the box a little and not limit these lessons to just the feedback on our pieces once submitted (as valuable as that is, anyway!).

I'll go first. :o

In the Sick Tune I don't like having to play non-adjacent strings (as in the first measure). It always causes some tension and uncertainty in my RH. Otherwise it's pretty straightforward. Similarly, I'm having trouble figuring out good RH fingerings for the opening measure octaves in the Giuliani piece. With the Tarrega I still lose tempo for the boxed triads (m15) but I think simple repetition will fix that problem. I find it really hard to damp the bass note D in measure 6 after playing the bass note E in measure 7 since the two are not adjacent.

I'll probably do a video of the Carcassi piece as well. Having worked out of Charles Duncan's excellent book I'm rather familiar with it and like it. Got busy weekend though 8) so probably not til next week!

Hope you're all doing well.
Mark

Catherine Livingston

Re: D04 Classical guitar lesson 02

Post by Catherine Livingston » Fri Oct 17, 2014 5:45 pm

Mark,
I'd like to try and encourage some more interaction within the group, especially since we're pretty small in number. I'm going to discuss some of the things I'm struggling with even before making any video posts. Hopefully that'll encourage some discussion early in the month.
I think this is a good idea Mark! Thanks for posting this. :) :merci:
Although this group is small, it is a good one. There were about 8-9 people who signed up for D04. I really hope more people will join us along the way. Meanwhile, the few of us can offer more feedback and support. Now here is my response to your post + discussion of my progress thus far.

Guiliani Valse Opus 58 #3-
I still have quite a bit of work to do on this piece. There are quite a bit of fingering and position changes that happen rapidly, so it will take some more practice. Are you playing this piece slowly at this point?

Mark Bacon-
In the Sick Tune I don't like having to play non-adjacent strings (as in the first measure). It always causes some tension and uncertainty in my RH.
I am finding this awkward as well. There aren't right hand fingerings suggested, so I am doing my best. At first I overlooked that the G needs to be tuned down to an F# which caused some confusion. I am having a little bit of trouble with the left hand fingering in measure 7. The #3 finger on the fourth string (E note), is awkward for me for some reason. I keep wanting to use my #2 finger on that note. :roll:

Mark Bacon-
With the Tarrega I still lose tempo for the boxed triads (m15) but I think simple repetition will fix that problem. I find it really hard to damp the bass note D in measure 6 after playing the bass note E in measure 7 since the two are not adjacent.
Professor Delcamp really emphasizes measures 15 and 16. I'm not worrying too much about the damping in that section until I get the notes correct in tempo with the rest of the piece.

Mark Bacon-
I'll probably do a video of the Carcassi piece as well.
I am also working on the Carcassi piece. It is so much fun to play! I'm looking forward to hearing your rendition of it.

I am going to try to record a couple of videos this afternoon and tomorrow, so that I can get some feedback.

Thanks so much!
Cat

WilliamTee
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Re: D04 Classical guitar lesson 02

Post by WilliamTee » Sun Oct 19, 2014 9:11 am

Hi Mark, thanks for starting this discussion. Not all of us can submit video within first week even if they have started practising. But with this avenue we can always share our experience in learning the pieces, difficulties or our thoughts about it.
I also find it very difficult and frustrating in learning Sick Tune due to its non-adjacent string pattern. My issue is mostly because I dont know its benefit . Will there more of its usage in the future? It is quite similar question about string damping. Maybe someone who have taken this level or above can share their opinion.
I have the same issue on the last notes of Tarrega measure 15. But i think this is not as tough as the stretching exercise.
If I can add, I have small fingers and I think the stretching exercise p111 no10 is impossible for me unless I change to guitar with narrower width.
Thats all from me so far. Happy practising.
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WilliamTee
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Re: D04 Classical guitar lesson 02

Post by WilliamTee » Sun Oct 19, 2014 9:19 am

I missed one thing. Im wondering how everyone count on measure 15 and 16. I can handle short duration of 16th notes like in mea. 8 but for long ones I usually lost count.
Last edited by WilliamTee on Sun Oct 19, 2014 9:21 am, edited 1 time in total.
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Re: D04 Classical guitar lesson 02

Post by WilliamTee » Sun Oct 19, 2014 9:20 am

WilliamTee wrote:I missed one thing. Im wondering how everyone count on measure 15 and 16. I can handle short duration of 16th notes like in mea. 8 but for long ones I usually lost count.
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Marko Räsänen
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Re: D04 Classical guitar lesson 02

Post by Marko Räsänen » Sun Oct 19, 2014 10:22 am

WilliamTee wrote:I also find it very difficult and frustrating in learning Sick Tune due to its non-adjacent string pattern. My issue is mostly because I dont know its benefit . Will there more of its usage in the future? It is quite similar question about string damping. Maybe someone who have taken this level or above can share their opinion.
You have 6 strings and 4 fingers, so naturally there can be 4 note chords that aren't possible to play by keeping i,m&a on adjacent strings, and the obvious benefit is being able to play those chords :mrgreen:

Typically those kind of chords seem to be used in some (but not too many) renaissance and (to a lesser degree) baroque pieces during D04, D05 and early D06. Further than that, I don't know.

There is another kind of benefit as well. Sometimes you have a 3 note chord, that you could play keeping the fingers on adjacent strings, for example p,i,a. But then you'll need p to damp the previous bass note, so you would rather play that chord with i,m,a where m and a are no longer on adjacent strings. Or you may need 'a' for damping and rather play p,i,m (where i and m are not on adjacent strings) instead of p,i,a.

Another type of case is where immediately following a 3 note chord is a fast melodic pattern on the same string where the top note of the chord was played, and you may want to alternate finger for the melodic pattern, because it's faster. Let's say the chord uses strings 4, 3 and 1. In that case you may have:
Option 1) play chord with p,i,a, then the first note of melodic progression with m, and continue the progression with i, and alternate between i and m.
2) play chord with p,i,m (skipping a string), then the first note of the progression with 'i', and continue alternating m and i.

I find the 2nd option easier because it avoids m-a alternation, which is more difficult than i-m alternation. Another "sub-option" with the first option would be to play the first note of the progression with i instead of m, (as i-a alternation is generally more difficult than m-a alternation), but I find it more difficult to hit the 1st string accurately with 'i' finger after the same string was played with 'a' rather than 'm'.

So in general, even when not strictly needed, non-adjacent string right hand fingering will allow for more options.
WilliamTee wrote:I missed one thing. Im wondering how everyone count on measure 15 and 16. I can handle short duration of 16th notes like in mea. 8 but for long ones I usually lost count.
Assuming you are still referring to The Sick Tune, have you tried 'pretending' that semiquavers are quavers, quavers crotchets, and crotchets minims, and then count according to that (making the time signature 4/4 instead of 2/4)? :bye:
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Mark Bacon
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Re: D04 Classical guitar lesson 02

Post by Mark Bacon » Sun Oct 19, 2014 11:54 pm

Here's where I'm at for now. I was wondering earlier why the Sick Tune got it's name. Maybe cause one gets so SICK of playing it, with it's awful RH fingering and all! 8)


Youtube




Youtube



Youtube



Youtube

WilliamTee
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Re: D04 Classical guitar lesson 02

Post by WilliamTee » Mon Oct 20, 2014 2:03 am

Hi Marko,

Thanks for dropping by and share your knowledge.
Glad to hear that there are not many of its usage so I have excuse not pay much attention to it... :D
3-note chords are still manageable, even if there are 2 non-adjacent strings on both melody and bass but 4-note chords is really a challenge especially if played one after another in different pattern like in Sick Tune.
Assuming you are still referring to The Sick Tune, have you tried 'pretending' that semiquavers are quavers, quavers crotchets, and crotchets minims, and then count according to that (making the time signature 4/4 instead of 2/4)? :bye:
That's what I always do at the beginning, extend its tempo ie: from 2/4 to 4/8. But when I want to increase my tempo, I can not keep up with my counting. I use foot step to count, not saying loud like what Mr Delcamp suggests. I find it easier and faster but still not fast enough. So I always end up using my feeling to judge its tempo, if not, metronome.

Thanks,
Will
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Marko Räsänen
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Re: D04 Classical guitar lesson 02

Post by Marko Räsänen » Mon Oct 20, 2014 2:15 pm

Hi Mark,

There's a mistake you keep doing in quite many places in Sick Tune (bars 5, 7, 8, 12, 16). When there's a chord with 4th string 2nd fret 'e', 2nd string 'b', and 1st string 'e', you play 3rd string open f# instead of 2nd string b. So you made it sound even SICKer than it is :)

Also, you posted Tarrega twice. Presumably you ment to post Carcassi's Valse instead of the 2nd copy of Tarrega?
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Re: D04 Classical guitar lesson 02

Post by Mark Bacon » Mon Oct 20, 2014 3:21 pm


Youtube


Thanks Marko.

Not sure how I double-posted. The fourth was actually supposed to be the required improv. I'll check out the Sick Tune error when I have guitar in hand.

Catherine Livingston

Re: D04 Classical guitar lesson 02

Post by Catherine Livingston » Tue Oct 21, 2014 8:20 pm

Mark,
:bravo: for being the first one to be brave enough to post videos again.
I will do my best to give you feedback with my limited knowledge of music theory. :roll:

Sick Tune- Anonyme-

I agree that this is a funny name for this tune! "Sick of playing it", very funny!
The only advice I can give for the right hand is to slow way down when practicing and focus on accuracy. It is a bit tricky.

Andantino, By Tarrega-
It sounds very good to me. :casq You guide through the tricky part and play with nice expression and technique. I think you supposed to play the 1s part again at the end. It says "DC al fine" at the end of measure 16.

Valse Op 58, #3

I'm impressed that you play this one with confidence and as smoothly as you do. There are many tricky hand position changes that happen rapidly. It's almost perfect.

Catherine Livingston

Re: D04 Classical guitar lesson 02

Post by Catherine Livingston » Tue Oct 21, 2014 8:21 pm

William,
I have been tapping my foot as I play too. Sometimes it works and sometimes it doesn't. It seems to work better for me than a metronome though.
:D Cat

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