D03 Classical guitar lesson 05

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Jean-François Delcamp
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D03 Classical guitar lesson 05

Post by Jean-François Delcamp » Wed Jan 07, 2015 7:17 am

Hello everyone,
Please start by downloading the latest version of volume D03.
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 90, numbers 16, 17 - Jean-François DELCAMP - SCALES
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 videos are for numbers 16, 17 on page 90. Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.

Youtube


Youtube




- Page 95, numbers 32, 33, 34, 35, 36. Jean-François DELCAMP - SLURS
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.

Youtube


Youtube


Youtube


Youtube


Youtube




Finally, we'll look at 4 pieces, pages 39, 42, 43, 56 et 58.
- page 39 Ferdinand CARULLI (1770-1841) PRELUDE N°4 opus 114
Practise playing this arpeggio while keeping 3 fingers on the strings throughout. Doing it this way will teach you to make the necessary finger movement without it triggering involuntary and unwanted movements by the other fingers.

Youtube


Youtube




- pages 42-43 Ferdinand CARULLI (1770-1841) VALSE

Youtube




- page 56 Niccolò PAGANINI (1782-1840) GHIRIBIZZO n°1
There are numerous repetitions, so vary the tone colour to avoid monotony. To obtain different tone colours, play:
- over the soundhole (the sound volume is at its best here and you get a good balance between the bass and treble notes);
- over the fingerboard (the sound here is softer, closer to the that of a clarinet, and the basses are softened);
- near the bridge (the sound here is more metallic, and becomes close to that of the harpsichord, the basses are strengthened and the trebles weakened).

Youtube




- page 58 Dionisio AGUADO (1784-1849) LECCION N°19
Practise playing this arpeggio while keeping 2 fingers on the strings throughout. Doing it this way will teach you to make the necessary finger movement without it triggering involuntary and unwanted movements by the other fingers.

Youtube




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 39 Ferdinand CARULLI (1770-1841) PRELUDE N°4 opus 114
- page 56 Niccolò PAGANINI (1782-1840) GHIRIBIZZO n°1



Good luck!


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


Jean-François

---

Exam qualifying submissions:

PRELUDE N°4 opus 114
GHIRIBIZZO n°1

Duang Turongratanachai
PRELUDE N°4 opus 114
GHIRIBIZZO n°1

Haris Karachristianidis
PRELUDE N°4 opus 114
GHIRIBIZZO n°1

Carl Westman
PRELUDE N°4 opus 114
GHIRIBIZZO n°1

Beatriz Martin
PRELUDE N°4 opus 114
GHIRIBIZZO n°1

Rick Beauregard
PRELUDE N°4 opus 114
GHIRIBIZZO n°1
:( + ♫ = :)

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Haris Karachristianidis
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Re: D03 Classical guitar lesson 05

Post by Haris Karachristianidis » Thu Jan 08, 2015 1:40 pm

Do we have to record PRELUDE N°4 opus 114 while keeping 3 fingers on the strings or should we record it with "normal: playing?
Thank you

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CarlWestman
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Re: D03 Classical guitar lesson 05

Post by CarlWestman » Thu Jan 08, 2015 7:06 pm

Just curious if these were uploaded in a different way that normal. I use the Firefox add-on called Youtube MP3 Podcaster to capture audio from the video so I can listen to it where I practice (which is not near my computer). Anyway, it usually provides some choices for audio format which can be downloaded for later listening. But for most of these it finds no downloads at all, and just for a couple it offers mp4 (video) download.

Perhaps this is on Youtube's end as wholesale changes/restrictions on the the ability to do this results from pressure from RIAA etc. But since this is educational use I was hoping to continue to be able to take M. Delcamp's audio where I practice and listen to it and play along with it again and again without having to bring a bulky computer with me to my practice room, and attend to it.

Thanks for any insight regarding the uploads, if they were intentionally different.

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Marko Räsänen
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Re: D03 Classical guitar lesson 05

Post by Marko Räsänen » Fri Jan 09, 2015 5:29 am

Haris Karachristianidis wrote:Do we have to record PRELUDE N°4 opus 114 while keeping 3 fingers on the strings or should we record it with "normal: playing?
Thank you
Hi Haris, I think you can do it either way you want.
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Håvard.Bergene
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Re: D03 Classical guitar lesson 05

Post by Håvard.Bergene » Fri Jan 09, 2015 5:42 pm

Hi Carl
http://www.youtube-mp3.org/ seems to work for extracting the mp3 (at least on the Ghiribizzo)
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Beatriz Martin

Re: D03 Classical guitar lesson 05

Post by Beatriz Martin » Sat Jan 10, 2015 2:51 am

Hi, in prelude 4 opus 114, I have two questions.
First, I notice decamp brings the thumb to rest on the 4th strings after playing the A. Why is this? can't you return the thumb to fifth string, or why does the A last longer than the other notes? ...When he plays the 4th strings he returns the thumb to the same string I think, so what's the difference?
Second, the notes on the boxes, why would you play E and A with the first finger and C# with the second all the in the second fret? this is very uncomfortable. I would use fingers 1, 2, 3.

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Re: D03 Classical guitar lesson 05

Post by Marko Räsänen » Sat Jan 10, 2015 9:05 am

Beatriz Martin wrote:Hi, in prelude 4 opus 114, I have two questions.
First, I notice decamp brings the thumb to rest on the 4th strings after playing the A. Why is this? can't you return the thumb to fifth string, or why does the A last longer than the other notes? ...When he plays the 4th strings he returns the thumb to the same string I think, so what's the difference?
Notice that there is also the stem pointing down in the bass notes, making them a crotchet long. That's why you can't return the thumb on the 5th string. He also doesn't return the thumb on 4th string in measures 6&7 etc., but simply keeps it in the air because it cannot be rested on the 3rd string (as otherwise the 3rd string wouldn't sound at all).
Beatriz Martin wrote:Second, the notes on the boxes, why would you play E and A with the first finger and C# with the second all the in the second fret? this is very uncomfortable. I would use fingers 1, 2, 3.
It is probably faster to move the fingers from the previous measure using that kind of barre when played at fast tempo, so that there will be no pause. The other reason would be to practice that kind of barre fingering for A major chord that leaves fingers 3 and 4 free to use for other notes (not needed in here though). I know it feels very awkward and difficult at first to get all the notes to play clean without buzzes. As this is a study mainly for the right hand, I think it's ok to change for an easier left hand fingering, if needed.
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Beatriz Martin

Re: D03 Classical guitar lesson 05

Post by Beatriz Martin » Sat Jan 10, 2015 11:45 pm

Thanks a lot Marko for explaining the stem pointing down and I wasn't sure he was returning the thumb to the 4th strings, thanks for clarifying.
In re the the barre, I figure out it is a bit easier to do that fingering to shift from one bar to another. But the barre is a bit hard to do without touching the first string with the index.

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Haris Karachristianidis
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Re: D03 Classical guitar lesson 05

Post by Haris Karachristianidis » Sun Jan 11, 2015 7:00 pm

Marko thank you for answering my question. I have another one:
In Carulli Valse in bar 1 we keep the durations for basses? Bass E lasts only 1/8 and we mute it when we play bass G and then we mute bass G for the last 1/8th?

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Marko Räsänen
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Re: D03 Classical guitar lesson 05

Post by Marko Räsänen » Sun Jan 11, 2015 8:22 pm

Hi Haris,

Although I wouldn't call the lower voice damping to match the exact durations absolutely mandatory (depending on your skills), it does add to the separation of the two voices making the lower voice stand out more, so it's definitely something you should aim for. Delcamp plays it mostly that way in his video. Damping with 'i' at the same time as you play with 'a' can be tricky though, but it's good practice. In bars 24 and 33 damping the open d string from the previous bar is probably easiest done by playing the upper voice g rest stroke.

It's a nice study, so have fun with it! :bye:
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Haris Karachristianidis
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Re: D03 Classical guitar lesson 05

Post by Haris Karachristianidis » Sun Jan 11, 2015 8:37 pm

Thank you Marko, and what about the notes that are simultaneously in melody and bass line in bars 9, 10 etc in the same piece? What would be the difference if they belonged only to the melody line and no bass line stems existed? Is there a difference in playing?

It is a very nice piece especially the 1st page.

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Re: D03 Classical guitar lesson 05

Post by Marko Räsänen » Mon Jan 12, 2015 12:07 pm

That's a difficult question, Haris. If the lower voice notes were only part of the upper voice, you would need to consider the option that they shouldn't be ringing with the 'b' notes, but even then there wouldn't be an absolute rule, because arpeggios are typically written with all the notes belonging to the same voice.

On the other hand if the lower voice notes didn't have the upwards stems, there would have to be at least a single 1/16 rest in the upper voice before the first note is played, followed by either two 1/8 notes and a 1/16 note (possibly tied into next measure first 'b'), or three 1/16 notes and 1/16 rests in-between them depending on the composer's intent. If the first option was intended, it makes for easier reading to have the bass notes with stems to both directions, so rests needn't be used.
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Beatriz Martin

Re: D03 Classical guitar lesson 05

Post by Beatriz Martin » Fri Jan 16, 2015 3:33 am

How's everybody doing with the Paganini piece? ...I feel I am learning guitar for the first time. I've hardly played anything on these frets and my fingers don't feel any flexible. I have trouble pressing the strings especially with the pinky that many times I fail to put perpendicular to the fretboard and so it fails to press properly on the string. I've been learning it for 5 days and just a bit of time every day so I feel this is going to take me a long time. I figure I need to start exercising my fingers on all of these frets to get agility.

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Re: D03 Classical guitar lesson 05

Post by Haris Karachristianidis » Tue Jan 20, 2015 2:52 pm

High frets are quite different than lower ones. Till now almost all pieces are till 3rd fret, so it makes a big difference.. A guitar with law action helps playing at high frets.

One more question: In Carulli - Valse. In bars 18-19 the lines indicate an audible slide or a not audible slide, but just keeping the fingers on those strings?

Thank you

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Re: D03 Classical guitar lesson 05

Post by Marko Räsänen » Tue Jan 20, 2015 7:40 pm

Haris Karachristianidis wrote:One more question: In Carulli - Valse. In bars 18-19 the lines indicate an audible slide or a not audible slide, but just keeping the fingers on those strings?
Keep the fingers fretted as you slide, and then control with your right hand i&m fingers how much of that slide do you want to be audible. If you want an audible slide, plant the fingers very late (immediately before you play 'd'), or if you want to mask the slide, plant i&m before you slide. If you lift the left hand fingers off the frets, for the slide it will not sound good unless you damp with right hand fingers before you lift, so there is really no point in lifting the fingers for the slide. The notation itself doesn't really specify whether the slide should be heard or not, but if you let it be heard I suggest adding some vibrato for d and b like professor Delcamp does. He also definitely lets the slide to be heard when moving back to first position (c and a).

Marko
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