D04 Classical guitar lesson 05

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Jean-François Delcamp
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D04 Classical guitar lesson 05

Post by Jean-François Delcamp » Tue Jan 05, 2016 2:41 pm

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.




We are now going to work on a series of exercises:
- page 114 numbers 17, 18, 19 - Jean-François DELCAMP (1956) GAMMES - SCALE - SCALES - ESCALAS
The following videos correspond to numbers 17, 18 and 19 on page 114. Concentrate your practice on the passages highlighted in yellow, working to perfect the technique of position-shifting up and down the neck.




- page 124 Delcamp, Jean-François ARPÈGES - ARPEGGI - ARPEGGIOS – ARPEGIOS





Finally we'll look at 5 pieces, pages 22, 54, 55, 56, 57, 78, 79 and 88.
- page 22 Dowland, John Mistris Winters Jumpe
Here we have a "jig". 6/8 time has two beats to the bar. The strong beats are on the first and fourth quaver (eighth note). The phrase structure (see previous lessons) is of 4 bars. Bars 5 to 8 are a division (see lesson D04 n°3) on bars 1 to 4. The 3rd phrase finishes in bar 12 with a half cadence (imperfect cadence), that is one ending on the dominant. The piece concludes with a slightly modified repetition of bars 1 and 2.
http://en.wikipedia.org/wiki/Cadence_(music%29#Half_cadence




- page 54, 55 Sor, Fernando Exercice opus 35 n°22, en si mineur, Segovia n°5
The phrase structure is of 8 bars. This study is a polyphonic composition in three voices. At the beginning we have the impression of hearing just a single voice. In the first section, the times when you play two notes together are rare: the 1st beat of bars 1 and 9, and the 3rd beat of bar 13.
The polyphony is only fully expressed from bar 25, when the range of pitch (also known as ambitus or compass *) becomes wider and the bass notes start to appear on the first beat of the bar.

The rest stroke is well suited to bringing out the melody (the upper voice). Use the free stroke to play the accompaniment. In this study, from the beginning to bar 24, the melody takes place within a narrow range (a fifth). This narrow range calls for a low volume (mezzo piano or mezzo forte). From bar 25, the range becomes wider, calling for the fullest sound from the guitar, with an assertive volume (forte). From bar 33, go back to the mp or mf level. From bar 41 to the end, the range becomes wider again, so go back to a more powerful volume. Reduce the volume of the last two bars gradually to conclude the study mezzo piano.




- page 56, 57 Sor, Fernando Valse opus 51 n°3
The phrase structure is of 8 bars. In this waltz, the melody of the first section, in E minor, takes place within a narrow range. For this E minor section, I advise a restrained articulation: "non legato" or "mezzo staccato" or maybe "portato".
http://www.dolmetsch.com/musictheory21.htm#accent
The range becomes wider in the second section in E major. In this E major section, the guitar is required to give its fullest sound with an assertive volume. For this section I advise a legato articulation.




- page 78, 79 Paganini, Niccolò Perigoldino
There are many repetitions, so vary the tone colour to avoid monotony.
All the phrases start with an anacrusis (pick-up note or upbeat) on the 4th crotchet (quarter note). All the phrases end on the first crotchet (quarter note) of a bar.

The piece is in the key of A, and this key allows the 3 bass strings of the guitar to be used to their best effect: E (dominant) A (tonic) D (subdominant). Observe the precise length of the bass notes, and damp them by placing your thumb on the open string.




- page 88 Tárrega, Francisco Estudio, en mi minor
Another piece in three voices. Here again I recommend that you use rest stroke for the melody (upper voice). The right-hand fingering is based on the most classic principle: the ring finger plays the first string, the middle finger plays the second, and the index finger plays the third, while the thumb plays strings 4, 5 and 6. To practise this type of fingering, see the arpeggios of Mauro Guiliani, pages 130 and 131 of volume D04.
Mauro Giuliani was the first teacher to publish a systematic study of arpeggios (http://www.guitareclassiquedelcamp.com/ ... liani.html : Opus. 1 - Studio per la chitarra, Prima parte : 120 arpeggi).
I recommend that you practise a few arpeggios each day and change them regularly with the aim of studying all of them in two years. You can hear the mp3s of the 120 arpeggios recorded by Marco Cairone here: http://www.chitarraclassicadelcamp.com/ ... 32&t=25253 .





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 22 Dowland, John Mistris Winters Jumpe
- page 54, 55 Sor, Fernando Exercice opus 35 n°22, en si mineur, Segovia n°5
- page 88 Tárrega, Francisco Estudio, en mi minor


Good luck!

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

Jean-François

---

Exam qualifying submissions:

Mistris Winters Jumpe
Exercice opus 35 n°22, en si mineur
Estudio, en mi minor

Rick Beauregard
Mistris Winters Jumpe
Exercice opus 35 n°22, en si mineur
Estudio, en mi minor

CarlWestman
Mistris Winters Jumpe
Exercice opus 35 n°22, en si mineur
Estudio, en mi minor

Duang Turongratanachai
Exercice opus 35 n°22, en si mineur
Estudio, en mi minor

Haris Karachristianidis
Estudio, en mi minor
Mistris Winters Jumpe
Exercice opus 35 n°22, en si mineur
:( + ♫ = :)

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Haris Karachristianidis
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Re: D04 Classical guitar lesson 05

Post by Haris Karachristianidis » Fri Jan 08, 2016 6:55 am

Exercice opus 35 n°22, en si mineur and Estudio, en mi minor are 2 of my favorite classical guitar pieces. I started playing them.

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CarlWestman
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Re: D04 Classical guitar lesson 05

Post by CarlWestman » Sat Jan 09, 2016 12:44 am

I like them too! The Dowland piece is strange; I was disappointed because I usually like earlier pieces. Perhaps it'll grow on me.

I had a few questions on notation, if anyone can help.

For the Sor piece, can someone decipher barre indications for me?

* For instance, the C II 5/6 indicated in the first measure, I presume that's a barre at the 2nd fret, cover strings 1-5 (the bass E can be ignored).
* The C II 4/6 indicated in measure 45, I presume that's a barre at the 2nd fret, cover strings 1-4 (the basses A and E can be ignored)?
* What is the C II ¯ ¹ ? (measures 2, 41)
* What are the brackets around the eighth note in measure 23? What does it mean?
* Why use E# instead of F? [measures 7, 31] Is it because of the key signature? Could you not just use a natural sign instead and have the note be an F?

For the Tarrega piece:

* What do the little diamond-shaped half notes in the last measure mean? (are they even half notes?)
* What do the dashed lines in measures 3, 7, and 15 mean?

Thanks -

cw

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Marko Räsänen
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Re: D04 Classical guitar lesson 05

Post by Marko Räsänen » Sat Jan 09, 2016 9:25 am

CarlWestman wrote:* For instance, the C II 5/6 indicated in the first measure, I presume that's a barre at the 2nd fret, cover strings 1-5 (the bass E can be ignored).
Correct.
* The C II 4/6 indicated in measure 45, I presume that's a barre at the 2nd fret, cover strings 1-4 (the basses A and E can be ignored)?
Correct.
* What is the C II ¯ ¹ ? (measures 2, 41)
The brackets following the barre indicates the duration of the barre to be held. In measures 2 and 41 the duration is just very brief (one quarter note duration). In measure 2 the latter barre indication is required to note that the tip of the index finger should be lifted to mute the 5th string (there's the quarter rest) while still holding the 1st string barred.
* What are the brackets around the eighth note in measure 23? What does it mean?
It means that the note was added by the editor, not the composer.
* Why use E# instead of F? [measures 7, 31] Is it because of the key signature? Could you not just use a natural sign instead and have the note be an F?
I'm not sure about this, but I think it has to do with both the key signature and the direction of the melodic progression (ascending / descending). I also think there's a tendency to use natural sign only to restore a note to its key signature pitch when it was previously altered by an accidental. Sometimes a double sharp or double flat would be used instead. For example with 3 or more #'s in key signature (f#, c#, g#), g natural - g# progression opening a measure would be noted as f## - g# (as is the case in the 1st measure of 2nd line page 57, D04) possibly either to avoid having to promote g back to its sharp status with an accidental sharp (as it's already sharpened by the key signature), or just to avoid changing it back and forth in general. I'm not sure if there are exact rules or conventions, but I guess most composers would go for the ease of readability.
For the Tarrega piece:

* What do the little diamond-shaped half notes in the last measure mean? (are they even half notes?)
They're natural harmonics at 12th fret of half note duration.
* What do the dashed lines in measures 3, 7, and 15 mean?
They're there to emphasize that you should keep finger 3 fretted in place during the whole measure, and just move fingers 4 and 2.
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Rick Beauregard
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Re: D04 Classical guitar lesson 05

Post by Rick Beauregard » Sat Jan 09, 2016 7:33 pm

Haris Karachristianidis wrote:Exercice opus 35 n°22, en si mineur and Estudio, en mi minor are 2 of my favorite classical guitar pieces. I started playing them.
Me too Haris. I actually started on both of these this past summer. In August I met a guitarist from Vancouver named Alain Reiher who played the Bm Etude for me, saying it was HIS favorite piece of all time. When I got home I looked it up and started learning it right away during our "learn a piece a week." It became a summer project, not a week. Almost ready to record! FYI, Alain has a nice little book of 20 Miniatures for guitar, available from Les Productions D'Oz. Some seem pretty easy, some not so much but very nice. A CD comes with the book.

I've been working on the Jumpe. I kind of like it Carl, I think it might grow on you. There are a couple small technical fingering things in there that I think are beneficial to master, like M9-10. I've read through only about the first 4 measures of the Paganini. Yuch! Good luck with that one everyone!

Thanks for the technical explanations Marko!
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Re: D04 Classical guitar lesson 05

Post by Rick Beauregard » Mon Jan 18, 2016 11:41 pm

Here is my Sor Etude in Bmin. Still not where I'd like it, but I will be practicing this the rest of my life no doubt. Sorry for the noisy recording. It amplifies my annoying string noise, which I have worked hard to eliminate with this piece.

[media]https://youtu.be/A-4tbGMvdnA[/media]
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
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Re: D04 Classical guitar lesson 05

Post by Rick Beauregard » Tue Jan 19, 2016 12:37 am

Mistris Winter's Jumpe, John Dowland

[media]https://youtu.be/VvgmmndRWPg[/media]
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
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National Triolian Uke ca.1930
Almost as many fly rods as guitars
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Re: D04 Classical guitar lesson 05

Post by Haris Karachristianidis » Tue Jan 19, 2016 2:54 pm

Rick, your Exercise XXII is very good!
Only 2 observations:
-Measure 8: It would be easier for you to make a 5/6 barre at the beginning of measure 8 and keep it till measure 10 instead of making 1/2 barre in measure 8 and 5/6 barre in measures 9,10.
-Maybe it is the recording but it seems to me that in many parts of the piece the melody line does not stand out, it has almost the same volume with second voice.

I have not played till now Mistris Winter's Jumpe, so I can not yet comment it, but it sounds very nice and oldish!


:bravo:

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Re: D04 Classical guitar lesson 05

Post by Rick Beauregard » Tue Jan 19, 2016 5:25 pm

Funny, I had just changed that fingering to use the half bar to try to make those notes cleaner than I could achieve with a full bar. Thanks for the observation on the melody. That's not the first comment I've had about bringing out my melody lines on pieces. I will give that some attention. So often the focus is just about getting the left hand fingers to do what you want them too!

Thanks for your comments.
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
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Re: D04 Classical guitar lesson 05

Post by Haris Karachristianidis » Tue Jan 19, 2016 6:41 pm

Rick, you may have a cleaner 1/2 barre, but the change from 1/2 barre to 5/6 barre is difficult and there is a delay.

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Re: D04 Classical guitar lesson 05

Post by Rick Beauregard » Tue Jan 19, 2016 7:09 pm

You're right. I'm going to go back to the full bar. I did mean to insert a pause, but not that long a pause. :russa:

I have listened to many many versions of this piece, from Segovia to this one by Jose Tomas, a Segovia protégé, and my teacher's teacher.
https://www.youtube.com/watch?v=AS9ebho ... kA&index=7

Bream:
https://www.youtube.com/watch?v=49x9Csv4KPk

and Gohad Vardanyan:
https://www.youtube.com/watch?v=mol7hhtIC-o
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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Re: D04 Classical guitar lesson 05

Post by Haris Karachristianidis » Tue Jan 19, 2016 8:19 pm

I did mean to insert a pause, but not that long a pause. :russa:
:D It was not that long!

Thank you for these versions!
From these 3 versions I prefer the Julian Beam version. I also like the prof Delcamp version.

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Re: D04 Classical guitar lesson 05

Post by Haris Karachristianidis » Sun Jan 24, 2016 8:25 am

opus 35 n°22, as I said, is one of my all time favorite classical guitar pieces. It seems easy but to play it well there are some difficulties: all three voices must be heard clear and distinguished and also the dumpings. In my guitar there is often a free E (bass) resonance, so I have to damp this too.

After many string tryings I found a perfectly balanced and very nice sounding set for my guitar: Savarez New Cristal/Corum Normal tension but I replaced the nylon g string with a Savarez Alliance carbon normal tension g-string. Of course strings experiments will continue. :D

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Re: D04 Classical guitar lesson 05

Post by Rick Beauregard » Wed Feb 03, 2016 1:25 am

Getting a flub free take on this was beginning to be a matter of diminishing returns. We may get another crack at this piece in May for the final exam. So here it is :

[media]https://youtu.be/B3GWhILSh-4[/media]
All this time I thought I was making music; it was making me.
2015 Steve Ganz "Solidarity"
1980 Dauphin D30
1962 Fender pre-CBS P-Bass
National Triolian Uke ca.1930
Almost as many fly rods as guitars
_/) _/)
_/)

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CarlWestman
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Re: D04 Classical guitar lesson 05

Post by CarlWestman » Wed Feb 03, 2016 3:22 am

Here are my submissions, such as they are. :oops: :bye:

Dowland: [media]https://youtu.be/YOv2_QjaRrE[/media]
Sor: [media]https://youtu.be/Jlg3c0CzwqA[/media]
Tarrega: [media]https://youtu.be/ezTu1u2DH18[/media]

Sure, I have some nerves about it, but mostly, the material is just getting difficult for me. I am putting in the time, and then some.

The Sor piece was so long ... I never could fully memorize it, though I knew all the measures individually ... I just sometimes had to look at the sheet music to see what measure was coming up next. I was just starting to remember strings of a few measures at a time.

I may need to adjust the neck on my Cordoba. It is a little less forgiving of finger placement (particularly if it wasn't right behind the fret) than my Yamaha. (which is so spacious by comparison - but that has its own downside with difficult/painful reaches).

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