D04 Classical guitar lesson 10

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Jean-François Delcamp
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D04 Classical guitar lesson 10

Post by Jean-François Delcamp » Wed Jun 06, 2018 7:06 am

D04 Classical guitar lesson 10
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.


Now we are going to work on a series of exercises:
page 123 Delcamp, Jean-François Mordants et Trilles, numéros 38 et 39



Finally, we'll look at 5 pieces.
- page 18, 19 Adrian Le Roy Premier branle de Bourgongne
Each phrase is followed by its division. The first phrase and its division each consist of 4 bars. After that, the structure of phrases and their divisions is of 6 bars, to the end of the piece.


- pages 80, 81 Losy, Jan Antonín – Ciacona sobre las Folias
Page 80 - I have adapted for the guitar the original tablature of this chaconne for mandore. Page 81 - I suggest an ornamentation the elements of which came from a recording made last month with a baroque guitar.

Melodic ornaments are the addition of neighbouring notes, before or after the original notes. These additions are formed at an interval of a major or minor second (depending on the key of the piece) above or below the original note. Note that these same neighbouring notes are used in mordents, turns, appoggiaturas, acciaccaturas and trills. Neighbouring or conjunct notes are the basis of ornamentation, to be fitted in between the original notes while taking great care not to distort the tempo. As there are limits to the maximum playing speed that we can achieve, we would put more ornamentation in a slow passage than in a fast one. For the same reason we would ornament long notes more than short ones in the same piece.
As far as rhythm is concerned, the crucial thing is to maintain the tempo and accentuation throughout. When we first start to improvise ornaments, we often tend to distort the tempo unintentionally. But don't worry, if you persist and, above all, if you improvise an ornamentation while counting the beat out loud (1 and 2 and 3 and), you will be pleasantly surprised to find you make fewer and fewer mistakes. There are also metronomes which you can set so that one in every 3 beats or in every 4 beats has a distinctive sound, as a marker of the first beat of the bar in 3 or 4 time.
At the start of the chaconne, the first two 8-bar phrases are made up principally of chords, and lend themselves well to strumming. I also introduce a few percussive effects, to add zest to the rhythm. This sort of rhythmic improvisation can be a very pleasant way to practise improvising while concentrating particularly on keeping to the beat.

Image
:idea: :casque: http://www.classicalguitardelcamp.com/v ... 48&t=68922


- page 77 Paganini, Niccolò Ghiribizzo n°37
This piece has great simplicity, and the bass notes (tonic, subdominant and dominant) are unobtrusive. Paganini indicates: "Adagetto con espressione". It is through phrasing, articulation and accentuation that we can be expressive.


- page 84,85 Johann Kaspar Mertz Valse en sol majeur,
here the rhythm is the main element, and it is by reproducing the accents and articulation indicated (legato, staccato) that the valse will become lively and light.


- page 48 Štepán Rak - Nostalgický valcik
This waltz was generously made available, on FaceBook, by Štepán Rak, on March 8th 2012.



I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- pages 80, 81 Losy, Jan Antonín – Ciacona sobre las Folias
- page 48 Štepán Rak - Nostalgický valcik


Good luck!

We have reached the end of this year of studying together. I am intending to resume next year.

My thanks to the students, to Geoff for his splendid translations, and also to Colin Bullock, John Montes, Rich (oski79), Marko Räsänen and lagartija who have enabled these courses to run so smoothly.

I wish you all a good summer. See you again soon.

Jean-François
:( + ♫ = :)

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Zafar Haq
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Re: D04 Classical guitar lesson 10

Post by Zafar Haq » Wed Jun 06, 2018 3:49 pm

Hi,Classmates,
This month, assignments music sheet breakdown as follows. :)

- pages 80, 81 Losy, Jan Antonín – Ciacona sobre las Folias
- page 48 Štepán Rak - Nostalgický valcik

a)- pages 80, 81 Losy, Jan Antonín – Ciacona sobre las Folias

1.Time Signature:3/4
2.Tempo:Not defined
3.Strokes:Not defined
4.Measures:47+47 (page 80,page81)
5.Phrases:Not defined
6.Damping:No
7.Repeats:Yes,page 80, m 1 to m 47,page 81 m 1 to m 47
8.Special effects:No
9.# symbol:
11.Rest:Yes,quarter note,page 80 at m 7,14,16,33,37,41,43,47 page 81 m 7,14,16,33,37,41,43,45,47,one eigth note at m 45, page 81,m 45
12. Articulation:No
13.Improvisation:Yes
14.Slur:Yes,
definition:"Indicates to play two or more notes in one physical stroke, one uninterrupted breath, or (on instruments with neither breath nor bow) connected into a phrase as if played in a single breath. In certain contexts, a slur may only indicate to play the notes legato. In this case, rearticulation is permitted.
Slurs and ties are similar in appearance. A tie is distinguishable because it always joins two immediately adjacent notes of the same pitch, whereas a slur may join any number of notes of varying pitches. In vocal music a slur normally indicates that notes grouped together by the slur should be sung to a single syllable.

A phrase mark (or less commonly, ligature) is a mark that is visually identical to a slur, but connects a passage of music over several measures. A phrase mark indicates a musical phrase and may not necessarily require that the music be slurred."wiki
15.Ornament:No in page 80,Yes in page 81
definition:" Appoggiatura
The first half of the principal note's duration has the pitch of the grace note (the first two-thirds if the principal note is a dotted note)."wiki
16.Tie:
17.sharp/flat/natural:Yes,page 80,Sharp at m 2,8,10,15,18,24,26,31,32,33,35,38,39,40,41,42,46
page81 at,m 2,8,10,15,18,24,26,31,32,33,34,38,39,40,41,42,46
18.Barre:No

b)- page 48 Štepán Rak - Nostalgický valcik

1.Time Signature:3/4
2.Tempo:Not defined
3.Strokes:Not defined
4.Measures:43
5.Phrases:Not defined
6.Damping:Not defined
7.Repeats:Yes,m 25 to m 41,D.C.FINE at m 43 to FINE at m 24
8.Special effects:Yes,mf,f,mp,ff,p,Crescendo,De-Cresendo
Definitions:"Mezzo piano,MP"
Moderately soft; louder than piano."
"P Piano."
Soft; louder than pianissimo."
"Mezzo Forte,mf":Moderately loud; softer than forte. If no dynamic appears, mezzo-forte is assumed to be the prevailing dynamic level."
"Fortissimo
Very loud. Usually the loudest indication in a piece, though louder dynamics are often specified with additional fs (such as fortississimo – seen below)."
"Forte.f":Forte
Loud. Used as often as piano to indicate contrast."
"Crescendo
A gradual increase in volume.
Can be extended under many notes to indicate that the volume steadily increases during the passage."
"decrescendo
A gradual decrease in volume. Can be extended in the same manner as crescendo."
9.# symbol:Yes,F#
11.Rest:Yes,Quarter note at m 1,2,3,4,5,6,9,10,11,13,15,16,17,18,19,20,21,23,24,25,,26,27,28,29,30,32,34,35,36,37,38,39,40,41,42,one eigth note at m 8, half note at m 12,20,
12. Articulation:No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:Yes,m 7,11,15,19,23,30,32,40
17.sharp/flat/natural:no
18.Barre:no

definition:Tie,"In music notation, a tie is a curved line connecting the heads of two notes of the same pitch and name, indicating that they are to be played as a single note with a duration equal to the sum of the individual notes' values."
17.sharp/flat/natural:
18.Barre:

Definitions:"simile" (abbreviated to sim.) "In a similar way." A direction to play something in a similar manner to that previously marked. Often applies to pedalling or articulation."

"Definition:"rit",A gradual change in tempo is indicated by the abbreviation for accellerando (pron. aht-chel-le-rahn-doh), accel., meaning gradually faster, or by the abbreviation for ritardando (pron. reetar-dahn-doh) rit., meaning gradually slower. Senza means 'without' as in senza rit., without ritard."

Definition:"Volta brackets"at m 40,41,42,43, (1st and 2nd endings, or 1st- and 2nd-time bars)
A repeated passage is to be played with different endings on different playings; it is possible to have more than two endings (1st, 2nd, 3rd ...).

Da capo
(lit. "From top") Tells the performer to repeat playing of the music from its beginning. This is usually followed by al fine (lit. "to the end"), which means to repeat to the word fine and stop, or al coda (lit. "to the coda (sign)"), which means repeat to the coda sign and then jump forward.wiki

definition:" Fermata (Pause) at m 20
A note, chord, or rest sustained longer than its customary value. Usually appears over all parts at the same metrical location in a piece, to show a halt in tempo. It can be placed above or below the note. The fermata is held for as long as the performer or conductor desires."

Colin Bullock
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Re: D04 Classical guitar lesson 10

Post by Colin Bullock » Thu Jun 07, 2018 6:48 am

Thanks Zafar
I hope you are finding the time and inclination to practice, perhaps we might see you coming back into one of the lessons next year?
Hard I know, I find that if i don’t keep reviewing pieces I am almost at the point of relearning.
Keep well and have a good summer break
Regards
Colin

Colin Bullock
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Re: D04 Classical guitar lesson 10

Post by Colin Bullock » Sat Jun 09, 2018 3:52 pm

Dave, Chu, your certificates are here https://www.guitarraclasicadelcamp.com/ ... 69#p202754

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Chu Bun
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Re: D04 Classical guitar lesson 10

Post by Chu Bun » Fri Jun 22, 2018 4:12 pm

Colin,
Thanks for the link.

I've not started on this month pieces yet. It's kind of hard finding the motivation for the regular lessons after the final.

Colin Bullock
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Re: D04 Classical guitar lesson 10

Post by Colin Bullock » Tue Jun 26, 2018 7:04 am

Chu Bun wrote:
Fri Jun 22, 2018 4:12 pm
Colin,
Thanks for the link.

I've not started on this month pieces yet. It's kind of hard finding the motivation for the regular lessons after the final.
I’ve gone back to revising earlier pieces. Just started on the Bacerole from lesson 2. Will probably pick a few for long term.

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