D05 Classical guitar lesson 10

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Jean-François Delcamp
Posts: 4554
Joined: Sun May 30, 2004 7:49 pm
Location: Brest, France

D05 Classical guitar lesson 10

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

D05 Classical guitar lesson 10
Hello everyone,
Please start by downloading the latest version of volume D05.
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're going to work on a series of exercises:
- pages 152, 153 Francisco Tàrrega (1852-1909) Estudio en la mayor n°101, Estudio en mi mayor n°102.

Today we'll look at 4 pieces.
- page 26 Anonyme Se Io M'accorgo ben d'un altro amante
This piece is made up of 3 phrases of 4 bars each. The second and third phrases begin with an upbeat on the last eighth note (quaver) of the preceding bar. Each phrase is divided into two parts of two bars each. The first part of the phrase gathers momentum, suggesting a crescendo and possible accelerando. The second part of the phrase falls away, suggesting a diminuendo and allargando.

- page 64 Dionisio Aguado (1784-1849) Egercicio 19
A very good arpeggio exercise. I recommend that you practise it with the fingers of the plucking hand placed on the strings, as I demonstrate in the following short video.

The passage from bar 7 to bar 8 requires a little-taught technique. Many editors simplify the passage by making the F# which begins bar 8 an octave lower. The solution that I suggest involves using the second finger as a pivot finger. This holding on of the pivot finger is indicated in the score by a broken line linking the last A of bar 7 to the first A of bar 8.

- page 88 Julián Arcas (1832-1882) La Saltarina
This polka-mazurka is based on a phrase structure of 4 bars. Julián Arcas learned the guitar using Dionisio Aguado's method, and later became the teacher of Francisco Tarrega. Julián Arcas bridges the gap between the classical and modern periods. He would also go on to compose in the popular style of his country, the flamenco.

- page 120 Jean-François Delcamp (1956) Prélude n°1 en ré mineur
An arpeggio study in D minor which requires a lot of rubato. Use accelerando to accompany the reduction of intervals within bars. Many bars begin with an interval of a tenth or a sixth, and end with a smaller interval, like a fourth, a third, or a second. You will be pleased to know that bars 14 and 15 serve as a short respite. I particularly like this interlude which fits nicely into the study without dissolving in it. To lead back into the repeat of the first 8 bars, I devised a little "springboard" in bars 27 to 29 from a ninth chord on the dominant (A 9th).

I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 26 Anonyme Se Io M'accorgo ben d'un altro amante
- page 88 Julián Arcas (1832-1882) La Saltarina

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.

:( + ♫ = :)

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