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 » Sat Oct 22, 2011 8:26 am

Hello everyone,
Please start by downloading the new version of volume D04 that I updated today.
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.



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.



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



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



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



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


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


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



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.


- 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.


- 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.


- 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.


- 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.






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 30 Losy, Jan Antonín - Capriccio, en la mineur
- page 68, 69 Carcassi, Matteo - Valse opus 11 n°9
- 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/
Capriccio, en la mineur
Valse opus 11 n°9
Andantino, en la mayor

Giuseppe Gasparini
Capriccio, en la mineur
Valse opus 11 n°9
Andantino, en la mayor

Abie.Solano
Capriccio, en la mineur
Andantino, en la mayor

Elías López Cruz
Capriccio, en la mineur
Improvisation - 4/
Valse opus 11 n°9
Andantino, en la mayor

Michael Collings
Valse opus 11 n°9
Andantino, en la mayor
Capriccio, en la mineur

Claudio Traino
Capriccio, en la mineur
Valse opus 11 n°9
Andantino, en la mayor

Jeremy Hickerson
Improvisation - 4/
Capriccio, en la mineur
Valse opus 11 n°9
Andantino, en la mayor

Jack Jarrett
Improvisation - 4/
Capriccio, en la mineur
Valse opus 11 n°9
Andantino, en la mayor

Coen van Dijk
Capriccio, en la mineur
:( + ♫ = :)

Jeremy Hickerson
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Re: D04 Classical guitar lesson 02

Post by Jeremy Hickerson » Sat Oct 22, 2011 4:21 pm

Whoa, he took it up a notch! Actually these pieces are all so beautiful and musically interesting that it makes me want to practice!
Jeremy

Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 02

Post by Giuseppe Gasparini » Mon Oct 24, 2011 12:37 pm

[media]https://youtu.be/bU6CV_Jnlk0[/media]First piece of the Andantino. :bye:

QadirASabur

Re: D04 Classical guitar lesson 02

Post by QadirASabur » Tue Oct 25, 2011 11:20 pm

Way to go Giuseppe, that was nice.

Jeremy Hickerson
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Re: D04 Classical guitar lesson 02

Post by Jeremy Hickerson » Wed Oct 26, 2011 5:25 am

Giuseppe,that was beautiful! Very fluid.
Jeremy

Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size

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Goran Penic
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Re: D04 Classical guitar lesson 02

Post by Goran Penic » Wed Oct 26, 2011 7:05 am

:bravo: Giuseppe, very nice :casque:
Guitar: Mirko Hotko 1989
Strings: D'Addario EJ46TT Pro Arte Dynacore Hard Tension
Recorder: Olympus LS-20M

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Coen van Dijk
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Re: D04 Classical guitar lesson 02

Post by Coen van Dijk » Wed Oct 26, 2011 1:13 pm

Very, very nice.
And pretty quick learned too.
:bravo:

I might try that too, just for fun :)
But I probably need a bit more time, if I can manage the piece at all that is....

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 02

Post by Giuseppe Gasparini » Wed Oct 26, 2011 3:31 pm

Thank you very much.QadirASabur :bye: :merci:

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 02

Post by Giuseppe Gasparini » Wed Oct 26, 2011 3:33 pm

Thank you very much.Jeremy :bye: :merci:

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 02

Post by Giuseppe Gasparini » Wed Oct 26, 2011 3:34 pm

Goran, :bye: :merci: Thank you very much.

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 02

Post by Giuseppe Gasparini » Wed Oct 26, 2011 3:36 pm

Thank you very much.Coen ,lo can do well. :bye: :merci:

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 02

Post by Giuseppe Gasparini » Fri Oct 28, 2011 10:04 am

Hello, in a week better than this I can not do it. :bye: [media]https://youtu.be/W0iCEmnBULQ[/media]

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Goran Penic
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Re: D04 Classical guitar lesson 02

Post by Goran Penic » Fri Oct 28, 2011 3:46 pm

:bravo: Giuseppe, very good. :casque: :merci:
Guitar: Mirko Hotko 1989
Strings: D'Addario EJ46TT Pro Arte Dynacore Hard Tension
Recorder: Olympus LS-20M

Jeremy Hickerson
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Re: D04 Classical guitar lesson 02

Post by Jeremy Hickerson » Fri Oct 28, 2011 6:52 pm

Just wanted to share something that might be motivational, that I noticed when I was practicing last night: when you damp the notes that need damped, it can make you sound a lot more "professional". It really takes the overall impact of the piece to another level. You may not be able to hear it in my playing when I post, but I did notice it when I was practicing last night! I have a difficult time doing the damping and still keeping in-tempo, and it also makes it harder to focus on the interpretation of the piece. But I think it is worth the trouble. You end up being able to get the same effects that keyboard players can easily achieve, but which are not naturally easy on the guitar. Jazz guitarist Tuck Andress once said that the guitar is an instrument that wants to sustain, and you have to work at it to make it not do this.
Jeremy

Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 02

Post by Giuseppe Gasparini » Fri Oct 28, 2011 7:03 pm

Jeremy Hickerson wrote:Just wanted to share something that might be motivational, that I noticed when I was practicing last night: when you damp the notes that need damped, it can make you sound a lot more "professional". It really takes the overall impact of the piece to another level. You may not be able to hear it in my playing when I post, but I did notice it when I was practicing last night! I have a difficult time doing the damping and still keeping in-tempo, and it also makes it harder to focus on the interpretation of the piece. But I think it is worth the trouble. You end up being able to get the same effects that keyboard players can easily achieve, but which are not naturally easy on the guitar. Jazz guitarist Tuck Andress once said that the guitar is an instrument that wants to sustain, and you have to work at it to make it not do this.
:chitarrista: :bravo: :bye:

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