D05 Classical guitar lesson 04

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Jean-François Delcamp
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D05 Classical guitar lesson 04

Post by Jean-François Delcamp » Wed Dec 03, 2014 10:35 am

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 are going to work on a series of exercises:
- page 131 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.



- page 148 Degli arpeggi 48-98
Mauro Giuliani is the first teacher to have published 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 listen to the mp3s of the 120 arpeggios recorded by Marco Cairone here: http://www.chitarraclassicadelcamp.com/ ... 32&t=25253 .


Don't forget, thoughout the year, to work on scales (pages 136 to 142) several times per week.
Page 142, I suggest some varied rhythms which will help you to achieve greater speed.


Today we'll look at 5 pieces.
- page 8 Luys de Narvàez (ca. 1500-1555) Tres Diferencias por otra parte
These diferencias, or variations, follow on from the "Diferencias sobre guardame las vacas" which we studied in lesson number two. Here the key is D minor and each of the 3 variations consists of a total of 10 bars broken up into (4)+(4+2) bars. An increasing number of hemiolas appear at the end of each variation. The shorter note values occur in the middle voice in the first variation, the upper voice in the second, and the lower and then all three voices to finish.




- page 29 Jean-Baptiste Besard (1567-1625) Ballet
Each phrase begins with an upbeat in the fourth beat. Bars 9 to 13 are repeated as a division in bars 14 to 18. A division is a variation where the same theme is repeated in shorter note values, owing to the addition of notes of ornamentation between the original notes. In the following illustration, the added notes are circled.
Image



- page 50 Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
Here the range of pitch (from the lowest to the highest note, sometimes also called the ambitus or compass) is one of the two key elements. The other key element of this allegro is the expression of duality on several levels: two sections (AABB), two tempi, two voices, etc. Each phrase is repeated a second time, either exactly or with a small variation. In the first two phrases the range of pitch decreases gradually: the treble notes descend while the basses rise. In bar 1 the range is 2 octaves, and it decreases eventually to 1 octave by bar 4. Likewise from bar 5 to bar 8. Then Brescianello reverses the process: he starts bar 9 with a unison, then the bass descends while the treble goes up to finish with a wider range. Bars 9 to 16 give the feeling of two successive waves and then, in his search for duality, Brescianello introduces a brief lull in bars 17 and 18. He concludes in bars 19 to 23 by returning to the energy and the jubilation of the allegro. Still seeking duality, Brescianello introduces the second key of D major for his second section, which repeats the phrases of the first while enriching them with the new phrase of bars 32 to 35.



- page 67 Matteo Carcassi (1792-1853) Etude XVI opus 60
Here the melody evolves within a small range of pitch. The melody is played almost exclusively on the first string using rest stroke. The accompaniment occupies the free spaces between the melody notes. Accompaniment and melody are always distinct, and their meeting, on the third beat of the last bar, brings the étude to a close.




- page 114 João Guimarães (Pernambuco) (1883-1947) Sons de carillhões
The maxixe is sometimes called the Brazilian tango.
The first section in D major is based mostly on the use of 3 chords: D major, E minor and A seventh. In bars 13 and 14 we find a diminished chord arpeggio, like those we've come across in lesson number 3, in the Preludio en ré mayor by Juliàn Arcas (1832-1882). The second section modulates into the key of G major, that is to say the subdominant of D major, the main key of this chôro. At the beginning of this second section the rhythm which was that of the accompaniment (one eighth note [quaver] - 2 sixteenth notes [semiquavers]) becomes, in bars 18 and then 26, the rhythm of the main part.





I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 50 Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
- page 114 João Guimarães (pernambuco) (1883-1947) Sons de carillhões




Good luck!


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


Jean-François


Exam qualifying submissions: :
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões


Gabriel Guégan
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

David Smyth
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

Pentti Kotilainen
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões

Stewart Doyle
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões
:( + ♫ = :)

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Gabriel-guégan
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Re: D05 Classical guitar lesson 04

Post by Gabriel-guégan » Wed Dec 10, 2014 8:10 pm

Hello
For this new lesson my first "complete" recordings without too many interferences
D05 04 p114-115 J. Guimarães (pernambuco), Sons de carillhões
[media]https://youtu.be/Ts3Hubc347g[/media]
D05 04 p50-51 G. A. Brescianello Allegro de la partita VII
[media]https://youtu.be/SqCU3LuAVms[/media]
:bye:

Stewart Doyle
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Re: D05 Classical guitar lesson 04

Post by Stewart Doyle » Thu Dec 11, 2014 9:57 pm

Wow Gabriel :bravo: Very impressive, 'up to speed', first posts. I'm sure you would improve the definition of the Allegro by slowing it down a little, but as someone who really struggles to keep a piece going at fast speeds, it is quite inspiring to see someone manage to play almost faultlessly at speed.
In bar 23 of Sons I think you play C natural at the start rather than C# - perhaps the fingering confused you. There's some excellent discussion about this from Marko and Harvard from last year's lesson.
Other than that, I think the trills in both pieces need some work, but I'm not quite sure what the issue is. I think you may be starting it with a 'hammer on' rather than a 'pull off' - particularly in the Allegro in bars 17,18,44 and 45, but perhaps also in Sons, in bar 14 for example. It just doesn't sound the same as M. Delcamp.
Incidentally I got a shock when I looked back at last year's lesson as I had printed a copy of Allegro from some time ago. The fingering in bar 37 was so much easier in that copy. [Again there is some very useful material in last year's lesson].You seem to manage the fingering very well though!

I'm hoping to get some time this weekend to record some (much slower) versions!
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Gabriel-guégan
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Re: D05 Classical guitar lesson 04

Post by Gabriel-guégan » Thu Dec 11, 2014 10:48 pm

Thank you Stewart for your comment
Of course you right for the C/C# bar 23 :okok: Thanks for the discussion mentioned
I'm not convinced changing order of trills or mordants is needed but I will try
For the Allegro fingering it's comming slowly and now it's quite ok. Strangely it seems to me easier with close eyes specially when the forth finger has to aim second string for D, less stress ?
I'll try to make other take... slower and i hope more proprely
:bye:

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David.Smyth
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Re: D05 Classical guitar lesson 04

Post by David.Smyth » Sat Jan 03, 2015 5:39 pm

Hi Guys,

Here are my recordings of the Lesson 4 Pieces and the extensions exercise.

D05_04_Brescianello_Allegro e la Partita VII
[media]https://youtu.be/cj19sAVNuhY?rel=0[/media]


D05_04_Pernambuco_Sons de Carillhoes
[media]https://youtu.be/4QmHJj9zqVc?rel=0[/media]


D05_04_Delcamp_Extensions_Level 5
[media]https://youtu.be/D9KTYPSdaUE?rel=0[/media]
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Goran Penic
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Re: D05 Classical guitar lesson 04

Post by Goran Penic » Mon Jan 05, 2015 9:58 am

David.Smyth wrote:Hi Guys,

Here are my recordings of the Lesson 4 Pieces and the extensions exercise.
...
David, Brescianello is set as Private. I can't see this video.
:bye:
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David.Smyth
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Re: D05 Classical guitar lesson 04

Post by David.Smyth » Mon Jan 05, 2015 10:39 am

Hi Goran,

Sorry about that!

Have changed it's settings so it should be viewable now. Have checked the other two clips and I think they are OK too.

Thanks.

Dave
D05 Student
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Goran Penic
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Re: D05 Classical guitar lesson 04

Post by Goran Penic » Mon Jan 05, 2015 12:51 pm

David.Smyth wrote:Hi Goran,

Sorry about that!

Have changed it's settings so it should be viewable now. Have checked the other two clips and I think they are OK too.

Thanks.

Dave
:bravo: Dave, very good performance.
:bye:
Guitar: Mirko Hotko 1989
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David.Smyth
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Re: D05 Classical guitar lesson 04

Post by David.Smyth » Mon Jan 05, 2015 1:33 pm

Thanks Goran, I appreciate the feedback.

Dave
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Guitar: Yamaha G-235 (1980)
Strings: D'Addario Pro-Arté EJ45 Normal Tension
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Pentti Kotilainen
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Re: D05 Classical guitar lesson 04

Post by Pentti Kotilainen » Thu Jan 08, 2015 2:55 pm

Brilliant job Gabriel and David. Congratulations!

There is already a new lesson waiting to start with so I decided to record the former ones and then move on.

Here they are:
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
[media]https://youtu.be/KifXcXKxfu8[/media]
João Guimarães (pernambuco) (1883-1947) Sons de carillhões
[media]https://youtu.be/yPN1GA1TOJY[/media]

Best regards,
Pentti

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David.Smyth
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Re: D05 Classical guitar lesson 04

Post by David.Smyth » Fri Jan 09, 2015 9:34 am

Pentti Kotilainen wrote:Brilliant job Gabriel and David. Congratulations!

There is already a new lesson waiting to start with so I decided to record the former ones and then move on.

Here they are:
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
......
João Guimarães (pernambuco) (1883-1947) Sons de carillhões
......

Best regards,
Pentti
Hi Pentti,

Well played :bravo:! Both pieces in this lesson are tricky and you are well on your way to getting them under your fingers.

In the Brescianello Allegro,something doesn't sound quite right with the first chord in measures 17 & 18. I think you might be strumming from the 5th string and the open A is causing some dissonance. You might try plucking strings 4 - 1 here instead, rolling the chord?

Many thanks for your kind words of encouragement :merci:.

Dave
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Guitar: Yamaha G-235 (1980)
Strings: D'Addario Pro-Arté EJ45 Normal Tension
Recorder: Canon mvx250i & Roland R-09HR

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Gabriel-guégan
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Re: D05 Classical guitar lesson 04

Post by Gabriel-guégan » Fri Jan 09, 2015 10:34 am

Pentti Kotilainen wrote:There is already a new lesson waiting to start with so I decided to record the former ones and then move on.
Of course it would need more practice but it's already a good job. See you in the next lesson :bye:

Stewart Doyle
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Re: D05 Classical guitar lesson 04

Post by Stewart Doyle » Sun Jan 11, 2015 8:53 pm

Hi everyone,

:bravo: Pentii and David. Excellent performances David, it's clear that you are confident playing pieces at this level. I'm finding it quite a step up from D04 and I really need to step up my practice. After getting off to a good start to this year, I'm now playing catch-up after getting side-tracked by Christmas and work. Rather like Pentii, I want to move onto Lesson 5 and so here are my recordings.
The Pernambuco probably shows that, despite my awareness of the risk, I spent too much time playing the first section to the detriment of the second....

Pernambuco; Sons de carillhões
[media]https://youtu.be/hqDYrZ5rB0c[/media]

The Allegro (or not - I notice it's twice as long as Gabriels! :oops: ) equally shows the areas that need more work, notably bars 20-21 and the second section again more generally...

Brescianello; Allegro de la Partita VII
[media]https://youtu.be/ZqOujbAVfyE[/media]

See you in lesson 5!

Stewart
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Antonio Lorca 3605 Cedar

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Goran Penic
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Re: D05 Classical guitar lesson 04

Post by Goran Penic » Tue Jan 13, 2015 10:35 am

:bravo: Pentti and Stewart, very good performance.
Now I have to put my subscriptions. This lesson I missed last year.
:bye:
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Strings: D'Addario EJ46TT Pro Arte Dynacore Hard Tension
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David.Smyth
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Re: D05 Classical guitar lesson 04

Post by David.Smyth » Tue Jan 13, 2015 1:12 pm

Hi Stewart,

Well played :bravo:. I agree, the pieces at this level are tough - but it is clear from these recordings that, with a bit more practice, they are well within your reach. Also I think you are right - its a good strategy to move on to the next lesson and not fall behind - we've a long way to go yet!

See you in Lesson 5.

Dave
D05 Student
Guitar: Yamaha G-235 (1980)
Strings: D'Addario Pro-Arté EJ45 Normal Tension
Recorder: Canon mvx250i & Roland R-09HR

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