D03 Classical guitar lesson 06

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Jean-François Delcamp
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D03 Classical guitar lesson 06

Post by Jean-François Delcamp » Tue Feb 03, 2015 9:37 pm

Hello everyone,
Please start by downloading the latest version of volume D03.
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 91 Jean-François DELCAMP (1956) LEGATO STACCATO
- page 92 Jean-François DELCAMP (1956) GLISSANDO
- pages 96-97 Jean-François DELCAMP (1956) MORDANTS ET TRILLES
:idea: :arrow: Level D02-D08, Ornaments in baroque music
When changes of position are needed, you will be using the "position shift" technique. Position I is the left hand position where the index finger (1) is placed behind the 1st fret, position V is the hand position where the index (1) is placed behind the fifth fret, etc. The position shift involves moving the left hand along the neck, from position to position, from fret to fret. In the scales we're looking at today, notice that my first finger never leaves the first string, I use it as a guide for my hand. Position shifts are shown by oblique lines linking two fingering indications given for the same finger.
The following videos are for numbers 18, 19, 20, 21, 22, 23, 24, 37, 38, 39 and 40. Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.














Finally, we'll look at two pieces, pages 15 and 19.
Gaspar SANZ (1640-1710) LAS HACHAS
Gaspar SANZ (1640-1710) LA MIÑONA DE CATALUÑA





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 97 numéro 39 Jean-François DELCAMP (1956) MORDANTS ET TRILLES
- page 19 Gaspar SANZ (1640-1710) LA MIÑONA DE CATALUÑA



Good luck!


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


Jean-François

---

Exam qualifying submissions:

MORDANTS ET TRILLES
LA MIÑONA DE CATALUÑA

Haris Karachristianidis
MORDANTS ET TRILLES
LA MIÑONA DE CATALUÑA

Carl Westman
MORDANTS ET TRILLES
LA MIÑONA DE CATALUÑA

Duang Turongratanachai
MORDANTS ET TRILLES
LA MIÑONA DE CATALUÑA

Rick Beauregard
MORDANTS ET TRILLES
LA MIÑONA DE CATALUÑA

Beatriz Martin
MORDANTS ET TRILLES
LA MIÑONA DE CATALUÑA
:( + ♫ = :)

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CarlWestman
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Re: D03 Classical guitar lesson 06

Post by CarlWestman » Thu Feb 05, 2015 9:08 pm

Q: it says "Finally, we'll look at 4 pieces, pages 15 and 19."

then only 2 pieces are listed. Are some missing, or should it read "Finally, we'll look at 2 pieces, pages 15 and 19." ?

Thanks,
CW

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Marko Räsänen
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Re: D03 Classical guitar lesson 06

Post by Marko Räsänen » Thu Feb 05, 2015 9:54 pm

Hi Carl,

I looked at the archive, and the text's been that for at least two past D03 courses. However, in Spanish forum it says two pieces in the lesson text, so I'm inclined to think that it's a mistake in translation. Well spotted! I'll change it here to say 'two' as well, although I don't know whether the correction will carry on to the same lesson next year.

Marko
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CarlWestman
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Re: D03 Classical guitar lesson 06

Post by CarlWestman » Fri Feb 06, 2015 9:07 pm

Thanks. I've got a bunch of other questions as well (sorry!)

For "Legato Staccato" ex. 19, how should I interpret/apply the vertical RH fingering indications, such as m a a, i m i ? Or should they be read horizontally, such as m i m i, a m a m, a i a i? If the latter (seems more familiar to read it that way), does it just mean we should try alternating with that fingering?

On Glissando #24, do we strike the note both at the beginning and after the slide? What about in the second-to-last measure, the D note there gets struck just once, right? But the subsequent quarter note C and then dotted half note C (with fermata) both get struck separately, right?

On Mordants et Trilles, p. 96, what is the meaning of the two sharps that appear at the end of the staff lines, at the end of the piece just after two horizontal lines go through the staff lines, one thin and one thick? Ex. 37 is titled C major - which I thought had no sharps or flats. Two sharps would indicate D major, wouldn't it? Which is ex. 38. Then at the end of Ex 38 there are two natural signs at the F and C positions. Are these merely to prepare us for the next exercise, which here is C major?

On the trills, it appears that slurs are indicated. To execute the technique, is only the first note plucked with the RH, and then the remaining part of the trill is completed with "pull-offs and hammer-ons?" In other words, say for ex. 38, the first trill is D-C-D. Do you first pluck D (I note that it suggests 5th string D, which is 5th fret), then you pull off (without RH plucking) to sound C, then hammer on again to sound D (but with the 3rd finger instead of the 2nd)? Is the reason to switch to the 3rd finger to prepare for the next trill - i.e., get the LH positioning moved?

Also, on trills, what is the meaning of the quarter notes on the top staff line? Is that a shorthand for what appears on the staff lines underneath, or is this supposed to be a duet or something?

Thanks.

Carl

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Marko Räsänen
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Re: D03 Classical guitar lesson 06

Post by Marko Räsänen » Sat Feb 07, 2015 7:39 am

CarlWestman wrote:For "Legato Staccato" ex. 19, how should I interpret/apply the vertical RH fingering indications, such as m a a, i m i ? Or should they be read horizontally, such as m i m i, a m a m, a i a i? If the latter (seems more familiar to read it that way), does it just mean we should try alternating with that fingering?
As you suspected, they are to be read horizontally, i.e. there are three separate fingerings stacked on top each other, and the purpose is to use all three in turns. However, they aren't related to Legato Staccato exercise, but the scales exercises below.
On Glissando #24, do we strike the note both at the beginning and after the slide? What about in the second-to-last measure, the D note there gets struck just once, right? But the subsequent quarter note C and then dotted half note C (with fermata) both get struck separately, right?
You very rarely see glissando's in modern editions of guitar music. I'm not sure how they should be generally played, but what you wrote seems to reflect accurately what Professor Delcamp played in the video.
On Mordants et Trilles, p. 96, what is the meaning of the two sharps that appear at the end of the staff lines, at the end of the piece just after two horizontal lines go through the staff lines, one thin and one thick? Ex. 37 is titled C major - which I thought had no sharps or flats. Two sharps would indicate D major, wouldn't it? Which is ex. 38. Then at the end of Ex 38 there are two natural signs at the F and C positions. Are these merely to prepare us for the next exercise, which here is C major?
Yes, they're all there to indicate the key signature of the next exercise.
On the trills, it appears that slurs are indicated. To execute the technique, is only the first note plucked with the RH, and then the remaining part of the trill is completed with "pull-offs and hammer-ons?" In other words, say for ex. 38, the first trill is D-C-D. Do you first pluck D (I note that it suggests 5th string D, which is 5th fret), then you pull off (without RH plucking) to sound C, then hammer on again to sound D (but with the 3rd finger instead of the 2nd)? Is the reason to switch to the 3rd finger to prepare for the next trill - i.e., get the LH positioning moved?

Correct, except for the rationale for changing the finger. When alternating the finger that hammers on and pulls off, it is possible to achieve greater speed. Also sometimes you want the trill to go on for a longer period of time (consisting of several hammer-on / pull-off combinations), and then it becomes a question of stamina, which will be improved when alternating the fingers.
Also, on trills, what is the meaning of the quarter notes on the top staff line? Is that a shorthand for what appears on the staff lines underneath, or is this supposed to be a duet or something?


It's just a shorthand, or actually the proper way to indicate trills. The bottom line is there just to illustrate how they should be played. As trills are ornamentation, in real sheet music you're lucky to find even the wavy line to indicate that a trill could be used here to make things more interesting.
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CarlWestman
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Re: D03 Classical guitar lesson 06

Post by CarlWestman » Sat Feb 07, 2015 2:45 pm

Thank you for your quick reply! I am relieved that I correctly inferred the answer to most of these questions. I admit surprise, however, at the answer to the rationale for changing fingers on a trill. I wouldn't have guessed that it would improve speed. I can understand the fatigue issue though.

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Marko Räsänen
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Re: D03 Classical guitar lesson 06

Post by Marko Räsänen » Sat Feb 07, 2015 5:55 pm

Hi Carl,

No doubt, using alternate fingers for trills will feel slower at first. But as the fingers will learn to move more independent, the second finger can anticipate the pull-off of the first finger, and save some time. Perhaps it also enables the fingers to pull-off more laterally towards the next string, which will improve the volume of the trill.
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Re: D03 Classical guitar lesson 06

Post by Haris Karachristianidis » Mon Feb 09, 2015 3:29 pm

How are the trills going?
Things became tougher in this lesson: trills, quick passages (Las Hachas)

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CarlWestman
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Re: D03 Classical guitar lesson 06

Post by CarlWestman » Mon Feb 09, 2015 11:31 pm

Slowly, but that's a good way to start. I'm not yet convinced by the gain in speed by using a different finger for the second hammer-on for the same note, but I'm probably just not coordinated enough yet. Or rather, maybe, too coordinated. My fingers don't want to be independent.

I'm still having a devil of a time getting MP3 files of M. Delcamp's performances to listen to; I rely on them to use in my digital recorder and can play them back at a slowed down pace, which is helpful in establishing early practice muscle memory. At first I thought the problem was with the Firefox extension, because the options for it kept reverting back to "minimum size of download to display in toolbar = 1 MB" - so if the MP3 was smaller than that (quite possible for 30-35 second sound clips), it won't appear.

Then I tried another extension instead, and its download button won't even appear. Some reviewers claim that youtube (i.e., google) is blocking all such extensions (probably at the behest of the RIAA, though the reasoning doesn't apply here). There might have been a web page that will convert it for me, but failing that, I'm using a smartphone in my practice room to access the youtube page, and just hitting repeat a lot, and can't slow it down. It's clunky to do but that may be my only option.

Edit: conversion website is www dot youtube dash mp3 dot org
it is working.

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CarlWestman
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Re: D03 Classical guitar lesson 06

Post by CarlWestman » Tue Feb 10, 2015 1:25 am

Question and comment:

On LA MIÑONA DE CATALUÑA, can we walk through the technique of a trill really slowly?

For example the first trill is a 3141 pattern around A, but it really starts on note B because of the 3. As I think through this please correct me:
From B to A (3 to 1), it is a descending slur, so the left hand 3rd finger plucks the E string laterally and releases, causing note A to sound.
From A to B (1 to 4), it is an ascending slur, so the pinky taps the fretboard at the B note.
From B to A again, (4 to 1) is a descending slur, so the pinky then pulls the E string laterally and releases, resulting in the A sounding.

At any point in this slur, does the right hand pluck the high E string?

Comment: Las Hachas is sneaky tricky because there are certain notes in each measure you need to hold with fretted finger(s) while playing other notes, and then (sometimes) later releasing.

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Marko Räsänen
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Re: D03 Classical guitar lesson 06

Post by Marko Räsänen » Tue Feb 10, 2015 5:23 am

CarlWestman wrote:At any point in this slur, does the right hand pluck the high E string?
Yes, the first B (fretted with 3) is plucked with right hand. Just before finger 3 pulls off.
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Re: D03 Classical guitar lesson 06

Post by Beatriz Martin » Tue Feb 10, 2015 10:06 pm

Very cool exercises! I just finished watching the videos. I will start studying today and if I have questions I will refer to Carl's questions and Marko's answers in case I have the same questions.

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Re: D03 Classical guitar lesson 06

Post by CarlWestman » Sat Feb 14, 2015 1:49 am

My fingers are sore! And my lazy LH pinky is rebelling - I think it may secede from my hand if it keeps getting called upon.

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Duang Turongratanachai
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Re: D03 Classical guitar lesson 06

Post by Duang Turongratanachai » Sun Feb 22, 2015 2:02 am

Hi
I have noticd that on the La Minona de Cataluna clip at bar 8 first time and bar 6 second time Mr Delcamp played some notes that is not on the sheet music. I have just played as written, am I right?
Duang

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Re: D03 Classical guitar lesson 06

Post by CarlWestman » Sun Feb 22, 2015 5:56 pm

Yes, I think he has a tendency to do that. It may be that he's adding a flourish (one of which I figured out on my own - an F# thrown in on the first string), or possibly he's playing a less-simplified version that was recorded for a higher level (e.g., D04). But I think it's most likely just the former, not the latter.

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