D04 Classical guitar lesson 06

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The classical guitar lessons are free. They are aimed at the isolated amateur who does not have access to a teacher. To join the class, apply for registration into the students group.

PDF, MP3, Vidéos, Lessons : Level D01 - Level D02 - Level D03 - Level D04 - Level D05 - Level D06 - Level D07 - Level D08 - Level D09 - Level D10 - Level D11 - Level D12.
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Jean-François Delcamp
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D04 Classical guitar lesson 06

Post by Jean-François Delcamp » Wed Feb 07, 2018 9:19 am

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.




We are now going to work on a series of exercises:
- pages 115, 116 Delcamp, Jean-François Gammes, numéros 20, 21 et 22
Concentrate your practice on the passages highlighted in yellow, working to perfect the technique of position-shifting up and down the neck.







- page 125 Delcamp, Jean-François BARRÉ - BARRÉ - BARRÉ – CEJILLA
You have to be careful and listen to what your body is telling you when you begin to practise the barré. Be sure to keep in mind that if you overdo your practising of the barré, you risk developing tendonitis which often takes a long time to heal and will cause you a good deal of stress if, like me, you love the guitar with a passion. Pain is a warning sign that should be respected. As soon as you feel pain, you should have the wisdom to stop practising immediately until the next day. In the 80's, I wasn't prepared to listen to the pain caused by practising the barré, and only a total break from the guitar lasting a whole year enabled me to start playing again. Now I stop immediately at the first warning sign of pain. Since I started being careful, I've had no more problems.

To acquire the technique for the barré, it is essential above all not to force it. The ideal is to practise a little, but every day.

- For greater effectiveness, the thumb is placed opposite the middle finger, rather than behind the index finger making the barré.
- Place the index finger very close to the fret, almost on top of it.
- Make sure that your shoulder, forearm, wrist and hand are really relaxed. Only the fingers should be exerting a light pressure, otherwise you'll be heading for disaster and at risk of jeopardizing your future progress by giving yourself tendonitis. Relaxing the arm and forearm allows you to take advantage of the weight of the arm and forearm to help the index finger to press more easily against the strings.
- Avoid bending the left wrist, as that will hurt and will impede the action of the fingers. Find the position (of the guitar neck, your elbow and your shoulder) which will allow you to make the barré without bending your wrist.

- The creases of the finger joints cause some slight problems. In particular the crease of the joint between the last two bones of the index finger (the middle and distal phalanges).

To illustrate this, here are 2 photos of my right hand index finger ready to make a barré (I am left handed). I am not pressing on the strings, so that the crease of the joint is more visible.
1. In this photograph, the joint crease of the index finger is situated exactly over the third string, so the third string will not be pressed fully against the fingerboard, and the sound will be muffled or non-existent.
joint crease of the index finger on the 3rd string
Image
2. A solution is to position this crease where it will not cause a problem (between the strings)
joint crease of the index finger between the 3rd and 4th strings
Image

Practising the barré demands patience. The first results of this practice (improvement in strength) only become noticeable after several weeks or months of daily practice.

The tension of the strings (normal, hard, or extra hard) also plays a role in barrés. A set of "extra hard" tension strings requires more strength than a "normal" tension set. A "normal" tension set of strings and a low action* will help you.
* The action of a guitar is the distance between the stationary string and the frets, usually measured at the 12th fret. You can have the action adjusted by a luthier.





Finally we'll look at 4 pieces.
- page 6, 7 Milán, Don Luys Pavane I
Image



- pages 50, 51 Sor, Fernando Exercice opus 35 n°13, en do majeur, Segovia n°2
This piece consists of a melody with accompaniment. Bring out the melody notes (those with the stem pointing up) by using rest strokes with your third finger. Play the accompaniment (the notes with the stem pointing down) quietly, with gentle free strokes using the thumb, middle and index fingers.
These two simultaneous strokes, one a strongly played rest stroke, the other a gentle free stroke, will seem very difficult, or even impossible, to achieve. But don't worry, my students manage this double stroke after 15 minutes. The first few minutes of practising this right-hand skill are always agonizing for students, because they feel that they will never succeed. In my lessons, my role is to reassure the students and encourage them to persevere. Often, after 15 minutes of repeating the same movements, students start to get there. Sometimes they are quite amazed at having succeeded at what seemed impossible. Because by repeatedly failing to perform rest and free strokes simultaneously, you end up convincing yourself that it's impossible. In short, persevere! Have courage!

Be patient, stay relaxed, don't get annoyed with yourself, don't curse me, just repeat the same movements over and over again while making an effort to get it right. In a few hours or a few days you will achieve mastery of this simultaneous rest and free stroke. This technique is used in the piece "Jeux interdits".



- page 86 Coste, Napoléon Barcarolle opus 51
Barcarolle opus 51 is in two sections, each of 16 bars. It has a phrase structure of 4 bars. The piece is in the key of A, and this key allows the optimal use of the 2 bass strings of the guitar: E (dominant), A (tonic). Observe the exact duration of the bass notes, and damp them by placing your thumb on the string as and where indicated by the damping symbols and finger indications on the first line.



- page 93 Francesco Roggi Lu primm'ammore
This piece consists of a melody with accompaniment. Bring out the melody notes (those with the stem pointing up) by using rest strokes with your third finger. Play the accompaniment (the notes with the stem pointing down) quietly, with gentle free strokes using the thumb, middle and index fingers.





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:
- pages 50, 51 Sor, Fernando Exercice opus 35 n°13, en do majeur, Segovia n°2
- page 86 Coste, Napoléon Barcarolle opus 51
- page 93 Francesco Roggi Lu primm'ammore


Good luck!

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

Jean-François

---

Exam qualifying submissions:

Exercice opus 35 n°13, en do majeur
Barcarolle opus 51
Lu primm'ammore

DaveMoutrie
Exercice opus 35 n°13, en do majeur
Barcarolle opus 51
Lu primm'ammore

Chu Bun
Exercice opus 35 n°13, en do majeur
Barcarolle opus 51
Lu primm'ammore

Andrei Puhach
Exercice opus 35 n°13, en do majeur
Barcarolle opus 51
Lu primm'ammore

Colin Bullock
Exercice opus 35 n°13, en do majeur
Barcarolle opus 51
Lu primm'ammore
:( + ♫ = :)

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Zafar Haq
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Re: D04 Classical guitar lesson 06

Post by Zafar Haq » Wed Feb 07, 2018 11:21 pm

Hi, Gentlemen,

Here are this month exam qualifying exercises music sheets breakdown.

- pages 50, 51 Sor, Fernando Exercice opus 35 n°13, en do majeur, Segovia n°2
- page 86 Coste, Napoléon Barcarolle opus 51
- page 93 Francesco Roggi Lu primm'ammore

a. pages 50, 51 Sor, Fernando Exercice opus 35 n°13, en do majeur, Segovia n°2

1.Time Signature:2/4
2.Tempo:Andante,andante (72–76 bpm) Andante – at a walking pace (76–108 bpm)wiki
3.Strokes:Not defined
4.Measures:32
5.Phrases:Not defined
6.Damping:Yes,24
7.Repeats:No
8.Special effects:No
9.# symbol:No
11.Rest:Yes,quarter note m 16,24,32
12. Articulation:No
13.Improvisation:No
14.Slur:No
15.Ornament:No
16.Tie:No
17.sharp/flat/natural:Yes,sharp at m 24,27,29,
18.Barre:Yes,m 27,29,30,


b.page 86 Coste, Napoléon Barcarolle opus 51

1.Time Signature: 3/8
2.Tempo:144
3.Strokes: Not defined
4.Measures:32
5.Phrases: Not defined
6.Damping: Yes,15
7.Repeats: Yes,"D.C. al Fine", last measure to repeat from first measure to "Fine"m 16
8.Special effects:Yes,Dynamic,P=Piano,mf=mezo forte,
9.Sharp Symbol:Yes,C#,F#,G#
10.Lyrics: No
11.Rest:Yes,1/8th note at all measures,quarter note,m 16,40,48
12. Articulation.No
13.Improvisation:No
14.Slur:Yes, m 7,13,31,32
15.Ornament:No
16.Tie:No
17.sharp/flat:Yes, sharp at m 18,19,20,22,24,25,26,27,29,30,31
18.Barre:yes, m 4,12,


c.page 93 Francesco Roggi Lu primm'ammore


1.Time Signature: 6/8
2.Tempo:63
3.Strokes:Not defined
4.Measures:25
5.Phrases: Not defined
6.Damping: Yes,9
7.Repeats: No
8.Special effects:Yes,Dynamics,mf=mezzo forte,mp=mezo piano
9.Sharp Symbol:Yes,F#
10.Lyrics: No
11.Rest:Yes,1/8th note m 1 to 7,9,10,11,13,14,15,16,17,18,19,20,21,22,23,24,quarter note m 2,4,17,19,21,23,24,25
12. Articulation.No
13.Improvisation:No
14.Slur:Yes,m 1,2,3,4,16,20,21,22,23,24
15.Ornament:No
16.Tie:Yes
Definition: "Tie
Indicates that the two (or more) notes joined together are to be played as one note with the time values added together. To be a tie, the notes must be identical – that is, they must be on the same line or the same space. Otherwise, it is a slur"wiki
17.sharp/flat/natural:Yes,sharp at m 5,9,11,13,14,15,17,
18.Barre:Yes, m 13,15,
19.Octave:No
20.Harmonic notes:No
Definition:"The Italian musical term rallentando or rall. (lit. “slowing down”) is a gradual decrease in speed similar to a that of a ritardando, but with more of a rolling stop effect; a lazy deceleration of the tempo that seems to have less certainty and drama than the ritardando."wiki

Definition:"a tempo" A tempo - Resume normal speed.
This marking is used after a change of tempo, often a rallentando or a ritenuto, to indicate that a performer should return to the main tempo.
For example, if a piece begins allegro, but then there is a passage instructing the performers to rallentando, the marking a tempo tells the players that they should return to playing allegro. "wiki

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Zafar Haq
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Re: D04 Classical guitar lesson 06

Post by Zafar Haq » Wed Feb 07, 2018 11:24 pm

Hi,Colin,
My condolences to your mother in law sad demise.

Colin Bullock
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Re: D04 Classical guitar lesson 06

Post by Colin Bullock » Fri Feb 16, 2018 9:25 am

Folks, please see this link viewtopic.php?f=1&p=1257542#p1257542
I will go through older posts, but if you spot any of yours do update them
Thanks
Colin

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Chu Bun
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Re: D04 Classical guitar lesson 06

Post by Chu Bun » Wed Feb 21, 2018 5:59 pm

Anybody makes progress in the assignments? I can barely do the 1st piece and it's 2/3 into the month. I can really use some peer pressure here.

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Re: D04 Classical guitar lesson 06

Post by Colin Bullock » Wed Feb 21, 2018 10:27 pm

Chu Bun wrote:
Wed Feb 21, 2018 5:59 pm
Anybody makes progress in the assignments? I can barely do the 1st piece and it's 2/3 into the month. I can really use some peer pressure here.
I’m finding it hard work and still have to finish last month's.

Although it sounds ok in the video at speed, when played at slow practice it is so boring, which doesn't help. I keep tripping over my fingers, lots of buzzes.
The Baccarol looks easier.

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Re: D04 Classical guitar lesson 06

Post by Andrei Puhach » Thu Feb 22, 2018 4:11 pm

Chu Bun wrote:
Wed Feb 21, 2018 5:59 pm
Anybody makes progress in the assignments? I can barely do the 1st piece and it's 2/3 into the month. I can really use some peer pressure here.
I started learning pieces from the end (David Russell's advice). The Sor's one is a bit difficult towards the end. Measure 26 -> 27 transition is never clean, and I apply unnecessary extra pressure. But I have no problem to position LH fingers properly when practicing measure 27 in isolation.

Barcarolle is difficult to sight read, I need at least 5 seconds for some notes and up to 10 seconds for chords, even though I've been doing some sight reading exercises recently. So, I just learn finger movement patterns and gets me going. It also has some awkward fingering in measure 30 last note: it is easier to fret it with 3 rather than 4.

Lu primm'ammore seems to be ok, but still has some really awkward LH acrobatics. Also, I don't understand measure 2: why A + G are in a rectangle and what is this line from D (previous measure) to G? These are different strings, it cannot be glissando or something.

So, most likely I won't post any assignments this month, maybe in March 2018.
Cordoba C9

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Re: D04 Classical guitar lesson 06

Post by Chu Bun » Thu Feb 22, 2018 5:54 pm

Colin Bullock wrote:
Wed Feb 21, 2018 10:27 pm
The Baccarol looks easier.
This piece has a lot of position changes which is not easy for sight reading when you can't look at the fretting hand. I've gone through about 50 takes and they all have mis-frettings here and there.

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Re: D04 Classical guitar lesson 06

Post by Chu Bun » Thu Feb 22, 2018 6:11 pm

Andrei Puhach wrote:
Thu Feb 22, 2018 4:11 pm
I started learning pieces from the end (David Russell's advice). The Sor's one is a bit difficult towards the end. Measure 26 -> 27 transition is never clean, and I apply unnecessary extra pressure. But I have no problem to position LH fingers properly when practicing measure 27 in isolation.
Same here. I can go from 27 to end without much problems. But when starting from the beginning, by measure 27 my focus is waning and my fingers are tired. It's a struggle to keep thing together.
Barcarolle is difficult to sight read ..I just learn finger movement patterns and gets me going. It also has some awkward fingering in measure 30 last note: it is easier to fret it with 3 rather than 4.
I think patterns are what we should read not the individual notes per se, and each key has certain common patterns that should be memorized. Agree on measure 30. Don't see why we should cramp our fingers by fretting with 4.
I don't understand measure 2: why A + G are in a rectangle and what is this line from D (previous measure) to G?
I could be wrong but I think the line indicates that the open D has to be damped (same at open E in measure 6 and 7), and the rectangle is because we need to damp both the open high B (with m ?) and the open low D which is kind of complicated.

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Re: D04 Classical guitar lesson 06

Post by DaveMoutrie » Fri Feb 23, 2018 3:05 pm

Here is my attempt at the Sor - I apologise if I have not participated much just lately. My father in law died last month - we spent a lot of time visiting the hospital and now there is probate, clearing out a house selling his car etc etc etc.
So a few buzzes here and there and I'm sure this piece needs to be played a bit faster but exams are just around the corner and I have much catching up to do.





Last edited by DaveMoutrie on Fri Feb 23, 2018 5:40 pm, edited 2 times in total.
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Re: D04 Classical guitar lesson 06

Post by DaveMoutrie » Fri Feb 23, 2018 3:18 pm

please delete this message
Last edited by DaveMoutrie on Fri Feb 23, 2018 5:42 pm, edited 2 times in total.
Alhambra 4p Cedar
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Re: D04 Classical guitar lesson 06

Post by DaveMoutrie » Fri Feb 23, 2018 3:22 pm

please delete this message
Last edited by DaveMoutrie on Fri Feb 23, 2018 5:43 pm, edited 2 times in total.
Alhambra 4p Cedar
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Re: D04 Classical guitar lesson 06

Post by DaveMoutrie » Fri Feb 23, 2018 5:33 pm

please delete this message
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Re: D04 Classical guitar lesson 06

Post by DaveMoutrie » Fri Feb 23, 2018 5:56 pm

Chu Bun wrote:
Thu Feb 22, 2018 5:54 pm
Colin Bullock wrote:
Wed Feb 21, 2018 10:27 pm
The Baccarol looks easier.
This piece has a lot of position changes which is not easy for sight reading when you can't look at the fretting hand. I've gone through about 50 takes and they all have mis-frettings here and there.
I've had a bash at the Baccarol - there are repeated phrases and similar chord shapes which slide up and down the fret board. In principle this should mean that it will be easy to memorise - but of course time will tell!
Alhambra 4p Cedar
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Andrei Puhach
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Re: D04 Classical guitar lesson 06

Post by Andrei Puhach » Sat Feb 24, 2018 3:57 am

DaveMoutrie wrote:
Fri Feb 23, 2018 3:05 pm
Here is my attempt at the Sor - I apologise if I have not participated much just lately. My father in law died last month - we spent a lot of time visiting the hospital and now there is probate, clearing out a house selling his car etc etc etc.
So a few buzzes here and there and I'm sure this piece needs to be played a bit faster but exams are just around the corner and I have much catching up to do.





Wow, that was so good! How did you manage to learn it so fast? I need way more time to learn a piece..
Cordoba C9

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