D05 Classical guitar lesson 06

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.
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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.

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Jean-François Delcamp
Posts: 4357
Joined: Sun May 30, 2004 7:49 pm
Location: Brest, France

D05 Classical guitar lesson 06

Post by Jean-François Delcamp » Wed Feb 07, 2018 9:20 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 12 Giulio Cesare Barbetta (ca. 1540-1603) Moresca detta le Canarie
The first part of the dance is based on a prolonged repetition of a B in the bass. This absence of movement in the bass note makes the first part easy to play. The bass in the second half is enriched at first by a new E, then by more and more notes, until eventually going through the whole scale in eighth notes (quavers) to finish. The second part is more difficult technically, in particular bars 30 to 32.

- page 41 François Campion (1680-1748) Gigue en ré majeur
This gigue was published as a tablature in a work entitled "Nouvelles découvertes ..." (New discoveries ...). It is in the "French tablature" form, where letters of the alphabet indicate the frets where the fingers are to be placed on the neck. The 5 lines of the tablature correspond to the 5 strings of the baroque guitar.
In the following 2 videos, I play the gigue in its original version on baroque guitar, then the classical guitar version.

- page 83 Napoléon Coste (1806-1883) Leçon XXIV
The first phrase ends in bar 4 with a half cadence, then a run of sixteenth notes (semiquavers) leads us to a repetition of the first phrase which concludes with a perfect cadence in D minor. The melody in the second part, more fluid, is based on a constant flow of sixteenth notes (semiquavers). This second part ends with a pedal note (a sustained bass note) on the dominant (A) whose role is to prepare us to take pleasure in returning to the theme of the first part, in D minor, which ends the work.

- page 84 Juliàn Arcas (1832-1882) Manuelito, waltz
Manuelito, to whom this waltz is dedicated, is the brother of Juliàn Arcas. After an introduction in octaves, the waltz starts in bar 16. The rhythm in triple time is by then well established. From bar 33 onwards, hemiolas abound and the 3/4 rhythm changes into a more exuberant 3/2 rhythm. Juliàn Arcas makes clear his aim to maintain a lightness by the use of fluid arpeggios (bars 53-56 and 61-63).

- page 14 Julio Sagreras (1879-1942) Leccione III n°7 Las Terceras Lecciones De Guitarra
A study in arpeggios in A minor, where free stroke and rest stroke are mixed.

I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 84 Juliàn Arcas (1832-1882) Manuelito, waltz
- page 14 Julio Sagreras (1879-1942) Leccione III n°7 Las Terceras Lecciones De Guitarra

Good luck!

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


Exam qualifying submissions: :
Juliàn Arcas (1832-1882) Manuelito, waltz
Julio Sagreras (1879-1942) Lecciones III n°7
:( + ♫ = :)

Maria Anisimova
Student of the online lessons
Posts: 74
Joined: Sun May 08, 2016 9:22 am

Re: D05 Classical guitar lesson 06

Post by Maria Anisimova » Mon Feb 19, 2018 8:04 pm

Julio Sagreras (1879-1942) Leccione III n°7

Luckily I had another chance to use a normal classical guitar...
Yamaha SLG N100

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