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.
Today we're going to look at 5 pieces.
- page 6 Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas
These "diferencias" (variations) are based on the sequence of four chords (C major, G major, A minor and E major) laid out in the first four bars of the work, and are among the oldest variations ever found in print.
Each "diferencia" consists of eight bars. The harmonies of the first four bars are repeated in the next four bars, with the last two chords (A minor and E major) both incorporated into bar 7. This makes it possible to conclude with a perfect cadence in A minor, while still fitting the phrase into an 8 bar structure.
The remaining "diferencias" elaborate on the initial harmonic sequence. Hemiolas abound, the rhythmic freeness giving the piece a jubilant lightness.
I indicate the hemiolas with broken lines above the staff. See this video extract, where I demonstrate the hemiolas in bars 9 to 12.
These "Diferencias sobre guardame las vacas" conclude in a coda of 4 bars where the 4 initial chords (C major, G major, A minor and E major), which were until now dotted whole notes (dotted semibreves), are contracted at the end into 3 quarter notes and 1 half note (3 crotchets and 1 minim).
Don't hesitate to improvise on this sequence of 4 chords, keeping strictly to 6/4 time.
- page 14 John Dowland (1563-1626) Lady Laiton's almain
The allemande (almain or alman), a dance from the 15th and 16th centuries, is accompanied by music in a binary rhythm. According to Thoinot Arbeau, it is of a medium solemnity, which gives it the pace of a rather heavy pavane. The allemande is a very sober dance, in which the dancers promenade in pairs in open position (side by side). With its origins in very ancient popular tradition, it symbolizes not only seduction but also ravishment. It disappeared at the beginning of the 17th century and the only memory it leaves behind is in the instrumental suite.
- page 40 François Campion (1680-1748) Prélude à 4 têms
François Campion is the next most significant French guitarist of the baroque period after Robert de Visée. He was Master of guitar and theorbo at the Royal Academy of Music in Paris.
- page 56 Fernando Sor (1778-1839) Leçon XVIII opus 60
This is to be practised first with chords, and then with different patterns of arpeggio. As far as the right hand is concerned, the ring finger plays the first string, the middle finger plays the second, and the index finger plays the first, while the thumb plays the 3 bass strings.
In bars 24 and 25 the third finger serves as a pivot, so leave it resting in position on the third string.
- page 90 Francisco Tàrrega (1852-1909) Estudio en forma de minuetto
This minuet in A major, in the A B A' form, starts with a 3 bar phrase which ends in an open manner (like a question) on the dominant E followed by a 3 bar response which concludes the first phrase with a perfect cadence in A major. The second section (bars 11 to 18) is in the key of the dominant (E). Finally, the third section repeats the first section with a small variation in bar 25.
In bars 3, 6, 10, 21, 24 and 28 damp the preceding bass note.
I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 6 Luys de Narvàez (ca. 1500-1555) Diferencias sobre guardame las vacas
- page 56 Fernando Sor (1778-1839) Leçon XVIII opus 60
Good luck!
I thank Geoff (GeoffB) who has helped in the translation of my lessons into English.
Jean-François
