D04 Classical guitar lesson 03

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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
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D04 Classical guitar lesson 03

Post by Jean-François Delcamp » Tue Nov 06, 2018 8:59 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.




Today, we're going to work on a series of exercises.
- page 112, numbers 11, 12, 13 - Jean-François DELCAMP (1956) GAMMES - SCALE - SCALES – ESCALAS
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 video corresponds to bars 5 to 9 of the scale of F major, number 11 on page 112. In this video example, I am playing slowly to make it easier for you to see my first finger sliding from position I to position V, then from position V to position X. In the descending scale, notice that I do the same thing in reverse. When I return from position X to position V, my first finger slides from one position to the other without ever leaving the string.

The following videos are for numbers 11, 12 ands 13 on page 112. Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.





- Page 120, numbers 31, 32 and 33. Jean-François DELCAMP (1956) LIAISONS - LEGATURE - SLURS – LIGADOS
We have already worked on the rest stroke (apoyando) with the fingers of the right hand. Now we are going to work on doing a rest stroke with the fingers of the left hand. That is the best way to learn how to execute descending slurs. In number 32, bar 2, the fingers of the left hand execute the slurs with the help of the rest stroke. The fingers 4, 3, 2 and then 1 pluck the second string then finish their move by coming up against the first string. Place the left hand fingers vertically in relation to the fingerboard, that's the right position to play slurs.





- page 128 - Improvisation
Improvisation work - D02
These exercises in improvisation are to be done several times a week, for several months.
Vary the volume (mf, pp, ff, p ...), timbres and rhythms. Never play the same thing twice, because it would cease to be improvisation, and would become composition.
8/ improvise a melody upon the bass-line of DANSE D'AVILA, using only these 7 notes (G# A B C# D E F#).
9/ improvise a melody upon the bass-line of OH! SUSANNA, using only these 7 notes (G# A B C# D E F#).





Finally we'll look at 4 pieces, pages 16, 49, 74, 75 and 103.

- pages 16, 17 Borrono da Milano, Pietro Paulo - Peschatore che va cantando
Here, as for "The sick tune" which we saw in the previous lesson, the even-numbered phrases are divisions (French: diminution; Italian: passaggio; Spanish: glosa) on the odd-numbered phrases. In this piece each bar (measure) contains a total of 3 half notes (minims). At the end of each of the phrases the rhythm changes to the length of a whole note (semibreve) and thus we have 3 whole notes in the space of 2 bars. This change of rhythm is known as a hemiola. In my PDFs I indicate the presence of hemiolas by dotted lines above the bars.
When you play the first beat in bar 3, make sure you simultaneously damp the open F# string which is still sounding from the previous bar, as I show you in the following short video.



- page 49 Carulli, Ferdinando - Prelude opus 114 n°7
The double oblique stroke indicates that you should repeat the preceding group of notes.
See the example here: http://fr.wikipedia.org/wiki/Abr%C3%A9v ... une_mesure [The French explanation reads "Repetition of fragments shorter than a whole bar. When a fragment, pattern or motif needs to be repeated, each repetition can be replaced by a double oblique stroke."]
From a technical point of view, to perfect your fretting technique, I recommend that you practise this arpeggio while keeping 3 fingers on the strings throughout. This way of practising will teach you to execute the necessary fretting movement without producing involuntary movement of the other fingers.
Here is a video extract showing this finger practice, where you can see the fingers playing the strings with the greatest possible economy of movement.
At the bottom of the page, Carulli provides you with another two patterns (B and C) to use in your practice of this prelude.



- pages 74, 75 Paganini, Niccolò - Ghiribizzo n°17 Le Streghe
Each section of 16 bars has a particular character. The first section is lively and rhythmical, and is best brought out by playing it with a certain crispness. To give the ends of the phrases more character, I speed up the tempo a little and avoid letting the arpeggios ring on in bars 7, 15, 23, 31 and 47. The second section, less tight than the first, begins with a harmonic progression (F# - B - E - A) in arpeggios for which a legato style of playing is suited. The third section contrasts strongly with the 2 previous sections; the key changes to minor, the rhythm to duple time, and finally the tessitura (general pitch) moves up from the mid-range to the treble.
The accomplished classicism of this brief composition is the hallmark of the great master that Paganini was.



- page 103 Morin, Ludovic-Alexandre - Petite étude
The phrases of this Petite étude (little study) in E minor are made up of 9 bars, which is rare. Ludovic-Alexandre Morin has posted his recording of his composition on the French forum. If you are registered on that forum, you can listen to his MP3 here: http://www.guitareclassiquedelcamp.com/ ... 65&t=10321
In bar 18 I advise you to play the harmonics by using a half barré with the little finger (finger 4), placed 2 millimetres in front of the fourth fret, as I show you in the following short video.



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 49 Carulli, Ferdinando - Prelude opus 114 n°7
- pages 74, 75 Paganini, Niccolò - Ghiribizzo n°17 Le Streghe
- page 103 Morin, Ludovic-Alexandre - Petite étude


Good luck!

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

Jean-François

---

Exam qualifying submissions:

Prelude opus 114 n°7
Le Streghe
Petite étude

David Florea
Prelude opus 114 n°7
Le Streghe
:( + ♫ = :)

Robert Goodwin
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Re: D04 Classical guitar lesson 03

Post by Robert Goodwin » Wed Nov 07, 2018 10:52 pm

Hi All,

I am having difficulty with the Carulli Prelude. The Professor marked bar 16 as difficult and requiring extra attention. I can certainly attest to that. Making the barr puts so much side pressure on my index finger that the middle joint of that finger became painful almost immediately. Perhaps I am doing it wrong or hopefully with use it will improve over time but it has curtailed practice for now until that joint stops hurting. As always, comments and suggestions are welcome.
Best regards,
Bob G.

EDIT: oops I originally said bar 9 but meant bar 16.

JohnEllis
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Location: Arizona

Re: D04 Classical guitar lesson 03

Post by JohnEllis » Sat Nov 10, 2018 12:07 am

Hi Bob,
I hope your joint recovers quickly. The important thing is to not give it more reason to be in pain.
By the way, measure 16 can be played without a full barre. It isn't necessarily easier, but it would relieve the pressure from your index finger.
You can play it: L.H. finger 1 on low F, finger 2 on high F, finger 3 on A, and finger 4 on D (basically a Dm chord with fingers 2, 3 and 4 instead of the normal 1, 2 and 3, and playing the 6th string with the index).
John
If music be the food of love, play on. --Shakespeare, Twelfth Night, 1.1

David Florea
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Re: D04 Classical guitar lesson 03

Post by David Florea » Sat Nov 17, 2018 5:47 pm

D04-L03 Paganini Ghiribizzo ale Streghe
Carulli , Prelude Opus 114 n7
Morin, Petite Etude

https://www.dropbox.com/s/jppft6gtnm2r7 ... 9.m4a?dl=0




David Florea
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Posts: 147
Joined: Sat Sep 12, 2015 12:04 am

Re: D04 Classical guitar lesson 03

Post by David Florea » Sat Nov 17, 2018 5:49 pm

PS, I’m doing the best I can do at this point. And promise not to make any excuses. It is what it is.

Robert Goodwin
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Posts: 63
Joined: Mon Dec 25, 2017 9:25 am

Re: D04 Classical guitar lesson 03

Post by Robert Goodwin » Sat Nov 17, 2018 10:11 pm

Hi David,
Again you are posting with very little preparation time. I know how hard that is to do. You clearly are getting skill at sight reading. About that, I've found that the student forum is quite lenient about posting times. If you need more time to prepare, I'm sure it won't be a problem.

One thing I noticed in the Ghiribizzo is that you were lifting some fret fingers a little early causing an unintended slur to the open string. I still do this myself unless I intentionally work at holding the note. It's worth the extra effort to pick up on where those slurs occur and try holding them a little longer. it greatly improves the overall quality of your playing.

Best regards,
Bob G.

David Florea
Student of the online lessons
Posts: 147
Joined: Sat Sep 12, 2015 12:04 am

Re: D04 Classical guitar lesson 03

Post by David Florea » Sun Nov 18, 2018 3:04 pm

Thankyou

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