D03 Classical guitar lesson 04

[Jean-François Delcamp]

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 89, numbers 13, 14, 15 - 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 videos are for numbers 13, 14, 15 on page 89. Concentrate your practice on the passages highlighted in yellow, and do your best to perfect the position shift technique.






- Page 94, numbers 29, 30, 31. 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 30, 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.









Finally, we'll look at 3 pieces, pages 14, 30, 46 et 47.
- page 14 Francis CUTTING (ca. 1600) PACKINGTON'S POUND
There are numerous repetitions, so vary the tone colour to avoid monotony. To obtain different tone colours, play:
- over the soundhole (the sound volume is at its best here and you get a good balance between the bass and treble notes);
- over the fingerboard (the sound here is softer, closer to the that of a clarinet, and the basses are softened);
- near the bridge (the sound here is more metallic, and becomes close to that of the harpsichord, the basses are strengthened and the trebles weakened).




- page 30 Gaspar SANZ (1640-1710) SALTAREN
This dance will serve as a basis for improvisation work proposed in lesson N. 7. The sequence of the three following chords: D Major, G Major, A Major requires imagination to avoid monotony. In order to avoid monotony use dynamic changes (fortissimo, forte, piano, pianissimo), different sound colors (sound hole, fingerboard, bridge, with nail, no nail) and different strumming styles: rasgueados, plucked chords, arpegiated to the bass or treble, etc … .




- page 46-47 Ferdinand CARULLI (1770-1841) ANDANTE
This piece consists of three sections, the third section being identical to the first, so it has an A-B-B-A structure, also called ternary form.
Vary the tone colour to avoid monotony.





I advise you to work on all the exercises and the four pieces for a week. Then please record and upload your recordings of the following:
- page 14 Francis CUTTING (ca. 1600) PACKINGTON'S POUND
- page 30 Gaspar SANZ (1640-1710) SALTAREN




Good luck!


I thank Eric (wchymeUS) and Geoff (GeoffB) who have helped in the translation of my lessons into English.


Jean-François

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Exam qualifying submissions:

PACKINGTON'S POUND
SALTAREN

[Ed Butler]

First attempt at SALTAREN - now I have to speed up the chord changes

[Tom Wimsatt]

Well, like Ed said of his upload, this upload also needs work. I've also attached the fingering I tried.

2018-12-07 13.42.07.jpg

[Ed Butler]

Tom - well done. I really enjoyed just listening to the piece. The tempo and tone were great.

Ed

[Tom Wimsatt]

Tom - well done. I really enjoyed just listening to the piece. The tempo and tone were great.

Ed

Thanks Ed. The boxed in area was tricky and pretty much drove overall playing speed. I tried to move down and up a bit in this piece, something I usually shy away from.

Nice job with the chord exercise, by the way. I've got to work on that now. A flamenco player I am not.

Tom

[Ed Butler]

Tom - thanks. I agree about the box area. Right now, I really have to slow down to make sure I don't miss a note.

Ed

[OlgaVovk]

Dear all,
Below are my first attempts

Saltaren
https://studio.youtube.com/video/80GOPtrX3_Y/edit

Carulli Andante in la minor , the first few bars (I love it, but not playing well, not yet)
https://www.youtube.com/watch?v=Je-aa6a_w48

Slurs
https://www.youtube.com/watch?v=A-3jNpS8v6Q

Gammas
Sol major
https://www.youtube.com/watch?v=-RLA2i0sqig

La minor
https://www.youtube.com/watch?v=iSFbHUbayhY

Thank you!
Olga

[Tom Wimsatt]

Progress on scales.

[OlgaVovk]

Well, like Ed said of his upload, this upload also needs work. I've also attached the fingering I tried.

Hi Tom,
Very well done, and I love your fingering.
I tried it and asking your permission to adopt it for myself.
Thank you!
Olga

[OlgaVovk]

Only I am can head the resemblance between Pacintong Pound and Greensleeves?
It strikes me in Tom's playing.
Best,
Olga

[OlgaVovk]

Progress on scales.

Hi Tom!
I laught as a chilld listening to your scales.
Not because they are bad - no, they are perfect,
But because you managed to put such a vigor and enjoiment in playijg scales so they make me smile and first time in my life I feel like I want to put more in practicing scales
Thank you!
Olga

[Tom Wimsatt]

Well, like Ed said of his upload, this upload also needs work. I've also attached the fingering I tried.

Hi Tom,
Very well done, and I love your fingering.
I tried it and asking your permission to adopt it for myself.
Thank you!
Olga

Hi Olga. Of course you can adopt it. I hope it helps. Be sure to post edits if you see something that could be improved, or doesn't work.

[Tom Wimsatt]

Progress on scales.

Hi Tom!
I laught as a chilld listening to your scales.
Not because they are bad - no, they are perfect,
But because you managed to put such a vigor and enjoiment in playijg scales so they make me smile and first time in my life I feel like I want to put more in practicing scales
Thank you!
Olga

I use scales practice as part of my warmup routine. I don't find them all that exciting either, I initially didn't see the point of this. Nowadays I use them as warmup exercises, for working on technique, and developing fretboard knowledge/feel.

I have also noticed that occasionally the scales exercises (as more so, the RH fingering exercises, slurs, etc ) help with learning certain pieces.

[Ed Butler]

Tom, Olga

well done with the scales.

Wanted to take a shot at Packington's before the holidays get crazy. It is still rough.



Ed

[OlgaVovk]

Tom, Olga

well done with the scales.

Wanted to take a shot at Packington's before the holidays get crazy. It is still rough.

Ed

Hi Ed,
A very good first attempt.
I like how you singing while playing.
I do it myself,
I learned ealier that singing is very recommended while learning the piece.
Thank you!
Olga