D05 Classical guitar lesson 04

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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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D05 Classical guitar lesson 04

Post by Jean-François Delcamp » Mon Dec 03, 2018 4:36 pm

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 8 Luys de Narvàez (ca. 1500-1555) Tres Diferencias por otra parte
These diferencias, or variations, follow on from the "Diferencias sobre guardame las vacas" which we studied in lesson number two. Here the key is D minor and each of the 3 variations consists of a total of 10 bars broken up into (4)+(4+2) bars. An increasing number of hemiolas appear at the end of each variation. The shorter note values occur in the middle voice in the first variation, the upper voice in the second, and the lower and then all three voices to finish.




- page 29 Jean-Baptiste Besard (1567-1625) Ballet
Each phrase begins with an upbeat in the fourth beat. Bars 9 to 13 are repeated as a division in bars 14 to 18. A division is a variation where the same theme is repeated in shorter note values, owing to the addition of notes of ornamentation between the original notes. In the following illustration, the added notes are circled.
Image



- page 50 Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
Here the range of pitch (from the lowest to the highest note, sometimes also called the ambitus or compass) is one of the two key elements. The other key element of this allegro is the expression of duality on several levels: two sections (AABB), two tempi, two voices, etc. Each phrase is repeated a second time, either exactly or with a small variation. In the first two phrases the range of pitch decreases gradually: the treble notes descend while the basses rise. In bar 1 the range is 2 octaves, and it decreases eventually to 1 octave by bar 4. Likewise from bar 5 to bar 8. Then Brescianello reverses the process: he starts bar 9 with a unison, then the bass descends while the treble goes up to finish with a wider range. Bars 9 to 16 give the feeling of two successive waves and then, in his search for duality, Brescianello introduces a brief lull in bars 17 and 18. He concludes in bars 19 to 23 by returning to the energy and the jubilation of the allegro. Still seeking duality, Brescianello introduces the second key of D major for his second section, which repeats the phrases of the first while enriching them with the new phrase of bars 32 to 35.



- page 67 Matteo Carcassi (1792-1853) Etude XVI opus 60
Here the melody evolves within a small range of pitch. The melody is played almost exclusively on the first string using rest stroke. The accompaniment occupies the free spaces between the melody notes. Accompaniment and melody are always distinct, and their meeting, on the third beat of the last bar, brings the étude to a close.




- page 114 João Guimarães (Pernambuco) (1883-1947) Sons de carillhões
The maxixe is sometimes called the Brazilian tango.
The first section in D major is based mostly on the use of 3 chords: D major, E minor and A seventh. In bars 13 and 14 we find a diminished chord arpeggio, like those we've come across in lesson number 3, in the Preludio en ré mayor by Juliàn Arcas (1832-1882). The second section modulates into the key of G major, that is to say the subdominant of D major, the main key of this chôro. At the beginning of this second section the rhythm which was that of the accompaniment (one eighth note [quaver] - 2 sixteenth notes [semiquavers]) becomes, in bars 18 and then 26, the rhythm of the main part.





I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 50 Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
- page 114 João Guimarães (pernambuco) (1883-1947) Sons de carillhões




Good luck!


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


Jean-François


Exam qualifying submissions: :
Guiseppe Antonio Brescianello (1690-1757) Allegro de la Partita VII
João Guimarães (pernambuco) (1883-1947) Sons de carillhões
:( + ♫ = :)

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Chu Bun
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Re: D05 Classical guitar lesson 04

Post by Chu Bun » Fri Dec 07, 2018 4:53 am

I saw "mesure 33" in the title of one of the videos for P114 and thought "long piece eh?". Then when I looked the score, it is not only 2 page long, but also repeated 2.5 times. I'm thinking about avoiding repeating the sections, but not sure how to do that, because the way the last measure in each section is skipped on the 2nd round. This will be a long month!

Colin Bullock
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Re: D05 Classical guitar lesson 04

Post by Colin Bullock » Fri Dec 07, 2018 8:28 am

Chu Bun wrote:
Fri Dec 07, 2018 4:53 am
I'm thinking about avoiding repeating the sections, but not sure how to do that, because the way the last measure in each section is skipped on the 2nd round. This will be a long month!
I would be tempted to just do the 2nd ending each time

DaveMoutrie
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Re: D05 Classical guitar lesson 04

Post by DaveMoutrie » Sat Dec 08, 2018 8:31 am

Some interesting and quite beautiful pieces for us to learn this month - thank you Maestro.

There are a lot of notes in alternative positions, so for me the hard bit (at the moment) is working out where all the notes are on the fret board. The sons to Carhilloes is a basic AA BB format with alternative endings each time - I find repeats interesting as it gives an opportunity to do something different with the dynamics each time. Not sure why you would want to miss out the repeats, unless your hands were getting tired after playing it once.
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DaveMoutrie
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Re: D05 Classical guitar lesson 04

Post by DaveMoutrie » Tue Dec 11, 2018 6:25 am

Just been going through the fingering for the Partitia.

Does anyone else think the LH fingering for bar 36 is a little awkward and is there a better alternative?

Also, any particular reason for index finger being used in the base in bar 28?

Thanking you for your help.
Alhambra 4p Cedar
Barnes and Mullins classical
Yamaha silent guitar

Colin Bullock
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Re: D05 Classical guitar lesson 04

Post by Colin Bullock » Tue Dec 11, 2018 7:52 am

DaveMoutrie wrote:
Tue Dec 11, 2018 6:25 am
Just been going through the fingering for the Partitia.

Does anyone else think the LH fingering for bar 36 is a little awkward and is there a better alternative?

Also, any particular reason for index finger being used in the base in bar 28?

Thanking you for your help.
Yes, I’ve been sight reading through and these two bars stood out. I naturally use p not i for bar 28 and in (37?) I use 2 for the F# - the crossover of 2 & 4 seems a quite natural chord change.

DaveMoutrie
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Re: D05 Classical guitar lesson 04

Post by DaveMoutrie » Wed Dec 12, 2018 11:15 am

Colin Bullock wrote:
Tue Dec 11, 2018 7:52 am
DaveMoutrie wrote:
Tue Dec 11, 2018 6:25 am
Just been going through the fingering for the Partitia.

Does anyone else think the LH fingering for bar 36 is a little awkward and is there a better alternative?

Also, any particular reason for index finger being used in the base in bar 28?

Thanking you for your help.
Yes, I’ve been sight reading through and these two bars stood out. I naturally use p not i for bar 28 and in (37?) I use 2 for the F# - the crossover of 2 & 4 seems a quite natural chord change.
Thank you for your help Colin - I think I've found an alternative fingering for this now. Currently I'm working mainly on the first few bars, mainly trying to get the right hand fingering correct (yes its my old problem of double fingering a string) and getting it to sound legato at the same time. Not easy for me.
Alhambra 4p Cedar
Barnes and Mullins classical
Yamaha silent guitar

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