D04 Classical guitar lesson 08

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
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D04 Classical guitar lesson 08

Post by Jean-François Delcamp » Wed Apr 03, 2019 9:18 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.
- pages 118 Delcamp, Jean-François Scales n°27 and 28
For n° 28, try to find the best compromise between playing without any finger noise and playing legato. Bars 4, 5 and 6 don't present this type of difficulty, as the fingers can slide along the nylon strings without any noise.





Finally we'll look at 3 pieces.
- page 25 Anonyme, Oscar Chilesotti Se io m'accorgo ben
As in scale n°28, the main difficulty is to achieve legato playing. For the dynamics, start the first bar with a crescendo, then in the second bar play a decrescendo. Then continue using crescendo and decrescendo to match the melody. When the melody goes up, play a crescendo. When it goes down, play a decrescendo.



- page 82, 83 Strauss, Johann Lockvögel, valse opus 118
After the forte in the first two beats (which gets the attention of the listener), Johann Strauss uses the piano dynamic to maintain and sharpen the listener's attention. The valse (waltz) gets into its true rhythm from bar 4. From this bar onwards the rest of the piece has a 4-bar phrase structure.



- page 96, 97 Anonyme Mi Favorita
The first 3 bars are an introduction which serves to establish the rhythm and key of the piece. The (soft) accompaniment makes its entry in bar 4. The accompaniment is on its own from the first beat of bar 4 to the second beat of bar 5, in order to create a sense of expectation which will heighten the receptivity of the listener and prepare him for the imminent arrival of the melody. I advise you to play these two bars of accompaniment with a metronome. That will allow the melody (which starts with an upbeat at the end of bar 5) to display a free quality (a rubato) which will appear to have all the more character for having followed on from the strictness of bars 4 and 5. The contrast between strict rhythm and free rhythm will give savour and character to the beginning of this mazurka. Later there are many repetitions (bars 10-11, bars 14-15); vary the articulation (legato, staccato) and vary the tone colour (over the soundhole, towards the bridge, towards the neck).
After that, nothing else of significance happens, except for the modulation into G major.




I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 82, 83 Strauss, Johann Lockvögel, valse opus 118
- page 96, 97 Anonyme Mi Favorita


Good luck!

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

Jean-François

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Exam qualifying submissions:

valse opus 118
Mi Favorita
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