D05 Classical guitar lesson 09

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Jean-François Delcamp
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D05 Classical guitar lesson 09

Post by Jean-François Delcamp » Tue Apr 30, 2019 9:41 am

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 151 Francisco Tàrrega (1852-1909) Estudio en re mayor n°99, Estudio en la mayor n°100.
Here is a golden opportunity to practise position changes (moving the left hand up and down the fingerboard) and at the same time to acquire a new competency in playing the higher notes.




Today we'll look at 4 pieces.
- page 30 Robert Johnson (1542-1603) Alman VII
Two sections oppose and respond to one another. The first is an ascending section, from the beginning of the piece to the 3rd eighth note (quaver) of bar 4. It is an almost martial section, very dynamic, and requires a lot of energy.
The second section leads us back from the dominant (E) to the tonic (A). This is a much more flowing section, which is played legato without using much energy, letting oneself be carried along on the descent from the dynamic that was created earlier with the first section.
This succession of surges and falls continues in the same way right to the end.



- page 38 Gaspar Sanz (1640-1710) Canarios En Sol Majeur
Each 4-bar section is itself divided into 2 phrases of 2 bars each. These two 2-bar phrases form a dialogue with one another.
Begin your practice by seeking out all the sensations which will help you to recognize these two phrases as "responding to one another". Like question and answer, or like affirmation and challenge. The key to the canario is to be found in this relationship between two complementary phrases. The two phrases may sometimes be complementary in an obvious way, and sometimes in a more subtle way.



- page 98 Américo Jacomino (1889-1928) Arrependida
After a short introduction of 4 bars, each 8-bar section is itself divided into two phrases of 4 bars each. These two 4-bar phrases form a dialogue with one another.
Begin your practice by seeking out all the sensations which will help you to recognize these two phrases as "responding to one another". Like question and answer, or like affirmation and challenge. The key to the Arrependida is to be found in this relationship between two complementary phrases.



Julio Sagreras (1879-1942) Lecciones III n°23
Each 8-bar section is itself divided into two phrases of 4 bars each. These two 4-bar phrases form a dialogue with one another.
Begin your practice by seeking out all the sensations which will help you to recognize these two phrases as "responding to one another". The key to this Ranchera is to be found in this relationship between two complementary phrases.








I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 98 Américo Jacomino (1889-1928) Arrependida




Good luck!


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


Jean-François


Exam qualifying submissions: :
Américo Jacomino (1889-1928) Arrependida
:( + ♫ = :)

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