D04 Classical guitar lesson 01

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Jean-François Delcamp
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D04 Classical guitar lesson 01

Post by Jean-François Delcamp » Tue Sep 18, 2012 6:00 am

Hello everyone,
Please start by downloading the latest version of volume D04.

We are going to talk about the minimum time you need to devote to the study of the guitar, about the position for holding the guitar, and finally about some techniques, exercises and pieces.



Timetable for the fourth year student:
In order to progress, you need a little time each day for 6 days of the week. Here is the minimum necessary for players of this level :
3 days when you can devote 20 minutes to repeating each difficult passage 9 to 16 times. I'll indicate these difficult passages to you by putting a box (a rectangular border) around them.
and
3 days when you can devote 50 minutes to studying the guitar, made up of
- 20 minutes practicing the difficult (boxed) passages,
- 15 minutes repeating the individual phrases several times in succession (3 to 6 times)
- and finally 15 minutes playing the piece or pieces in full.

Note that you must play for 6 days of the week. If you combine all this time into one day, that is to say, 3 hours 30 minutes in a single day, you will not make progress and furthermore you will risk injuring yourself by making demands on certain muscles for too long. Divide up your practice and play a little each day.

Spend most of your practice time on the parts you have trouble playing: difficult passages, difficult phrases. Only play pieces the whole way through once or twice a week.
So we understand one another properly, here is an example of a timetable where sessions alternate between 15 and 40 minutes:
Monday 50 minutes
Tuesday 20 minutes
Wednesday 50 minutes
Thursday 20 minutes
Friday 50 minutes
Saturday 20 minutes



The position for the classical guitar is the product of past experience. The classical position enables us to reduce effort to a minimum, and has arisen from a compromise between the needs for stability, comfort and the efficient use of both hands.

The principles of this position are:
sitting position, back straight, shoulders level,
the guitar rests on whichever thigh is on the neck side.
We raise the head of the guitar level with our head, with the aid of a footstool or of a support placed on the thigh.
The hand which plays the strings is placed over the sound hole, the elbow rests on the edge of the body of the guitar, level with the bridge.
The arm on the neck side is bent to bring the hand up to the height of the shoulder, the thumb is placed behind the neck, beneath the second fret and behind the third string, the fingers are over the strings.
Try to achieve relaxation, from the shoulders right down to the hands.
Finally, choose a chair of a height that allows your thigh to be horizontal, so that your guitar will be supported in a
stable manner. If your thigh is angled in one direction or the other, your guitar will slip and interfere with your playing.



Let us start with a little exercise to warm up the hands:
bend the fingers several times from the first (large) joint
bend them at the middle joint
bend at the middle joint until the fingertips touch the palm, then (maintaining contact with the palm) draw the fingertips as far up as possible before stretching the fingers out again.
Slide the thumb along the length of each of the four fingers in turn
Slide each of the four fingers in turn along the thumb.



Next we will look at, or revise, pages 26 and 58 of volume D01
- page 26 of volume D01 : Jean-François DELCAMP (1956) POLYPHONIE - Apoyando
- page 58 of volume D01 : Jean-François DELCAMP (1956) BUTÉ - APOYANDO - REST STROKE - APOYANDO
These exercises will work upon the technique of simultaneous rest strokes (apoyando) with the thumb and index finger, and also with the thumb and middle finger.
The rest stroke is a way to play the string with a finger movement which plucks the string and then continues to move until it comes to rest on the adjacent string. Working on this technique will allow you to discover the best position for your plucking hand (the right hand if you are right-handed).
If you are already used to plucking the strings with free strokes, the simultaneous rest strokes with the thumb and a finger will seem difficult to you, even impossible. But be assured, with patience and perseverence, this difficulty will be resolved in 30 minutes. I know from experience that the first tries are truly discouraging, particularly for adults. It is for this reason that I wish to reassure you in advance, take heart, you will be able to do it.







Let us now look at some exercises from volume D04.
- Page 126 Jean-François DELCAMP (1956) STRING DAMPING
These techniques are essential in polyphonic playing. Guitar playing is unique in that we must stop the resonances, in particular those of the open strings. Without these string damping techniques, polyphony is blurred by dissonance.





Finally, we'll look at 4 pieces, pages 65, 87, 91 and 102.

- page 65 Giuliani, Mauro Allegretto opus 50 n°13
In these arpeggios, be careful to maintain the stability of your right hand. The right-hand fingering is typical of arpeggios in that the "a" finger plays the first string, the "m" finger plays the second, the "i" finger plays the third, and the thumb plays the 3 bass strings. In this piece, the melody is in the bass.


- page 87 Tárrega, Francisco Preludio
Shape the rising and falling passages by using crescendo and decrescendo.


- page 91 Tárrega, Francisco Estudio ostinato, en la mayor
To bring out the two voices in this little piece, play legato for the melody in the bass, and staccato for the repeated phrase (ostinato) in semiquavers (16th notes).


- page 102 Foret, Stéphanie Bretonneuse
Bars 17, 18, 21 and 22: the small quavers (8th notes) with a line through them are acciaccaturas http://www.dolmetsch.com/musictheory23.htm#grace . Here the acciaccaturas are played by sliding rapidly with the finger indicated from the small note to the normal-sized note. The line linking the two notes represents this slide.
You will see that each phrase consists of a total of 8 measures. The bass line is made up of two notes: A (the dominant) and D (the tonic). Bretonneuse is in the Dorian mode. Vary the tone used so that you never play two phrases in succession with the same tone.




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 58 (D01) : Jean-François DELCAMP (1956) BUTÉ - APOYANDO - REST STROKE - APOYANDO
- page 126 (D04) Delcamp, Jean-François Terminer - Fermare - Damp – Apagar
- page 91 (D04) Tárrega, Francisco Estudio ostinato, en la mayor
- page 102 (D04) Foret, Stéphanie Bretonneuse



Good luck!


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


Jean-François

---

Exam qualifying submissions:
BUTÉ - APOYANDO - REST STROKE - APOYANDO
Terminer - Fermare - Damp – Apagar
Estudio ostinato, en la mayor
Bretonneuse

Marko Räsänen
BUTÉ - APOYANDO - REST STROKE - APOYANDO
Terminer - Fermare - Damp – Apagar
Estudio ostinato, en la mayor
Bretonneuse

Goran Penic
BUTÉ - APOYANDO - REST STROKE - APOYANDO
Terminer - Fermare - Damp – Apagar
Estudio ostinato, en la mayor
Bretonneuse

håvard.bergene
BUTÉ - APOYANDO - REST STROKE - APOYANDOr
Terminer - Fermare - Damp – Apagarr
Estudio ostinato, en la mayorr
Bretonneuser

Stewart Doyle
BUTÉ - APOYANDO - REST STROKE - APOYANDO
Terminer - Fermare - Damp – Apagarr
Estudio ostinato, en la mayor
Bretonneuser

Marco Helms
Terminer - Fermare - Damp – Apagarr
BUTÉ - APOYANDO - REST STROKE - APOYANDO
Estudio ostinato, en la mayor
Bretonneuser

Mark Bacon
Terminer - Fermare - Damp – Apagarr
Estudio ostinato, en la mayor
Bretonneuser

QadirASabur
BUTÉ - APOYANDO - REST STROKE - APOYANDO
Terminer - Fermare - Damp – Apagarr
Estudio ostinato, en la mayor]
Bretonneuser
:( + ♫ = :)

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 01

Post by Giuseppe Gasparini » Tue Sep 18, 2012 6:20 am

Hello to all partcipanti DO4, good job, very nice but difficult :guitare: :casque: :discussion: :bye:

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Goran Penic
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Re: D04 Classical guitar lesson 01

Post by Goran Penic » Tue Sep 18, 2012 7:50 am

:merci: Giuseppe :discussion:
:bye:
Guitar: Mirko Hotko 1989
Strings: D'Addario EJ46TT Pro Arte Dynacore Hard Tension
Recorder: Olympus LS-20M

Richard Lawrence

Re: D04 Classical guitar lesson 01

Post by Richard Lawrence » Tue Sep 18, 2012 12:13 pm

:bye: everyone! I am looking forward to these new lessons in D04! It is going to be a great 2012-2013 lesson year!

Richard Judge

Re: D04 Classical guitar lesson 01

Post by Richard Judge » Wed Sep 19, 2012 8:31 am

Hi All, I'm also looking forward to a good year in D04.
My first looks at this lesson has gone ok which is encouraging. Not sure about how I will get to play them as fast as M. Delcamp but the basics are there. :)
I have a suggested alternate fingering for "Les Papillons"
In the second half of bars 2 and 6 the A on the 3rd string swaps from finger 2 to finger 1. This means that finger 2 has to be squeezed up under finger 1 to reach the E on string 4. I'd much rather keep the 2 on the A to the end of the measure (playing the E with finger 1 and F with 3) but that means that 2 has to jump strings to get the E in the next bar. My solution to this is to swap the 2nd finger for 3 on the last A when playing the last open D of the bar. This frees up 1 and 2 for the next bar.
This seems to work well in practice particularily on bar 6 where the third finger is moved into position for bar 7. On the other hand I have replayed M.Delcamp's video and it goes a lot faster than I play it :shock:
I'll probably practice both for a bit before choosing one to stick with.
:bye:

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Marko Räsänen
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Re: D04 Classical guitar lesson 01

Post by Marko Räsänen » Wed Sep 19, 2012 9:43 am

Richard,

The only problem I see with your suggested alternate fingering is that the 3rd string A will not ring throughout the half measure. It is not necessarily a problem, but can actually be thought as means of articulation. Depends on whether you like the effect or not. The original fingering felt to me a bit strange in the beginning too, but I got used to it pretty quickly. Mind you, because currently it is hard for me to get regular practice time (and especially time to record), I started practicing these lessons already a few weeks ago based on last year's lessons to make sure I get enough play time before having to post.

By the look (and sound) of it, there will be some very good music to play in D04, so I'm expecting a great year!
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Marko Räsänen
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Re: D04 Classical guitar lesson 01

Post by Marko Räsänen » Wed Sep 19, 2012 7:29 pm

As I mentioned in my previous post, I started the course on my own ahead of schedule, so I thought I might as well record the pieces already and not wait for a week since the official start. These are the best takes of a 40min session. Because I went through the trouble of setting up the recording gear (had to move the computer to another room for better acoustics), I decided to record all the pieces, not just the required ones.

Rest stroke 15
[media]https://youtu.be/NDYYv6plbuc[/media]

Rest stroke 16
[media]https://youtu.be/jyouu_0CJYg[/media]

Damp
[media]https://youtu.be/J3Gec2jjfeM[/media]

Giuliani - Le Papillon
[media]https://youtu.be/hiwqM-qnQQQ[/media]

Tárrega - Preludio
[media]https://youtu.be/Bj92fSvWx7s[/media]

Tárrega - Estudio ostinato
[media]https://youtu.be/Zkl2ZR915d0[/media]

Foret - Bretonneuse
[media]https://youtu.be/ImoVDzsPrb4[/media]

As always, :merci: for :casque:
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Goran Penic
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Re: D04 Classical guitar lesson 01

Post by Goran Penic » Thu Sep 20, 2012 12:35 am

:bravo: :bravo: Marko, very good performance. I like it :casque:
:bye:
Guitar: Mirko Hotko 1989
Strings: D'Addario EJ46TT Pro Arte Dynacore Hard Tension
Recorder: Olympus LS-20M

Mark Bacon
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Re: D04 Classical guitar lesson 01

Post by Mark Bacon » Thu Sep 20, 2012 3:48 am

Well so far a lot of the same names from D03 last session, so this should be a fun 10 months. I'm looking forward to it.

Marko- like Goran said there's not too much to add to your performances. It's apparent that you've been working for a while given the fluidity in your playing. The Bretonneuse was the highlight for me, I really liked how much you brought out the melody. With the Tarrega pieces I certainly heard the rise and fall in dynamics that Mr DelCamp told us to strive for. I thought I detected a similar change in tempo. If that was intentional rubato then I think it's perfectly appropriate. If not then its just something I thought I'd point out. Then again, maybe it's just me. I'm quick to admit that my internal metronome stinks! :oops:

On a technical note your bass strings were causing a little clipping in the audio.

Glad to be back and can't wait to work with all of you!

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Goran Penic
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Re: D04 Classical guitar lesson 01

Post by Goran Penic » Thu Sep 20, 2012 6:51 am

Mark Bacon wrote: With the Tarrega pieces I certainly heard the rise and fall in dynamics that Mr DelCamp told us to strive for. I thought I detected a similar change in tempo. If that was intentional rubato then I think it's perfectly appropriate. If not then its just something I thought I'd point out.
I think it's both. Sometimes there is little hesitation. However it is the trifle that are easy to fix
:bye:
Guitar: Mirko Hotko 1989
Strings: D'Addario EJ46TT Pro Arte Dynacore Hard Tension
Recorder: Olympus LS-20M

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Giuseppe Gasparini
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Re: D04 Classical guitar lesson 01

Post by Giuseppe Gasparini » Thu Sep 20, 2012 6:54 am

Hi Marko, very good performance :casque: :bravo: :bravo: :bye:

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Marko Räsänen
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Re: D04 Classical guitar lesson 01

Post by Marko Räsänen » Thu Sep 20, 2012 6:59 am

Thank you for your kind words and observations Goran and Mark!

Bretonneuse was technically hardest for me with lots of string crossing with right hand fingers, while maintaining the vertical hand position fairly constant, similarly to Schiarazula from D03 lesson1, I think. This causes the nails to catch easily, since optimal finger angle/position for the stroke cannot be used all the time. Therefore some experimentation with nail shapes may be called for. Considering the difficulties, I'm quite pleased with the end result myself.

Your internal metronome seems to be working fine, Mark. Following M. Delcamp's example I took some liberties with elastic tempo especially with Tarrega pieces, although not all the rubato was carefully planned. I especially have some problems in preludio measure 3 towards the end, getting the descending passage sound good. Although I should have, I haven't stopped to analyze the exact cause for the difficulty, but have taken the easy way out by adding a "fermata" in places where my right hand (I think!) needs more time to get in shape. It's either that, or letting some sympathetic resonance die out for clearer harmony. I'm not completely aware of the reasons why yet, but will pay some more attention to it, to make sure I'm not running away from a technical issue instead of working on it. Thank you for not letting me get away with it :( :lol:

Are you sure you heard clipping? When setting up for the recording, the level meters were way below the red zone, although I think the video editor I use amplified the audio automatically for the maximum volume without clipping. At the end of Preludio when playing the low open E alone, my thumb nail makes contact with the string making a buzz like sound. Could that be what you heard as clipping? Also the bass set I have on at the moment (Aquila Alabastro) have a dullish sound with very little high partials, which is great for eliminating string noise, but also sound "compressed" as if the attack part of the note was clipped. Another possibility is my thumb producing a clicking sound on the strings because I was forced to file away a bit too much from the left side of the nail to be able to do the exercises with simultaneous rest strokes on 1st and 3rd string (or to put it more precisely, I was unable to find a thumbnail shape needed for such finger acrobatics that would sound good at the same time). There are also some fret buzzes especially in Estudio Ostinato, which sound a bit like clipped. Can you point a specific spot, so that I can get to the bottom of it?
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Marko Räsänen
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Re: D04 Classical guitar lesson 01

Post by Marko Räsänen » Thu Sep 20, 2012 7:01 am

:merci: very much for the appreciation Giuseppe!
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Richard Judge

Re: D04 Classical guitar lesson 01

Post by Richard Judge » Thu Sep 20, 2012 8:21 am

Hi Marko, I would be a lot more than "quite pleased" with those performances.
:bravo:

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Re: D04 Classical guitar lesson 01

Post by Marko Räsänen » Thu Sep 20, 2012 12:16 pm

Cheers Richard! :D
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