D03 Classical guitar lesson 01

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Jean-François Delcamp
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D03 Classical guitar lesson 01

Post by Jean-François Delcamp » Wed Sep 17, 2014 7:25 am

Hello everyone,
Please start by downloading the latest version of volume D03.

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.



The schedule of a student in the third year:
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 15 minutes to repeating each difficult passage 6 to 12 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 40 minutes to studying the guitar, made up of
- 15 minutes practicing the difficult (boxed) passages,
- 15 minutes repeating the individual phrases several times in succession (3 to 6 times)
- and finally 10 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, 2 hours 45 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 40 minutes
Tuesday 15 minutes
Wednesday 40 minutes
Thursday 15 minutes
Friday 40 minutes
Saturday 15 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.



To begin the course we will firstly look at, or relook at, 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) 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.

D01 p26 n1 - Delcamp Polyphonie - Apoyando


D01 p26 n2 - Delcamp Polyphonie - Apoyando


D01 p58 n15 Buté - Apoyando - Rest stroke


D01 p58 n16 Buté - Apoyando - Rest stroke




Once done, we will continue studying an exercise and 4 pieces, among the simplest in the volume D03.

- Page 86 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.

D03 p86 n1 - STRING DAMPING


D03 p86 n2 - STRING DAMPING


D03 p86 n3 - STRING DAMPING


D03 p86 n4 - STRING DAMPING


D03 p86 n5 - STRING DAMPING




- Page 8 Giorgio MAINERIO (1535-1582) SCHIARAZULA MARAZULA
This piece is a passemeze that uses two chords, those of A minor and G major. GWIN AR C'HALLAOUED in volume D03 is based on the same chords. Also in volume D03, BRIAN BORU'S MARCH is similarly based on these two chords.
The bass accompaniment is so simple and functional that I recommend it as a model for anyone who wants to begin working on improvisation.
To start work on improvisation, play the following bass part :
| A E | A E | A E | A E | G D | A E | G D | A E |
and use your free fingers to improvise over a melody over it.
First improvise a melody over the bass made up of whole notes (semibreves). When you've mastered the improvisation of a melody composed of whole notes, start using quarter notes (crotchets), which is more difficult. Finally improvise over the bass a melody made up of whole notes, quarter notes and eighth notes (quavers). We will not go any further in this third year course.

D03 p8 Giorgio MAINERIO - Schiarazula marazula


D03 p8 Improvisation 1 - Passemeze


D03 p8 Improvisation 2 - Passemeze


D03 p8 Improvisation 3 - Passemeze




- Page 9 Guillaume MORLAYE (1510?-1558?) GAILLARDE
Here William Morlaye constantly plays on the ambivalence in the pattern of accented beats. The rhythm is based at the same time on two measures in 3/8 time (ie 2 strong beats for a total of 6 eighth notes) and also on one long measure in 3/4 time (ie 3 strong beats for a total of 6 eighth notes). This practice, already common in the Renaissance, has been in constant use by composers right up to our own time. These changes in the rhythm are called hemiola. A hemiola refers to the insertion of a triple rhythm into a duple rhythm, or vice versa.

D03 p9 Guillaume MORLAYE - Gaillarde




- Page 45 Ferdinand CARULLI (1770-1841) ARPEGGI
Two simple pieces, perfect for an introduction to arpeggios. In these arpeggios, only your fingers move, be sure to keep your right hand in the same position.

D03 p45 Ferdinand CARULLI - Arpeggi di 3 note


D03 p45 Ferdinand CARULLI - Arpeggi di 4 note




- page 63 Mattéo CARCASSI (1792-1853) ANDANTINO opus 59
This andantino is a small masterpiece of brevity. For my part, I damp the resonance of the bass strings and I suggest you do the same. To damp the resonances, I rest my thumb on the string when I play with the index finger and I rest my index finger on the string when I play with the thumb, as in this video example.

D03 p63 exercice andantino


D03 p63 Mattéo CARCASSI -andantino opus 59




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 26 du volume D01 : Jean-François DELCAMP (1956) POLYPHONIE - Apoyando
- page 45 Ferdinand CARULLI (1770-1841) ARPEGGI
- page 8 Giorgio MAINERIO (1535-1582) SCHIARAZULA MARAZULA



Good luck!


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


Jean-François

---

Exam qualifying submissions:

POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Paul Janssen
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Beatriz Martin
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Haris Karachristianidis
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Halil Akaydin
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Carl Westman
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Duang Turongratanachai
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA

Rick Beauregard
POLYPHONIE - Apoyando
ARPEGGI
SCHIARAZULA MARAZULA
:( + ♫ = :)

abel

Re: D03 Classical guitar lesson 01

Post by abel » Thu Sep 18, 2014 11:06 am

Hello people,
How were the summer hollidays?
Here again.

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Haris Karachristianidis
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Re: D03 Classical guitar lesson 01

Post by Haris Karachristianidis » Thu Sep 18, 2014 1:47 pm

Hello and I wish a good (guitar) school year!
Summer hollidays were fine. It is nice to be back here again!

And the 1st question: Do we have to follow the right hand fingerings in eg D03 p8 Giorgio MAINERIO - Schiarazula marazula, or are they there just to help us if we want?
Thank you!
Haris

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Marko Räsänen
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Re: D03 Classical guitar lesson 01

Post by Marko Räsänen » Thu Sep 18, 2014 5:05 pm

Haris, following professor Delcamp's fingerings (right or left hand) is completely voluntary, but I strongly suggest that you give them a chance, especially when they feel difficult :D In the specific case of 'Schiarazula Marazula' the use of 'a' finger in scalar passages to take some workload off 'i' and 'm' is a skill that will benefit you much at later stage. I personally found this piece to be one of the hardest in D03.
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Re: D03 Classical guitar lesson 01

Post by Haris Karachristianidis » Thu Sep 18, 2014 7:53 pm

Thanks a lot Marko!

Beatriz Martin

Re: D03 Classical guitar lesson 01

Post by Beatriz Martin » Fri Sep 19, 2014 11:44 pm

On Schiarazula Marazula I don't have problems following the fingering for the left hand because it seems naturals to use the left fingers that way. I do find difficult to follow the fingering on the right hand because my fingers look for a pattern and cant find it, so i am letting my fingers find their easier way.
I find the Morlaye's piece the hardest by far although delcamp didn't ask us to record it. He plays it fast for me to follow the score. But I found a youtube video of a delcamp student who plays it nice and slow that i could follow the score while listening to the music.

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Paul Janssen
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Re: D03 Classical guitar lesson 01

Post by Paul Janssen » Sat Sep 20, 2014 4:32 am

HI All,

I thought I would offer a quick introduction. My name is Paul and I live in the Yarra Valley in Victoria Australia. This is the first time I have attempted the online classes so I guess I will be feeling my way around for a little while. Please forgive me if I sit back a bit and observe first before I become active in the discussions.

I look forward to learning with you all and hopefully getting to know you a bit throughout the journey.

Regards,
Paul

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Haris Karachristianidis
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Re: D03 Classical guitar lesson 01

Post by Haris Karachristianidis » Sat Sep 20, 2014 12:18 pm

Paul, welcome!
I am sure you will find these online lessons great. Also, you could become active from the beginning and ask what you want, but of course it is OK if you need your time. All classmates and moderators are very helpful. For me it is the 1st class I start from the beginning of the year, in D02 I started in January.

Bea, I agree with you about the difficulty of Morlaye's piece. The youtube video you say is a very good idea to understand the piece. I also did not find any pattern in Schiarazula Marazula right hand fingering. Even if we learn the fingering of the 1st line like it is in the book, how would we continue?

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Marko Räsänen
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Re: D03 Classical guitar lesson 01

Post by Marko Räsänen » Sat Sep 20, 2014 12:47 pm

Hi Haris,

For some discussion of the right hand fingering for Schiarazula Marazula, see the archives. Hopefully it helps!
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Re: D03 Classical guitar lesson 01

Post by Haris Karachristianidis » Sat Sep 20, 2014 1:31 pm

Thank you Marko, it helps a lot.

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Re: D03 Classical guitar lesson 01

Post by Paul Janssen » Sun Sep 21, 2014 1:07 am

Hi Haris,
Thanks for your kind welcome. Much appreciated. I am going to accept your advice and post a question for anyone to answer (my first of many I expect).

I have been practicing the simultaneous rest stroke exercises for the last 4 days as I have never done before and have found it quite challenging. So last night I decided to start working on the pieces and in particular Schiarazula Marazula. As a result I have couple of questions:

1. I'm confused whether we are supposed to be using the simultaneous rest stroke technique for this piece or is it ok to use free stroke for both thumb and fingers?
2. We have been asked to try and mute the open A string when playing E on the 4th (D) string. I'm ok with this but are we supposed to also try and mute the open D string (for example in bars 10,11,14,15 etc )? If so, how do we do this as are thumb needs to play the G note on the 6th (bottom E) string and is therefore nowhere near the 4th string? Or at this level is it ok to let the open D note ring?

Thanks,
Paul

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Haris Karachristianidis
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Re: D03 Classical guitar lesson 01

Post by Haris Karachristianidis » Sun Sep 21, 2014 4:45 am

Simultaneous rest strokes are quite challenging at the beginning. Adjustment of nails shape and length helped me a lot on that.
1. No, there is no indication that we should play it with rest strokes.
2. I mute it with my i finger and play with m.

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Re: D03 Classical guitar lesson 01

Post by Marko Räsänen » Sun Sep 21, 2014 6:32 am

Regarding damping the open 4th string when the G is played on the 6th string (bars 11, 27), I don't think damping it is that critical, but in his video professor Delcamp does it by placing his thumb on the 4th string in preparation for the next bass note as soon as he's finished plucking the 6th string. That's where the thumb is going to go eventually, so it's just a question of sooner vs. later.
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Re: D03 Classical guitar lesson 01

Post by Paul Janssen » Sun Sep 21, 2014 9:51 am

Thanks Haris & Marko.

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Re: D03 Classical guitar lesson 01

Post by Paul Janssen » Mon Sep 22, 2014 1:20 pm

Here is my submission for lesson 01.

I apologise for posting this a little early however I am in my final year at university (I went back as a mature aged student) so I am about to head into my final weeks including exams. This means my capacity to practice over the next month will be somewhat limited. Also, I don't have a video camera (at least not yet) so at this stage I can only post audio clips. I hope that's ok?

So with that said, here we go:
Polyphony No 1.mp3
Polyphony No 2.mp3
Schiarazula Marazula 2.mp3
Arpgeggi.mp3
Also, because I really liked it (and I had the microphones already setup) I decided to have a go at recording Carcassi's Andantino as well. Given that this wasn't a set piece, I decided to experiment with Microphone placement and reverb. Feel free to comment if you feel I went a bid heavy handed on the production side of things (I only just recently bought the mics and sound interface so it's all new to me).
Andantino.mp3
Thanks and I look forward to seeing/hearing everyone else's contributions.

-Paul
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