D05 Classical guitar lesson 08

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Jean-François Delcamp
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D05 Classical guitar lesson 08

Post by Jean-François Delcamp » Tue Mar 31, 2015 4:26 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're going to work on a study:
- pages 154, 155 Francisco Tàrrega (1852-1909) Estudio en mi mayor
In the company of Tàrrega, we're going to pay a visit to fret XIX and play a top B, in bar 29. To reach this part of the fingerboard more easily you can raise your guitar up by adjusting your guitar support or your footstool to its maximum height. The path of the thumb under the neck is as follows:
1) The thumb starts off beneath the third string, opposite the middle or ring finger.
2) Then, the more the hand is moved towards the soundhole, the closer the thumb gets to the first string.
3) Finally, as you move towards the highest notes, the thumb is placed on the edge of the fingerboard, as I show you in the following short videos.






Today we'll look at 4 pieces.

- page 47 Johann Sebastian Bach (1685-1750) Prelude BWV 1007
The first 4 bars establish the key. They present in succession D major, G major (with a D bass), A major 7th (with a D bass), and D major. That is to say, a succession of the tonic, subdominant, dominant and tonic. The tension increases from bar 1 to bar 3, reaching its maximum in bar 3, because of the presence of the dissonant interval D-C#. This increasing tension may be expressed with a crescendo. The tension disappears in bar 4, with the resolution of the dissonant interval by means of a fully consonant octave interval, D-D. We then have various modulations, into A major from bar 5 (G#), E minor in bar 11, B minor in bar 13, and G major in bar 16. From bar 23 there are many scale passages and we notice the presence, in the bass notes, of a pedal note on the A (the dominant), which eventually resolves into a perfect cadence in the very last bar of the prelude. This adaptation for guitar, like many others of this suite, is in D major, a key which offers the advantage that the tonic (D) and dominant (A) correspond to two of the bass strings of the guitar. The few bass notes that I have added are in brackets.




- page 54 Niccolò Paganini (1782-1840) Sonata n°4
This short sonata, written with admirable effectiveness, includes a rondo which is light and full of zest. Note the presence of the Alberti bass (bars 5, 6, 7, 10, 11, 20, 21, 22, 23, 48 and 50) which consists in arpeggiating the chords of the accompaniment starting with the root note, followed by the fifth, the third and then the fifth again. This Alberti bass was used particularly during the classical period (Fernando Sor, Mauro Giuliani). The rhythm of the melody is written without specifying the exact lengths of the notes. For instance, in bar 5 the melody consists of the notes played on strings 1 and 2, which, in my opinion, should sound like this: D dotted quarter note (dotted crotchet), F, E, D quarter notes (crotchets). Similarly in bars 6, 7, 10, 11, 20, 21, 22 and 23. Many composers of the classical period, for example Carulli, frequently notate music in this way, without giving the exact length of the notes of each of the voices making up the polyphony. This simplification of the writing saved space on the paper and made the engraver's work easier.
http://en.wikipedia.org/wiki/Alberti_bass




- page 112 Zequinha de Abreu (1880-1935) Amando sobre o mar
This slow waltz from the Brazilian composer Zequinha de Abreu is made up of a melody with an extended range of pitch: from the middle D# (bar 57) to the top A (bar 11). The accompaniment should be played subtly and softly, so as to support the melody without ever drowning it out.




Julio Sagreras (1879-1942) Leccione III n°4
Here is an excellent and beautiful tremolo study. Sagreras invites us to begin by using the simplest fingering: pimi, then a more complex one: piai. Once we've mastered these fingerings, we'll go on to use the king of fingerings for tremolo: pami. Evenness of the sound and regularity of the repeated notes are essential in order to give the melody its continuity. Slow practice, together with a search for perfection in the detail, is necessary to obtain this regularity. Every note is important.




I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
- page 47 Johann Sebastian Bach (1685-1750) Prelude BWV 1007
- pages 154, 155 Francisco Tàrrega (1852-1909) Estudio en mi mayor




Good luck!


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


Jean-François


Exam qualifying submissions: :
Johann Sebastian Bach (1685-1750) Prelude BWV 1007
Francisco Tàrrega (1852-1909) Estudio en mi mayor


Gabriel Guégan
Johann Sebastian Bach (1685-1750) Prelude BWV 1007

David Smyth
Johann Sebastian Bach (1685-1750) Prelude BWV 1007
Francisco Tàrrega (1852-1909) Estudio en mi mayor
:( + ♫ = :)

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Marko Räsänen
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Re: D05 Classical guitar lesson 08

Post by Marko Räsänen » Fri Apr 03, 2015 8:05 am

Students of D05, I have started a thread for the information and discussion regarding the end of year exam. If you're planning to participate, please see here.
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Gabriel-guégan
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Re: D05 Classical guitar lesson 08

Post by Gabriel-guégan » Mon May 11, 2015 8:50 pm

Hello
Here my Prelude of bach :chaud:
[media]https://youtu.be/F_ma6Y-CCmk[/media]

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John Montes
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Re: D05 Classical guitar lesson 08

Post by John Montes » Mon May 11, 2015 9:07 pm

Hi Gabriel, the Bach prelude is coming along well.

Noticed a couple of minor hesitations here and there that is just related to working on a new piece.
On the near-end pedal-tone crescendo, if that could be accompanied with a gradual surge in power/volume until the climax that would be a great icing on the cake
-Other than that, great job :bravo:

I've been tied-up quite a bit the past few months with a handful of un-expected challenges/issues and recently started back in the lessons.
-Unfortunately, I will not be able to maintain the pace of two Delcamp classes (D04 & D05) and meet the 7 lesson deadline for the May exams.
-I'll work on finishing up D04, take the exam and then start D05 again in September.
-Perhaps I could record some of the D05 & D06 material over the summer so that its ready to upload when the next session starts in late 2015?

See you all later...
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Goran Penic
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Re: D05 Classical guitar lesson 08

Post by Goran Penic » Tue May 12, 2015 5:55 am

Bravo Gabriel. Very good performance.
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Re: D05 Classical guitar lesson 08

Post by Gabriel-guégan » Tue May 12, 2015 7:20 am

:merci: John & Goran

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David.Smyth
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Re: D05 Classical guitar lesson 08

Post by David.Smyth » Wed May 13, 2015 11:19 am

Gabriel-guégan wrote:Hello
Here my Prelude of bach......
Hi Gabriel,

Nicely done with the Bach Prelude :bravo:.

While this piece is not the most technically difficult for the left hand that we have encountered during the D05 lessons so far this year, I think it is quite demanding for the right hand in terms of phrasing and musical expression. I think you have done a fine job on both fronts. I would agree with John's comments earlier about the build up to the "high point" towards the end but no doubt this will come with the benefit of some further practice.

Well done again!

David
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Gabriel-guégan
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Re: D05 Classical guitar lesson 08

Post by Gabriel-guégan » Wed May 13, 2015 12:50 pm

Thank you David
Yes i agree too, my end is tensed, perhaps in one or two week it will be better, but actually it's time for examen practice ;)
:bye:

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Re: D05 Classical guitar lesson 08

Post by Pentti Kotilainen » Fri May 15, 2015 9:21 am

:bravo: Gabriel!
Brilliant job.

Regards,
Pentti

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Re: D05 Classical guitar lesson 08

Post by David.Smyth » Fri May 22, 2015 11:44 pm

Hi Guys,

I put in a bit of a marathon session tonight, recording the year end exam and lesson 08 pieces. Here are my recordings of the lesson 08 pieces. Not perfected yet - there are a few slips in both - but its time to move on to lesson 09.

[media]https://youtu.be/abZJG4UENHM?rel=0[/media]
[media]https://youtu.be/HOozr0BZmpA?rel=0[/media]
Thanks for watching.

Dave
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Strings: D'Addario Pro-Arté EJ45 Normal Tension
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Gabriel-guégan
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Re: D05 Classical guitar lesson 08

Post by Gabriel-guégan » Tue May 26, 2015 3:36 pm

Hi David
Yes both would need more practice but you right, time is time :lol:

Same for me, lesson 09 is waiting for me too
So here my Tárrega study
[media]https://youtu.be/-qg_uFKBjcE[/media]
Thanks for watching
:bye:

Stewart Doyle
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Re: D05 Classical guitar lesson 08

Post by Stewart Doyle » Sun May 31, 2015 5:24 pm

Hi everyone,

:bravo: Gabriel and David; very assured playing...
I'm playing catch up, so here is my recording of the Bach prelude. It lacks the pace and precision of David and Gabriel's version and needs a lot more work. Although I've used a barre at bar 8 in the recording I have been playing it without the bar as it seems a great way to test/develop the independence of the LH fingers. It was completely impossible at first, but I can manage it OK now - particularly if I'm not recording!
I do think I need to work much more on my general technique to improve the security (precision?) of the fingering. This is why I think it would make sense to repeat D05 regardless of the exam result. At least I'll be ahead in terms of sight reading the pieces - assuming they stay the same!

[media]https://youtu.be/AbIJGOTkXOo[/media]

Thanks,

Stewart
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Gabriel-guégan
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Re: D05 Classical guitar lesson 08

Post by Gabriel-guégan » Mon Jun 01, 2015 8:08 am

:bravo: Stewart
Sure it is need more practice but it's a good begining Many hesitations but few faults (measure 12 G are natural not # and m. 33 a forgotten bass (A)) :okok:
:bye:

Stewart Doyle
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Re: D05 Classical guitar lesson 08

Post by Stewart Doyle » Sat Jun 06, 2015 1:50 pm

Thanks for listening Gabriel and well spotted on measure 12 - I've been playing it wrong from the start! I've just listened to a podcast that said that Bach guitar music is notoriously difficult to memorise. I'm not sure how true that is, but I do find it difficult to sightread at times, and wrong notes don't stand out in quite the same way. For me at least....
Thanks
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