D01 Classical guitar lesson 10

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Jean-François Delcamp
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D01 Classical guitar lesson 10

Post by Jean-François Delcamp » Thu May 28, 2015 5:55 am

Hello everyone,
Please start by downloading the latest version of volume D01.
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.



First we will study some technical exercises from volume D01.
page 56 - Jean-François Delcamp (1956) Liaisons - Legature - Slurs - Ligados
page 56 - Jean-François Delcamp (1956) Accords – Chords





Finally, we'll look at 5 tunes, pages 49 to 52,
page 49 - Adrian Le Roy (ca. 1520-1598) Quatriesme bransle de poictou


In 1549, the French guitarist, lutenist, singer, editor and composer Adrian Le Roy entered into partnership with his cousin Robert Ballard. Together they founded a major publishing house. From 1551 to 1556, Adrian Le Roy and Robert Ballard published 5 books of tablature for guitar (Renaissance guitar with 5 courses of strings). Le Roy's bransles de poictou probably had their source in the popular tradition. Here the melody is accompanied by a single repeated bass note played by the thumb.
http://www.guitareclassiquedelcamp.com/ ... leroy.html
http://www.delcamp.net/historyclassicalguitar.html
http://www.guitareclassiquedelcamp.com/ ... terne.html

page 50 - Fernando Sor (1778-1839) Leçon III opus 60
http://www.guitareclassiquedelcamp.com/ ... dosor.html


page 51 - Joseph Küffner (1776-1856) Allegretto – duo
http://www.delcamp.net/joseph_kuffner.html
Joseph Küffner - Duo - MP3

page 52 - Adrian Le Roy (ca. 1520-1598) Second bransle de poictou



page 52 - Gaspar Sanz (1640-1710) Villano


In volume D02, on page 49, you will find a chord version of this Villano in D major.
Spanish guitarist, organist, theoretician and composer, Gaspar Francisco Bartolome Sanz y Celma, born at Calanda (Teruel) on 4 April 1640, was a bachelor of theology at the university of Salamanca. Once he had finished his music studies in Spain, he completed his musical education with a journey to Italy, where he served as chapel organist to the Viceroy of Naples. When he returned to Spain, he became guitar teacher to Don Juan of Austria (son of King Philip IV of Spain).

In 1674, Gaspar Sanz published the first of the three volumes of his "Instruccion de musica sobre la guitarra española" for five-course guitar, of which one of the existing copies is preserved in the Calanda Town Hall (Ayuntamiento). In addition to being a learning method, this collection includes popular tunes and dances as well as several forms of serious music (fugues, passacailles). This work is the most complete publication for guitar of the period, and would be republished a further 8 times between 1674 and 1697. The pieces are presented in Italian tablature, i.e. inverted, with the bottom line designating the first string. He uses chord symbols in this work which are forerunners of modern notation.

Gaspar Sanz was one of the most significant guitarists, composers and theoreticians of the Baroque era. He doesn't only dominate his own century: he was to remain the essential reference in the following century for all treatises and all music publications for the guitar.

The works of Gaspar Sanz have often been arranged for the modern guitar by 20th century interpreters such as Emilio Pujol, Andres Segovia and Narcisso Yepes. Joaquin Rodrigo, the famous composer of the concerto d’Aranjuez, pays homage to Gaspar Sanz in his "Fantasía para un gentilhombre" for guitar and orchestra. From his own time right up until today, the popular themes of Gaspar Sanz's songs and dances have been passed on orally by street musicians.
http://www.guitarraclasicadelcamp.com/p ... rsanz.html




I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
page 56 - Jean-François Delcamp (1956) Accords – Chords
page 52 - Adrian Le Roy (ca. 1520-1598) Second bransle de poictou
page 52 - Gaspar Sanz (1640-1710) Villano



Good luck!

We have reached the end of this year of studying together. I am intending to resume next year.

My thanks to the students, to Geoff for his splendid translations, and also to Robert Goodwin, Alan (Tarbaby), Rich (oski79) and lagartija who have enabled these courses to run so smoothly.

I wish you all a good summer. See you again soon.

Jean-François
:( + ♫ = :)

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Zafar Haq
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Re: D01 Classical guitar lesson 10

Post by Zafar Haq » Thu May 28, 2015 7:36 am

Hi,Classmates,
Here is the home assignment music sheets breakdown.
"CHORDS" page 56
1.Time Signature: 3/4
2.Tempo:168
3.Strokes: Tirando(Free Strokes)
4.Measures: 8
5.Phrases: Yes, two
6.Dampings: No
7.Repeats: No
8.Special effects: Yes,Dynamics,Crescendo,Decrescendo.(Gradual increase and decrease of volume),mp=mezzo-piano, meaning "moderately soft"."f"=Forte,Loud. Used as often as piano to indicate contrast.
9."#" symbol: No,
11.Lyrics: No
12.Rest: No
13. Tie.No

Adrian LE ROY, page 52
1.Time Signature: 3/4
2.Tempo:88
3.Strokes: Tirando(Free Strokes)
4.Measures: 26
5.Phrases: Yes, 4
6.Dampings: Yes, 5
7.Repeats: Yes, measure 1 to 13, 14 to 26
8.Special effects: No
9."#" symbol: No,
11.Lyrics: No
12.Rest: Yes, 49 quarter note
13. Tie.No
14.Articulation & Ornaments: Symbol "Fermata" above measure 25, (A note, chord, or rest sustained longer than its customary value. Usually appears over all parts at the same metrical location in a piece, to show a halt in tempo. It can be placed above or below the note. The fermata is held for as long as the performer or conductor desires.Wiki definition.

Gaspar SANZ VILLANO, page 52

Cut time:This symbol represents 2/2 time, indicating two minim (or half-note) beats per measure. Here, a crotchet (or quarter note) would get half a beat.
1.Time Signature: Cut time
2.Tempo:112
3.Strokes: Tirando(Free Strokes)
4.Measures: 5
5.Phrases: Yes, 2
6.Dampings: Yes, 2
7.Repeats: Yes, Measure 1 to 5
8.Special effects: No
9."#" symbol: Yes,
11.Lyrics: No
12.Rest: Yes, 2 half note
13. Tie.No
Last edited by Zafar Haq on Fri May 29, 2015 9:31 pm, edited 3 times in total.

Claude Huddy

Re: D01 Classical guitar lesson 10

Post by Claude Huddy » Thu May 28, 2015 9:40 am

Thanks for your work Zafar
oh my poor aching fingers - I will have to start early for this month
:D

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Zafar Haq
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Re: D01 Classical guitar lesson 10

Post by Zafar Haq » Thu May 28, 2015 9:49 am

Hi, Claude Huddy ,
Thanks.
Finger massages using your own hands to help out to relieve ach. Luke warm water.Natural oil massage help soften the tension and ach.
In this link,some remedies given for finger joint pain.
http://www.34-menopause-symptoms.com/jo ... t-pain.htm

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Zafar Haq
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Re: D01 Classical guitar lesson 10

Post by Zafar Haq » Thu May 28, 2015 10:10 am

Hi, Classmates,
Lets create "D" Major scale.
Formula for major scale is
Whole-Whole-Half-Whole-Whole-Whole-Half
Whole=two frets, Half=One fret
D to E = Whole
E to F#= Whole
F# to G = Half
G to A = Whole
A to B = Whole
B to C# = Whole
C# to D = Half
D major scale will be
D-E-F#-G-A-B-C#-D
In,Gaspar SANZ VILLANO home study music sheet.# symbol placed at F and C positions.

Claude Huddy

Re: D01 Classical guitar lesson 10

Post by Claude Huddy » Thu May 28, 2015 11:38 am

Thanks Zafar
I have been using warm water, luckily though, Male or not, I'm way past menopause.
But advice on link is apt and helpful.

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Zafar Haq
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Re: D01 Classical guitar lesson 10

Post by Zafar Haq » Thu May 28, 2015 2:13 pm

Hi, Claude Huddy,
Sorry,minus the menopause part.

Madeleine Pashkofsky

Re: D01 Classical guitar lesson 10

Post by Madeleine Pashkofsky » Thu May 28, 2015 3:59 pm

:lol: :lol: :lol:

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Chu Bun
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Re: D01 Classical guitar lesson 10

Post by Chu Bun » Thu May 28, 2015 9:08 pm

For the Adrian Le Roy's piece, do we have to use a capo? I was in a forced labor camp once and since then develop a hatred for any forms of clamps, cuffs, capos, ... Can we just play the notes at the normal position?

Colin Bullock
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Re: D01 Classical guitar lesson 10

Post by Colin Bullock » Thu May 28, 2015 9:41 pm

Chu Bun wrote:For the Adrian Le Roy's piece, do we have to use a capo? I was in a forced labor camp once and since then develop a hatred for any forms of clamps, cuffs, capos, ... Can we just play the notes at the normal position?
It look easily playable as written, I assume capo is only if you want to emulate a short scale early guitar.
Doesn't look as thought Prof D C uses one!

Colin Bullock
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Re: D01 Classical guitar lesson 10

Post by Colin Bullock » Thu May 28, 2015 9:44 pm

Claude Huddy wrote:Thanks Zafar
Male or not, I'm way past menopause.
.....
Come now Claudette, time to admit what those hot flushes are really about!

Claude Huddy

Re: D01 Classical guitar lesson 10

Post by Claude Huddy » Thu May 28, 2015 10:53 pm

Hi Colin
Just a little high strung!!!

Colin Bullock
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Re: D01 Classical guitar lesson 10

Post by Colin Bullock » Fri May 29, 2015 8:12 am

Claude Huddy wrote:Hi Colin
Just a little high strung!!!
Don't fret about it, just keep up the practice :D

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Zafar Haq
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Re: D01 Classical guitar lesson 10

Post by Zafar Haq » Fri May 29, 2015 9:33 am

Hi,Chu Bun,
Regarding capo,I search the archive and found very few results using capo.Most of the students stick to what Mr.Delcamp demonstrated in his video.
Capo students
https://www.youtube.com/watch?v=PMhBnGl5-Eg
viewtopic.php?f=118&t=76913&start=60

Without capo
https://www.youtube.com/watch?v=IdGZN6_ ... e=youtu.be

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Chu Bun
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Re: D01 Classical guitar lesson 10

Post by Chu Bun » Fri May 29, 2015 2:26 pm

Colin and Zafar,

Thanks. Just wonder if we learn something from playing the song with a capo. If not, I'll do without.

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