D03 Classical guitar lesson 1

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Jean-François Delcamp
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D03 Classical guitar lesson 1

Post by Jean-François Delcamp » Tue Nov 16, 2010 7:14 am

Hello everyone,
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 highlighting them in yellow.
and
3 days when you can devote 40 minutes to studying the guitar, made up of
- 15 minutes practicing the difficult passages (highlighted in yellow),
- 15 minutes repeating the individual phrases (indicated by phrase marks) 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 5 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 p5 Giorgio MAINERIO - Schiarazula marazula


D03 p5 Improvisation 1 - Passemeze


D03 p5 Improvisation 2 - Passemeze


D03 p5 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 5 Giorgio MAINERIO (1535-1582) SCHIARAZULA MARAZULA



You can download the scores of the course here: Scores for classical guitar - D01, D02, D03

Je remercie Geoff (GeoffB), Dan (dng) et flameproof, qui ont aide à la traduction de mes cours en anglais. :merci: :merci: :merci:

Jean-François
:( + ♫ = :)

Julio Galindo

Re: D03 Lesson 1

Post by Julio Galindo » Wed Nov 17, 2010 3:14 am

thank you Mr. Delcamp!

i have reviewed today´s lesson. it´s time for practice! I´m surprised about improvisation excercises!! ...and amazed by Renaissance guitar!! :bravo:

Irene Tirtajana

Re: D03 Lesson 1

Post by Irene Tirtajana » Wed Nov 17, 2010 12:28 pm

Thank you for this wonderful opportunity to learn classical guitar techniques, Mr Delcamp. As one who is largely self-taught it has been an eye opener. I'm still struggling with the damping techniques - it is something I've never practiced in my playing although I've played on-off for 15 years! If I find D03 too difficult I will move to the lower grade.

Just one quick question, for the damping exercise Smorzando, no.3, with the p/i-m-a arpeggios. I can see in the video instruction you use free stroke (EDIT: rest stroke) for the thumb, to damp the string below. But I can't see what happens with the i-m-a. Is it a combination of p & i rest strokes, followed by m-a free strokes? Or is it a simultaneous p rest stroke and i free stroke? (which I tried but found impossible to do)

Thank you for the instruction.


EDIT:

in the video I thought I saw JF using REST stroke for the thumb, to dampen the string below. apologies for the confusion!
Last edited by Irene Tirtajana on Thu Nov 18, 2010 9:42 am, edited 1 time in total.

RicDavalos

Re: D03 Lesson 1

Post by RicDavalos » Wed Nov 17, 2010 4:05 pm

Quick question and please forgive me if I really missed something here. :oops: Are we supposed to study all the pieces that Mr. DelCamp has posted for this week? Or do we conenctrate on the 2 Polyphonie studies and the 2 rest stroke studies? I just want to make sure I get the most out of these lessons.

:merci:

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Dragonbones
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Re: D03 Lesson 1

Post by Dragonbones » Wed Nov 17, 2010 4:14 pm

RicDavalos wrote:Quick question and please forgive me if I really missed something here. :oops: Are we supposed to study all the pieces that Mr. DelCamp has posted for this week? Or do we conenctrate on the 2 Polyphonie studies and the 2 rest stroke studies? I just want to make sure I get the most out of these lessons.

:merci:
ALL the pieces, based on my understanding from participation in the D02 in the Spanish forum area.
Pleasure is spread through the earth In stray gifts to be claimed by whoever shall find. —William Wordsworth

2008 Sergio Huerta concierto,
San Miguel de Allende, Mexico

Jeremy Hickerson
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Re: D03 Lesson 1

Post by Jeremy Hickerson » Wed Nov 17, 2010 5:23 pm

On the Smorzando No. 3 I have been playing thumb free stroke with a rest stroke for whichever finger is playing the melody note that occurs at the same time as the thumb plays, and free strokes for the rest. I'm not sure if this matters that much since the lesson is on damping.

I have to say also that it was great to hear how much music is in the Morlaye Gaillarde, at least when Jean Francois plays it! I got some sense of this when I played through it last night, but then I listened to the video and could hear so many more things happening.
Jeremy

Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size

Jeremy Hickerson
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Re: D03 Lesson 1

Post by Jeremy Hickerson » Thu Nov 18, 2010 4:38 pm

apoyando p. 58 No. 16 where the i and m fingers alternate on the high e string and the p plays the g string is a short exercise that brutally reveals a problem in my rest stroke technique. As a computer programmer I appreciate a simple example that demonstrates a bug in a few lines of code; this is the musical equivalent!

I will keep working on this. I notice that J.F. seems to be attacking the string in the middle of the nail/finger for i and m, rather than near the side where I have been playing rest stroke, and I also think he is bending back the lowest finger joint (closest to the strings) slightly to give with the impact and allow the string to slide past the nail better. The thumb travels on a pivot from the hand joint in an inward arc, with no hand movement.
Jeremy

Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size

Julio Galindo

Re: D03 Lesson 1

Post by Julio Galindo » Fri Nov 19, 2010 9:07 am

i tried posting my first video of Carcassi, Mattéo; Op 59 Andantino but it didn´t work so I´m leaving the following link hoping it counts for my first excercise

[media]https://youtu.be/v0uB1QsKidc[/media]

Greg Johnson

Re: D03 Lesson 1

Post by Greg Johnson » Fri Nov 19, 2010 7:36 pm

Julio, I thought that was nice smooth playing. I do believe the repeats for that song are a simple AA:BB however, at least that is what I get from my score.

Edited to add: Julio, you played it correctly, my mistake. I was not paying close enough attention to the score!

Jeremy Hickerson
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Re: D03 Lesson 1

Post by Jeremy Hickerson » Mon Nov 22, 2010 1:49 am

Here are the Gaillarde, the two carulli arpeggios, and the carcassi. I recorded these with my logictech webcam and then imported them into Windows Movie Maker.

Morlaye Gaillarde
[media]https://youtu.be/I7SigmMibw4[/media]

Carulli Tre
[media]https://youtu.be/IzVOzkuIar4[/media]

Carulli Quatro
[media]https://youtu.be/SOq2Vp6HezE[/media]

Carcassi Andantino
[media]https://youtu.be/pKxQ9-wfckw[/media]

Jeremy
Jeremy

Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size

Michael Collings
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Re: D03 Lesson 1

Post by Michael Collings » Mon Nov 22, 2010 2:53 am

Julio_Cesar_CancunMx wrote:thank you Mr. Delcamp!
I´m surprised about improvisation excercises!! .. :bravo:
I'm surprised about the improv too, but very happy to see this taught alongside other techniques. Improvisation has been a crucial part of "classical" music performance and instruction (at least before 1850). I'm in the D02 group but I'm going to give these improvisations a try on my own.

Greg Johnson

Re: D03 Lesson 1

Post by Greg Johnson » Mon Nov 22, 2010 4:23 am

Jeremy, Very nicely played and you worked up the Gaillarde very quickly. I'm still working out the fingering, which as it reads on the score seems to be for playing the piece without the capo, which is much easier. BTW, your playing deserves better recording. :D

I've played several Level 3 pieces and this one seems to be quite a bit more difficult, at least for me. Anyone else having this experience?

Jeremy Hickerson
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Re: D03 Lesson 1

Post by Jeremy Hickerson » Mon Nov 22, 2010 5:35 pm

To Greg - Yes I also thought the Gaillarde was hard although it looked like a simple piece on the page. But I liked the music so much (especially after hearing Jean-Francois play it) that I was motivated! Also, I had originally played it without the capo, and for some reason it just doesn't sound as good to me that way. It's not just the higher pitch, the bass note and lower chord voices made by the open strings without the capo just seem too flabby or something.

I would be interested to hear some recording tips, I couldn't figure out how to get rid of the background hum. When I used some sound editing software to remove it the overall sound was distorted, so I ended up just leaving it in. Or maybe I just need to get a regular microphone for my computer instead of using the web cam mike?

Jeremy
Jeremy

Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size

Jeremy Hickerson
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Posts: 621
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Location: Salem, Oregon

Re: D03 Lesson 1

Post by Jeremy Hickerson » Mon Nov 22, 2010 6:20 pm

Just wanted to mention that I found it easier to not worry about memorizing these and just read off the music for recording. I taped the music to a cupboard about the same height as the web-cam, about 6 feet away. I could see the notes good enough to keep my bearings in the music.
Jeremy

Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size

Greg Johnson

Re: D03 Lesson 1

Post by Greg Johnson » Tue Nov 23, 2010 1:28 am

Or maybe I just need to get a regular microphone for my computer instead of using the web cam mike?
I'm no expert on digital recording, but I know that good audio results can be obtained fairly simply by using an affordable USB mic or Zoom digital recorder. I use an Audio Technica that cost about 100 bucks online. It works great for audio. And with the webcam that I have, I can set the software to record using either the USB mic or the webcam's mic. Although the mic works great on it's own, I do get some random noises when used in conjunction with the webcam. I haven't really spent the time to figure out the issue as I mostly have done simple audio recording. For a more budget microphone, I think the Blue Snowball gets satisfactory reviews. As far as what is causing the hum on your recording, it could be a poor quality mic or something else with your computer entirely.

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