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Link to this page Embed on your site. In classical music this sentential structure happens all over the place so its good to keep a look out for it! I found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret.
Try again DouglasRThompson worked hard on this score. However, this study lends itself to strengthening the stude common pami movement in the right hand. Carcassi Study, bar 2 Try this and you’ll find you have to make a tricky jump with the second finger from the 8th to the 9th semiquaver A to low B that can break the flow of the piece, especially at faster speeds.
Carcassi, Study op 60 no 7 – Free Guitar Music
I’ll eventually be adding more study notes and an MP3 recording of this piece. If cwrcassi have a good left hand technique you might want to consider using this combination of weaker fingers, as it removes the awkward left carcasei jump: Want to give something back?
The right hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo. Also it is important to give all of the bass notes their full duration throughout the cxrcassi.
Pages 2 Duration Once you feel comfortable with the piece start cranking up the tempo to get this study really flying! Originally, the repeated notes found throughout the study were meant to be played by i and m which would create groups of pimi, pimi etc.
In the second section, the even division of phrases gets a bit less obvious, Carcassi has done this to create more excitement and less predictability in the music.
Sometimes the bass has the melody which is most often played by the thumb and sometimes the melody is in the upper voice played by ami. The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E. I hope this lesson was helpful to you, and I hope you enjoy working on the piece. Follow to get notified when DouglasRThompson has uploaded new scores. I omit all zeroes for open strings. Save my name, email, and website in this browser for the next time I comment.
Intermediate Lesson — Carcassi Etude 7 Op. Bar 2 is actually quite awkward for the left hand to play smoothly. Here’s the obvious fingering for this bar: Also, once a fingering is notated, I don’t notate it again if it is repeated. There are not too many demands on the left hand in this study, as it is predominantly a right hand study.
There is something very exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand. Carcassi Study, bar 2, alternative fingering Also if you use your third rather than second finger for the last two As in the bar 14th and 16th semiquavers you’ll find this sets you up nicely for bars 3 and 4. Your download has started.
Intermediate Lesson – Carcassi Etude 7 Op.60
The score can be downloaded in the format of your preference: Choose where you want to share: The first section of the piece from measure 1 — 8 is one long phrase that can be divided into two equal four bar phrases and Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance. Give a small token of appreciation! There is actually no point to it. Finally, at the end of section 1 and section 2, I have made the d to e, a slide on the 2nd string, which is not how the piece is originally written.
In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai.
Try again More of this, please? Some of the left-hand fingerings are unconventional, but when I was young I played lots of folk music, and these are the fingerings I used for chords, thus I could find them quicker. OK, I agree No, give me more info. Uploaded on Dec 23, Each of these four bar phrases are in sentential structure as in a sentence, like we use in writing This structure simply consists of a 1 measure idea, followed by another 1 measure continuation then resolved by a 2 measure conclusion.
For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note.
Carcassi Etude 7 Op Lesson | Classical Guitar Corner
Go Pro Upload Log In. Make sure you know what voice is the most important at any given time so you can bring it out strongly. Leave A Comment Cancel reply Comment.
This etufe was one of my all time favorites when I was a young whipper snapper. In bars 1, 5, 9,21, 25 and 26 we have groups of four semiquavers with the first note note played by the thumb stems down followed by the same higher note played three times by the fingers.
Carcassi Study in A minor Op. 60 no. 7
On the repeat of the second half, try and come up with some of your own ideas on how to vary things with dynamics, and articulation. But because the following 3 higher notes now vary rather than repeat carcasai same note three times, the suggested right hand fingering is: Because it is almost all 16th notes, I placed the right-hand fingering p a m i above the notes, and the left-hand fingering 1 2 3 4 below the notes.
This movement is most commonly associated with tremolo technique but it also helps balance the right hand as a whole and can be very good arpeggio training.