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CARCASSI ETUDE 7 PDF

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Go Pro Upload Log In. I found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret. Also it is important to give all of the bass notes their full duration throughout the piece. 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.

Carcassi Etude 7 Op Lesson | Classical Guitar Corner

Bar 2 is actually quite awkward for the left hand to play smoothly. Make sure you know what voice is the most important at any given time so you can bring it out strongly. For instance, from measure 1 — 4 as in the image above the bass line has the melody, but in measure 2 there is a nice little interplay with the upper voice playing a descending scale — F E D C — if you bring out this little scale it will sound really interesting and create a series of tenths with the bass.

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. However, this study lends itself to strengthening the very common efude movement in the right hand.

The bass voice often carries the melody so it is important to carcassl your left hand fingers down while the upper tremolo or arpeggio is sounding. Intermediate Lesson — Carcassi Etude 7 Op. Link to this page Embed on your site. I omit all zeroes for open strings.

Give a small token of appreciation! Want to give something back? 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. Once you feel comfortable with the piece start carcsssi up the tempo to get this study really flying!

Try again DouglasRThompson worked hard on this score. 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.

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 Leave A Comment Cancel reply Comment.

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Right Hand Fingering This is an arpeggio study, and is a gentle preparation for learning how to play the tremelo on guitar, the technique used in pieces such as Tarrega’s famous Recuerdos de la Alhambra. 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.

Carcassi, Study op 60 no 7 – Free Guitar Music

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. The right hand fingering for each four note group in these bars is etuve a m icarvassi fingering used for a tremelo. The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E. There is something very exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand. Creative use of dynamics in this cacassi will really make it come alive and it adds a lot of excitement to the performance.

Start slow and try to get the right hand working evenly.

Intermediate Lesson – Carcassi Etude 7 Op.60

The second section bar 9 onwards starts in the relative major key, C major, and makes its way back to A minor by the end of the piece. For most of the remainder of the piece we still have groups of four semiquavers carcaxsi the thumb plays the first note. There is actually no point to it. I have added in several of my own dynamics on the score as well as a tone caracssi change at measure 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.

Here’s the obvious fingering for this bar: Why am I seeing this? 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. Follow to get notified when DouglasRThompson has uploaded new scores. 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.

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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. Save my name, email, and website in this browser for the next time I comment. But because the following 3 higher notes now vary rather than repeat the same note three times, the suggested right hand fingering is: If you have a good left hand technique you might want to consider using this combination of weaker fingers, as it removes the awkward left hand jump: OK, I agree No, give me more info.

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Pages 2 Duration I hope this lesson was helpful to you, and I hope you enjoy working on the piece. Also, once a fingering is notated, I don’t notate it again if it is repeated.

Throughout the piece there is an interplay between the upper and lower voices. In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. This study was one carcaszi my all time favorites when I was a young whipper snapper.

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. There are not too many demands on the left hand in this study, as it is predominantly a right hand study.

Try again More of this, carcasssi I’ll eventually be adding more study notes and an MP3 recording of etud piece. Choose where you want to share: