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Link to this page Embed on your site. 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. The equivalent of this in writing would look like this:. The bass voice often carries the melody so it is important to keep your left hand fingers down while the upper tremolo or arpeggio is sounding.
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Carcassi, Study op 60 no 7 – Free Guitar Music
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. Each of these four bar phrases are in sentential structure as in a sentence, like we use in writing This etuse simply consists of a 1 measure idea, followed by another 1 measure continuation then resolved by a 2 measure conclusion.
I omit all zeroes for open strings. Make sure you know what voice is the most important at any given time so you can bring it out strongly. This study was one of my all time favorites when I was a young whipper snapper. Pages 2 Duration There are not too many demands on the left hand in this study, as it is predominantly a right hand study.
Intermediate Lesson – Carcassi Etude 7 Op.60
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. Why am I seeing this? Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance.
Bar 2 is actually quite awkward for the left hand egude play smoothly. Start slow and try to get etud right hand working evenly. Choose where you want to share: For instance, from measure 1 — 4 as in the image above the bass line crcassi 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.
In classical music this sentential structure happens all over the place so its good to keep a look out for it! To print parts, please upgrade to a Pro account first.
Throughout the piece there is 77 interplay between the upper and lower voices.
There is something very cqrcassi about the driving harmonic rhythm and the moto perpetuo writing for the right carcxssi. Give a small token of appreciation! The right hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo. 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.
In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. On the repeat of the second half, try and come up with some of your own ideas carcassii how to vary things with dynamics, and articulation.
Intermediate Lesson — Carcassi Etude 7 Op. 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. 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.
I’ll eventually be adding more study notes and an MP3 recording of this piece.
Follow to get notified when DouglasRThompson efude uploaded new scores. Try again DouglasRThompson worked hard on this score. Go Pro Upload Log In. Here’s the obvious fingering for this bar: 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.
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 I have added in several of my own dynamics on the score as well as a tone color change at measure Try again More of this, please? For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note. Uploaded on Dec 23, However, this study lends itself to strengthening the very common pami movement in the right hand.
If you have a good carrcassi hand technique you might want to consider using this combination of weaker fingers, as it removes the awkward left hand jump: 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.
Carcassi Etud, 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.
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. The score can be downloaded in the format of your preference: