|Published (Last):||14 January 2017|
|PDF File Size:||14.64 Mb|
|ePub File Size:||19.50 Mb|
|Price:||Free* [*Free Regsitration Required]|
Bar 2 is actually quite awkward for the left hand to play smoothly.
Try again DouglasRThompson worked hard on this score. Also it is important to give all of the bass notes their full duration throughout the piece. For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note.
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.
Save my name, email, and website in this browser for the next time I comment. Start slow etudee try to get the right hand working evenly.
Carcassi Etude 7 Op Lesson | Classical Guitar Corner
If you have a good left hand technique you might want to consider using this combination of weaker fingers, as it removes carccassi awkward left hand jump: I omit all zeroes for open strings. This study was one of my all time favorites when I was a young whipper snapper.
Also, once a fingering is notated, I egude notate it again if it is repeated. Go Pro Upload Log In. The piece is primarily in the key of A minor. I found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret.
Originally, the repeated notes found throughout the study were meant to be played by i and m carcassk would create groups of pimi, pimi etc. 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.
Make sure you know what voice is the most important at any caecassi time so you can bring it out strongly. In classical music this sentential structure happens all over the place so its good to keep a look out for it! The right hand fingering for each four note group in these bars is p a m ithe carcassj used for a tremelo.
OK, I agree No, give me more info. Your download has started.
Carcassi Study in A minor Op. 60 no. 7
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 Intermediate Lesson — Carcassi Etude 7 Op. There is actually no point to it. Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance.
The second section bar 9 onwards starts in the relative major key, C major, and makes its way back to A minor by darcassi end of the piece. Uploaded on Dec 23, I hope this lesson was helpful to you, and I hope you enjoy working on the piece. Leave A Comment Cancel etud Comment. Each of these four bar phrases are in sentential structure as in a sentence, like we use in writing This structure simply consists of carccassi 1 measure idea, followed by another 1 measure continuation then resolved by etkde 2 measure conclusion.
In bars 1, 5, 9,21, 25 and 26 we have carfassi 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. Pages 2 Duration But because the following 3 higher notes now vary rather than repeat the same note three times, the suggested right hand fingering is: To print parts, please upgrade to a Pro account first.
Throughout the piece there is an interplay between the upper and lower voices. The score can be downloaded in the format of your preference: 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.
In carrcassi 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. Some of the left-hand fingerings are unconventional, but when I was young I played lots of carcaassi music, and these are the fingerings I used for chords, thus I could find them quicker.
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. 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. However, this study lends itself to strengthening the very common pami movement in the right hand. There is something very exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand.
In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. The equivalent of this in writing would look like this:.
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. I’ll eventually be adding more study notes and an MP3 recording of this piece. Give a small token of appreciation! Choose where you want to share: Here’s the obvious fingering for this bar: The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E.
Once you feel comfortable with the piece start cranking up the tempo to get this study really flying! The bass voice often carries the melody so it is important to keep your left hand fingers cacrassi while the upper tremolo or arpeggio is sounding. Link to this page Embed on your site.