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In classical music this sentential structure happens all over the place so its good to keep a look out for it! I’ll eventually be adding more study notes and an MP3 recording of this piece.
The bass carcssi often carries the melody so it is important to keep your left hand fingers down while the upper tremolo or arpeggio is sounding. The equivalent of this in carcaxsi would look like this:. Give a small token of appreciation!
Carcassi, Study op 60 no 7 – Free Guitar Music
Intermediate Lesson — Carcassi Etude etuse Op. Try again DouglasRThompson worked hard on this score. Right Hand Fingering This is an arpeggio study, and is a gentle preparation for learning how to play the tremelo on guitar, the technique stude in pieces such as Tarrega’s famous Recuerdos de la Alhambra.
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.
Intermediate Lesson – Carcassi Etude 7 Op.60
Bar 2 is actually quite awkward for the left hand to play smoothly. Your download has started. Choose where you want to share: For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note.
Originally, the repeated notes found throughout the study were meant to be played carvassi i and m which would create groups of pimi, pimi etc. Also it is important to give all of the bass notes their full duration throughout the piece.
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. Make sure you know what cracassi is the most important at any given time so you can bring it carcassi strongly.
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. Link to this page Embed on your site.
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 p a m ithe fingering used for a tremelo. But because the following 3 higher notes now vary rather than repeat the same etjde three times, the suggested right hand fingering is: I omit all zeroes for open strings.
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.
Throughout the piece there is an interplay between the upper and lower voices. Uploaded on Dec 23, 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 carcaszi the notes.
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. The piece is primarily in the key of A minor.
Once you feel comfortable with the piece start cranking up the tempo to get this study really flying! 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: Carcassi Study, bar 2, alternative fingering Also if you use your third rather than second finger carcazsi the last two As in the bar 14th and 16th semiquavers you’ll find this sets you up nicely for bars 3 and 4.
Pages 2 Duration 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.
Carcassi Study in A minor Op. 60 no. 7 sheet music for Guitar download free in PDF or MIDI
In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. Follow to get notified when DouglasRThompson has uploaded new scores. This study was one of my all time favorites when I was a young whipper snapper. Why am Carcadsi seeing this? 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.
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.
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. I have added in several of my own dynamics on the score as well as a tone color change at measure There is actually no point to it.
However, this study lends itself to strengthening the very common pami movement in the right hand.
Leave A Comment Cancel reply Comment. Save my name, email, and website in this browser carrcassi the next time I comment. Try again More of this, please?