CARCASSI ETUDE 7 PDF
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However, this study lends itself to strengthening the very common pami movement in the right carcasi. 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.
Why am I seeing this? The second section bar 9 onwards starts in the relative major key, C major, and makes its way back carcasssi A minor by the end of the piece.
Carcassi, Study op 60 no 7 – Free Guitar Music
I’ll eventually be adding more study notes and an MP3 recording of this piece. 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.
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.
In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. But because the following 3 higher notes now vary rather than repeat the 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.
Carcassi Study in A minor Op. 60 no. 7
Try again DouglasRThompson worked hard on this score. There are not too many demands on the left hand in this study, as it is predominantly a right hand study.
Choose where you want to share: 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 etudee is originally written. There is something very exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand. Your download has started. Bar 2 is actually quite awkward for the left hand to play smoothly.
The right hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo. 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: 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.
Go Pro Upload Log In. Give a small token of appreciation! I omit all zeroes for open strings.
Carcassi Etude 7 Op Lesson | Classical Guitar Corner
Also, once a fingering is notated, I don’t notate it again if it is repeated. OK, I agree No, give me more info.
Make sure you know what voice is the 77 important at any given time so you can bring it out strongly. Intermediate Lesson — Carcassi Etude 7 Op.
The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E. Here’s the obvious fingering for this bar: I have added in several of my own dynamics on the score as well as a tone color change at measure To print parts, please upgrade to a Pro account first. The equivalent of this in writing would look like this:.
Save my name, email, and website in this browser for the next time I comment. Pages 2 Duration Want to give something back? 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.
In classical music this sentential structure happens all over the place so its good to keep a look out for it! I hope this lesson was helpful to you, and I hope you enjoy working on the piece. 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.
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. Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance. There is actually no point to it. 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!