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Finally, at the end of section eyude 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.
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. Throughout the piece there is an interplay between the upper and lower voices. 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 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.
Carcassi, Study op 60 no 7 – Free Guitar Music
Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance. However, this study lends itself to strengthening the very common pami movement in the right hand.
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. There is something very exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand.
Carcassi Study in A minor Op. 60 no. 7
The second section bar 9 onwards starts in the relative major key, C major, cwrcassi makes its way back to A minor by the end of the piece. 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. For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note.
Link to this page Embed on your site. 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 Etuve that can break the flow of the piece, especially at faster speeds.
Sometimes the bass has the melody which is most carcass played by the thumb and sometimes the melody is in the upper voice played by ami. 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.
There is actually no point to it.
Follow to get notified when DouglasRThompson has uploaded new scores. I have added in several of my own dynamics on the score as well as a tone color 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.
If you have a good left hand technique you might want to consider using this combination of weaker fingers, as etuxe removes the awkward left hand cxrcassi Try again DouglasRThompson worked hard on this score. Why am I seeing this? I found that measure 25 is actually much easier to play using the same fingering, but without etdue barre on the second fret.
I’ll eventually be adding more study notes and an MP3 recording of this piece. There are not too many demands on the left hand in this study, as it is predominantly a right hand study. carcaxsi
Intermediate Lesson — Carcassi Etude 7 Op. Your download has started. This study was one of my all time favorites when I was a young whipper snapper. The bass notes are played open for A, 3rd carcasssi for C, 4th finger for F and 1st finger for E. 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.
Save my name, email, and website in this browser for the next time I comment. Once you feel comfortable with the piece start cranking up the tempo to get this study really flying! Start slow and try to get the right hand working evenly. Uploaded on Dec 23, The right hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo. Here’s the obvious fingering for this bar: Leave A Comment Cancel reply Comment. Bar 2 is actually quite awkward for the left hand to play smoothly.
Want to give something back? The score can be downloaded in the format of your preference: 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 etudf then resolved by a 2 measure conclusion.
Also it is important to give all of the bass notes their full duration throughout the piece. Pages etudde Duration Give a small token of appreciation! 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. To print parts, please upgrade to a Pro account first.
Make sure you know what voice is the most important at any given time so you can bring it out strongly. Choose where you want to share: