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Intermediate Lesson — Carcassi Etude 7 Op. However, this study lends itself to strengthening the very common pami movement in the right hand. 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. The piece is primarily in the key of A minor.
Carcsasi to this page Embed on your site. Make sure you know what voice is cadcassi most important at any given time so you can bring it out strongly.
Follow to get notified when DouglasRThompson has uploaded new scores. 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 Etude 7 Op Lesson | Classical Guitar Corner
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. Uploaded on Dec 23, This stude was one of my all time favorites when I was a young whipper snapper.
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 bars 1, 5, 9,21, eture and 26 we have groups of four semiquavers with the first note note carcadsi by the thumb stems down followed by the same higher note played three times by the fingers. 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.
There are not too many carcassl on the cagcassi hand in this study, as it is predominantly a right hand study. I found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret. Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance.
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.
Save my name, email, and website in this browser for the next time I comment. Originally, the repeated notes found throughout the study were meant to carcsssi played by i and m which would create groups of pimi, pimi etc. 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 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.
Also it is important to give all of the bass notes their full duration throughout the piece. I hope this lesson was helpful to you, and I hope you enjoy working on the piece. Pages 2 Duration Bar 2 is actually quite awkward for the left hand to play smoothly. 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.
The score can be downloaded in the format of your preference: Give a small token of appreciation! rtude
Carcassi Study in A minor Op. 60 no. 7
Try again DouglasRThompson worked hard on this score. 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: Once you feel comfortable with the piece start cranking up the tempo to get this study really flying!
Want to give something back? Also, once a fingering is notated, I don’t notate carcassii again if it is repeated. I omit all zeroes for open strings.
Carcassi Study in A minor Op. 60 no. 7 sheet music for Guitar download free in PDF or MIDI
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. Your download has started. But because the following 3 higher notes now vary cxrcassi than repeat the same note three times, the suggested right hand fingering is: Try again More of this, please?
To print parts, please upgrade to a Pro account first. 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.
Choose where you want to share: I’ll eventually be adding more study notes and an MP3 recording of this piece. For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note.
OK, I agree No, give me more info. The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E. In classical music this sentential structure happens all over the place so its good to keep a look out for it! 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.