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Link to this page Embed on your site. I found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret. If you have a good left hand technique you might want to consider using this combination of weaker fingers, as ethde removes the awkward left hand jump: 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 Follow to get notified when DouglasRThompson has uploaded new scores.
The right hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo.
Carcassi, Study op 60 no 7 – Free Guitar Music
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. 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.
Also, once a fingering is notated, I don’t notate it again if it is repeated. The score can be downloaded in the format of your preference: 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. Start slow and try carfassi get the right hand working evenly.
Intermediate Lesson – Carcassi Etude 7 Op.60
Intermediate Lesson — Carcassi Etude 7 Op. The bass voice often carries the melody so it is important to keep your left hand fingers down while the ehude tremolo or arpeggio is sounding.
Go Pro Upload Log In. 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. 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.
Also it is important to give all of the bass notes cadcassi full duration throughout the piece. Pages 2 Duration 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.
Bar 2 is actually quite awkward for the left hand to play smoothly. The piece is primarily in the key of Erude minor. 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. There is something very exciting about carcawsi driving harmonic rhythm and the moto perpetuo writing for the right hand.
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. In etuxe music this sentential structure happens all over the place so its good to keep a look out for it!
Leave A Comment Cancel reply Comment. Once you feel comfortable with the piece start cranking up the tempo to get this study really flying! Some of the left-hand fingerings are unconventional, but when I was young I played carcass of folk czrcassi, and these are the fingerings I used for chords, thus I could find them quicker.
Uploaded on Dec 23, Make sure you know what voice is the most important at any given time so you can bring it out strongly. I omit all zeroes for open strings. The bass notes carrcassi played open for A, 3rd finger for C, 4th finger for F and 1st finger for E.
This study was one of my all time favorites when I was a young whipper snapper. 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.
Choose where you want to share: Try again More of this, please? Throughout the piece there is an interplay between the upper and lower voices. 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.
I’ll eventually be adding more study notes and an MP3 recording of this piece. 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. To print parts, please upgrade to a Pro account first. For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note. In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai.
Want to give something back? Try again DouglasRThompson worked hard on this score.