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In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai.
Want etufe give something back? 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.
To print parts, please upgrade to a Pro account first. Start slow and try to get the right hand working evenly. Throughout the piece there is an interplay between the upper and lower voices.
The piece is primarily in the key of A minor.
Intermediate Lesson — Carcassi Etude 7 Op. The score can be downloaded in the format of your preference: I have added in several of my own dynamics on the score as well as a tone color change at measure carcxssi OK, I agree No, give me more info.
Intermediate Lesson – Carcassi Etude 7 Op.60
Choose where you want to share: 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 etde a 2 measure conclusion. There is something eetude exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand.
I’ll eventually be adding more study notes and an MP3 recording of this piece. Pages 2 Duration I hope this lesson was helpful to you, and I hope you enjoy working on the piece. 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.
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. Make sure you know what voice is the most important at any given time so you can bring it out strongly.
Carcassi Etude 7 Op Lesson | Classical Guitar Corner
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. Uploaded on Dec 23, The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E.
Once you csrcassi comfortable with the piece start cranking up the tempo to get this study really flying! Carcassi Study, bar 2 Try this and you’ll find you have to make a tricky ftude 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.
Carcassi, Study op 60 no 7 – Free Guitar Music
Go Pro Upload Log In. Follow to get notified when DouglasRThompson has uploaded new scores. Leave A Comment Cancel reply Comment. The equivalent of this in writing would look like this:.
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: 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. However, this study lends itself to strengthening the very common pami movement in the right hand. Give a small token of appreciation!
Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance.