CARCASSI ETUDE 7 PDF

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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. 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. Link to this page Embed on your site. Choose where you want to share: Save my name, email, and website in this browser for the next time I comment. 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 carcassii jump: To print parts, please upgrade to a Pro account first.

Want to give something back? Throughout the piece there is an interplay between the upper and lower voices. This study was one of my all time favorites when I was a young whipper snapper. 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 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.

Carcassi Etude 7 Op Lesson | Classical Guitar Corner

Leave A Comment Cancel reply Comment. Also, once a fingering is notated, I don’t notate it again if it is repeated. Cxrcassi found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret.

Pages 2 Duration There are not too many demands on the left hand in this study, as it is predominantly a right hand study.

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Bar 2 is actually quite awkward for the left hand to play smoothly. 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.

The score can be downloaded in the format of your preference: Uploaded on Dec 23, I have added in several of my own dynamics on the score as well as a tone color change at measure In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. 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.

The piece is primarily in the key of A minor. Your download has started. 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. Start slow and try to get the right hand working evenly. I omit all zeroes for open strings. OK, I agree No, give me more info.

Try again DouglasRThompson worked hard on this score. 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. Make sure you know what voice is the most important at any given time so you can bring it out strongly.

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 There is actually no point to it.

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Here’s the obvious fingering for this bar: However, this study lends itself to strengthening the very common pami movement in carcassj right hand. Go Pro Upload Log In. Why am I seeing this? In classical music this sentential structure happens all over the place so its good to keep a look out for it!

Carcassi Study in A minor Op. 60 no. 7

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.

Try again More of this, please? Some of the left-hand fingerings are unconventional, but when I etudr young I played lots of folk music, and these are the fingerings I used for chords, thus I could find them quicker.

Give a small token of appreciation! Also it is important to give all of the bass notes their full duration throughout the piece. I’ll eventually be adding more study notes and an MP3 recording of this piece. Intermediate Lesson crcassi Carcassi Etude 7 Op. 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 bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E.