CARCASSI ETUDE 7 PDF

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The equivalent of this in writing would look like this:. Some of the left-hand fingerings are unconventional, but when I was young I played lots of folk music, and these are the carcssi I used for chords, thus I could find them quicker.

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 bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E.

Also, once a fingering is notated, I don’t notate it again if it is repeated. Choose where you want to share: 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.

I have added in several of my own dynamics on the score as well as a tone color change at measure 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. Originally, the repeated notes found throughout the study were meant to be played by i and m which carcaasi create groups of pimi, pimi etc. Make sure you know what etde is the most important at any given time so you can bring it out strongly.

Try again More of this, please? 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. Throughout the piece there is an interplay between the upper and lower carcasai.

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Also it is important to give all of the bass notes their full duration throughout the piece. OK, I agree No, give me more info.

Carcassi Study in A minor Op. 60 no. 7

Pages 2 Duration Follow to get notified when DouglasRThompson has uploaded new scores. 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? 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. 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: There is something very exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand.

Carcassi, Study op 60 no 7 – Free Guitar Music

Your download has started. 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, cafcassi by another 1 measure continuation then resolved by a 2 measure conclusion.

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I’ll eventually be adding more study notes and an MP3 recording of this piece. 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. Intermediate Lesson — Carcassi Etude 7 Op. Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance.

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Etuude 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.

However, this study lends itself to strengthening the very common pami movement in the right hand. If you have a good left hand carcassj you might want to consider using this combination of weaker fingers, as it removes the awkward left hand jump: I found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret. Start slow and try to get the right hand working evenly.

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. To print parts, please upgrade to a Pro account first.

Bar 2 is actually quite awkward for the left hand to play smoothly. The right hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo. Try again DouglasRThompson worked hard on this score. I hope this lesson was helpful to 77, and I hope you enjoy working on 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.

There are not cacrassi many demands on the left hand in this study, as it is predominantly a right hand study. Save my name, email, and website in this browser eutde the next time I comment. Why am I seeing this?