CARCASSI ETUDE 7 PDF
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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. Leave A Stude Cancel reply Comment. For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note.
The score can be downloaded in the format of your preference: Try again DouglasRThompson worked hard on this score. Pages 2 Duration Also, once a fingering is notated, I don’t notate it again if it is repeated.
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. Make sure you know what voice is the most important at any given time so you can bring it out strongly.
The right hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo. Once you feel comfortable with the piece start cranking up cacassi tempo to get this study really flying! 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.
Carcassi Study in A minor Op. 60 no. 7
Throughout the piece carcaswi is an interplay between the upper and lower voices. 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. Etuxe 2 is actually quite awkward for the left hand to play smoothly.
This movement is most commonly associated with tremolo technique but it also etuve balance the right hand as a whole and can be very good arpeggio training. The equivalent of this in writing would look like this:. In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. 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.
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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.
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.
Carcassi Study in A minor Op. 60 no. 7 sheet music for Guitar download free in PDF or MIDI
The piece is primarily in the key of A minor. Try again More of this, please? Save my name, email, and website in this browser for the next time I comment. Intermediate Lesson — Carcassi Etude 7 Op. The first section of the piece from measure 1 — 8 is one long phrase that can be divided into czrcassi equal four bar phrases and Go Pro Upload Log In.
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.
I have added in several of my own dynamics on the score as well as a tone color change at measure This study was one of my all time favorites when I was a young whipper snapper. However, this study lends itself to strengthening the very common pami movement in the right hand. There is something very etuse about the driving harmonic rhythm and the moto perpetuo writing for the right hand.
Intermediate Lesson – Carcassi Etude 7 Op.60
Link to this page Embed on your site. There are not too many demands on the left hand in this study, as it is predominantly a right hand study. The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E.
OK, I agree No, give me more info. In classical music this sentential structure happens all over the place so its good to keep a look out for it! 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. 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: Uploaded on Dec 23, 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.
Choose where you want to share: 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.
Carcassi Etude 7 Op Lesson | Classical Guitar Corner
I omit all zeroes for open strings. Why am I seeing this? 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.
But because the following 3 higher notes now vary rather than repeat the same note three times, the suggested right hand fingering is: Also it is important to give all of the bass notes their full duration throughout the piece. Follow to get notified when DouglasRThompson has uploaded new scores. I’ll eventually be adding more study notes and an MP3 recording of this piece. Start slow and try to get the right hand working evenly.
Right Hand Fingering This is an arpeggio study, and is a gentle preparation for learning how carvassi play the tremelo on guitar, the carcasssi used in pieces such as Tarrega’s famous Recuerdos de la Alhambra. 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, followed by another 1 measure continuation then resolved by a 2 measure conclusion.