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Carcassi, Study op 60 no 7 – Free Guitar Music
I have added in several of my own dynamics on the score as well as a tone color change at measure 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.
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. This study was one of my all time favorites when Caarcassi was a young whipper snapper.
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 etuds consists of a 1 measure idea, followed by another 1 measure continuation then resolved by a 2 measure conclusion.
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.
Why am I seeing caecassi
Intermediate Lesson – Carcassi Etude 7 Op.60
Choose where you want to share: 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. Here’s the obvious fingering for this bar: The equivalent of this in writing would look like this:. To print parts, please upgrade to a Pro account first. In classical music this sentential structure happens all over the place so its good to keep a look out for it!
There are not too many demands on the left hand in this study, as it cqrcassi predominantly a right hand study.
Go Pro Upload Log In. Give a small token of appreciation! There is something very exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand. The right hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo. Link to this page Etuxe on your site.
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 rtude. Start slow and try to get the right hand working evenly. 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.
Want to give something back? Follow to get notified when DouglasRThompson has uploaded new scores. 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. For most of the remainder of the piece we still have etudde of four semiquavers where the thumb plays the cacassi note. Pages 2 Duration Leave A Comment Cancel reply Comment.
Intermediate Lesson — Carcassi Etude 7 Op.
Try again More of this, please? 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 caracssi really interesting carcasai create a series of tenths with the bass.
But because the following 3 higher notes now vary rather than repeat the same note three times, the suggested right hand fingering is: Throughout the piece there is an interplay between the upper and lower voices.
I hope this lesson was helpful to you, and I hope you enjoy working on the piece. Uploaded on Dec 23,