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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. Once you feel comfortable with the piece start cranking up the tempo to get this study really flying!

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.

Make sure you know what voice is the etuee important at any given time so you can bring it out strongly.

Intermediate Lesson – Carcassi Etude 7 Op.60

This etde 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. Try again More of this, please? Also, once a fingering is notated, I don’t notate it again if it is repeated.

The piece is primarily in the key of A minor. I hope this lesson was helpful to you, and I hope you enjoy working on the piece. Go Pro Upload Log In. The bass voice often carries the melody so it is important to keep your left hand fingers down while eyude upper tremolo or arpeggio is sounding.

There is something very exciting about the driving harmonic rhythm and the moto perpetuo writing for the right hand.

This study was one of my all time favorites when I was a young whipper snapper.

Carcassi Study in A minor Op. 60 no. 7 sheet music for Guitar download free in PDF or MIDI

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. 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 Carvassi — if you bring out this little scale it will sound really crcassi and create a series of tenths with ehude bass.


I have added in several of my own dynamics on the score as well as a tone color change at measure There is actually no point to it.

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 carcasdi. 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.

If cwrcassi have a carcasi left hand technique you might want to consider carcasi this combination of weaker fingers, as it removes the awkward left hand jump: The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E. For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note.

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 I found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret.

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. To print parts, please upgrade to a Pro account first. OK, I agree No, give me more info. 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.

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. 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.


Carcassi Etude 7 Op Lesson | Classical Guitar Corner

The right hand fingering for each four note group in these bars is carccassi a m ithe fingering used for a tremelo. In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. Start slow and try to get the right hand working evenly. 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.

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The equivalent of this in writing would look like this:. Try again DouglasRThompson worked hard on this score. Give a small token of appreciation! Save my name, email, and website in this browser for the next time I comment. Your download has started. Link to this page Embed on your site.

Why am I seeing this? Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance.

Carcssi 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. 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.