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There is actually no point to it. 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 Comment Cancel reply Comment. 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 in A minor Op. 60 no. 7

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

Your download has started. The equivalent of this in writing would look like this:. The carczssi hand fingering for each four note group in these bars is p a m ithe fingering used for a tremelo. OK, I agree No, give me more info. Uploaded on Dec 23, Want to give something back?

However, this study lends itself to strengthening the very common pami movement in the right hand. I hope this lesson was helpful to you, and I hope you enjoy working on the piece. Save my name, email, and website in this browser for the next time I comment.

Etufe first section of the piece from measure 1 — 8 is one long phrase that can be divided into two equal four bar phrases and 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. We use cookies on this site to enhance your user experience By clicking any link on this page you are giving your consent for us to set cookies.


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: Throughout the piece there is an interplay between the upper and lower voices. 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.

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.

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. 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.

The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E. Give a small token of appreciation! The score can be downloaded in the format of your preference: 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.


I omit all zeroes for open strings. Also, once a fingering is notated, I don’t notate it again if it is repeated. 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.

Also it is important to give all of the bass notes their full duration throughout the piece. 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 op 60 no 7 – Free Guitar Music

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. Go Pro Upload Log In. I have added in several of my own dynamics on the score as well as a tone color change at measure Intermediate Lesson — Carcassi Etude 7 Op. 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.

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.