Carcassi: Melodic and Progressive Etudes, Opus An Alfred Classical Guitar Masterwork Edition. [Matteo Carcassi] Fingerings by Aaron Shearer with. This set of studies for the guitar by Carcassi, the 25 Etudes Mélodiques Progressives, op. 60, has become very famous. It has been known to generations of. This page gives the notes on the pieces, from the Tecla edition of Carcassi’s 25 Etudes for guitar op. This is not the main page for Carcassi’s 25 Etudes for.
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Classical Guitar Skip to content. Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp. Our website is made possible by displaying online advertisements to our visitors.
Please consider supporting us by disabling your ad blocker on our website. I mean when you first encounter them as a beginner.
I’ve been starting on Op. For instance I can do a passable rendition of the famous Sor B-minor etude after cacassi worked on it a couple months and I would swear it wasn’t as tough to play through when I first saw it as this silly little Carcassi study. My fingers just don’t want to go where they carcassi to go and I start and stop constantly.
Maybe I just “naturally” take to arpeggio-like pieces than scale ones. But I do practice scales for a portion of my very limited practice time every day.
Etudes, Op.60 (Carcassi, Matteo)
So I’d love to hear of other people first encounter with the Carcassi I know I got a lot out of it at the time as I was just embarking on the Carcassi journey. In fact I think I remember reading a discussion of the “correct” order to do these excercises and someone opined that 1 was the hardest!
I use it as a warm up at almost every practice session. The neat thing about these excercises is that they each have a particular skill to for us to work on. You’ll love 3 as it works out a nice arpeggio. The fact that you’re finding 1 difficult means that your teacher is right This piece is much more fun than doing scales however.
If you haven’t already oous so, be sure to check out Jounis’ recordings of all of these in our MP3 section.
Do people generally find the Carcassi studies to be carcasei than they look. It was also difficult for me to begin with, even though I think I am quite fluent with C and G major progressions. Funny enough, I kind of started to cqrcassi the piece and now I play it for pleasure. I used the boring way to train it, practicing with a metronome, from very slow tempos, increasing the speed slightly everytime I felt I am ready to do this.
I memorized it quite quickly, but somehow I still cannot play this fluently without looking at the score. There was a nice thread somewhere here about this study, but I cannot find it at the moment.
I am working on no. A terrific study in slurs. It has taken me a while to obtain reasonable control, particurlarly with those slurs involving the 4th finger on the fretboard. I am also working on sporadically no. What I find to be difficult is paying attention to the right hand picking technique.
Carcassi Op. 60 – Classical Guitar
My technique has been sloppy at best and the strict alternate picking that Carcassi notates is demanding for one of my limited skills. I believe it is the details that make these harder than they first appear. I agree, the first piece is a great warm up excercise! Some, I find, are easy enough to read through, but the challenge is in playing cleanly, in good time and musically.
In my current regime I play 1 and 4. There are spots in 4, for example, that I find require particular attention to fingering and movement between hand position – the 7th to 8th measure in the B section. I don’t know why, but that was a stumble spot for me that required special attention! I play allot of scales and thought that I’d find it quite easy but it wasn’t and it has helped me to opis my scale practice in a new light. The shifts in bar 31 and 32 are ophs toughest for me to play smoothly.
Patience and working through the piece really slowly is paying off and I’m now looking to practice more scale orientated pieces than spending so much time on scales.
I also play no. Very nice job – very musical – reading of 1. I would like to second the recommendation to listen to the MP3 recordings made by Jounis. I played it through once and thought I’d have it sorted pretty quickly, but there’s a lot more challenge there than I realised – like a sudoku that looked easy but took ages. I would suggest before beginning the normal ‘rote’ style of learning playing the piece over to the point where the fingers have memorized the patternsthat the player should sit with the score and do some analysis of the scale patterns, the harmony, opua the form.
If you’re familiar with the different major scale forms then find which ones are being used and note that.
Carcassi: Melodic and Progressive Etudes, Opus Guitar Book & Online Audio: Matteo Carcassi
If you can identify the chords, even using your ear and the guitar, then write those in as well. Then look at the form, are there sections, how many measures in each section?
Make some basic observations. If you do this you’ll discover things about the work that will likely pass you by, even if you play the work for years! Then I would set about reading this work off the guitar. I teach a method that explains this in detail, not only the reading aspect but memorization as well, and students who learn this method benefit greatly. The point here is that the piece might not be that difficult to play but embedding reading mistakes into the learning procedure can and will cause confusion in both the learning and performing of this or any piece.
I remember trying to work on Carcassi’s studies a few years ago and felt that they all just sounded like a bunch of aimless notes. Since then I’ve gained much more experience with music in general and of this period, guitar technique, and interpretation, and I have a much deeper respect for them. In addition to diligent analysis and study, I think it is also worth approaching them with an open mind. For example, I have heard many performances of Carcassi 1 and I confess that I had never really heard any real music in it until last night; a friend played it with expressive phrasing quite different than I had ever heard in it before, and I felt like it almost could have come from one of Bach’s cello suites.
It brings to mind a quote I read in a book called “Violin Mastery,” I believe it went “even the simplest of studies presents great challenges for the virtuoso performer. Board index All times are UTC.