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I found that measure 25 is actually much easier to play using the same fingering, but without the barre on the second fret. 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.
Link to this page Embed on your site. The piece is primarily in the key of Carcasso minor. Try again DouglasRThompson worked hard on this score.
Carcassi Study in A minor Op. 60 no. 7 sheet music for Guitar download free in PDF or MIDI
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 csrcassi the music. Bar 2 is actually quite awkward for the left hand to play smoothly. In general I would recommend using pami as indicated in the score and for the arpeggios, use either pimi, or piai. Throughout the piece there is an interplay between the upper and lower voices.
Intermediate Lesson – Carcassi Etude 7 Op.60
Go Pro Upload Log In. But because the following 3 higher notes now vary rather than repeat the same note three times, the suggested right hand fingering is: Uploaded on Dec 23, This study was one of my all time favorites when I was a young whipper snapper. For instance, from measure 1 cagcassi 4 as in the image above the bass line has the melody, but in measure 2 there is a nice eetude 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.
There are not carczssi many demands on the left hand in this study, as it is predominantly a right hand study.
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 carczssi 2 3 4 below the notes. Leave A Comment Cancel reply Comment. Make sure you know what voice is the most important at any given time so you can bring it out strongly.
Start slow and try to get the right hand working evenly. To print parts, please upgrade to a Pro account first. 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.
Carcassi Study in A minor Op. 60 no. 7
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. 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.
Pages 2 Duration However, this study lends itself to strengthening the very common pami movement in the right hand. Your download has started. There is actually no point to it. Follow to get notified when DouglasRThompson has uploaded new scores. The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E. Try again More of this, please? Want to give something back?
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. I’ll eventually be adding more study notes and an MP3 recording of this piece.
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
Choose where you want to share: Why am I seeing this? 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. The second section bar 9 onwards starts in the relative major key, C major, and makes its way back etudde A minor by the end of the piece.