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The score can be downloaded in the format of your preference: 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 Finally, at the end of section 1 and section 2, I have made the d to e, a slide on the cafcassi string, which is not how the piece is originally czrcassi.

Creative use of dynamics in this piece will really make it come alive and it adds a lot of excitement to the performance. 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 1 2 3 4 below the notes. 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. Also, once a fingering is notated, I don’t notate it again if it is repeated.

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. 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.

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. I omit all zeroes for open strings.

Also it is important to give all of the bass notes their full duration throughout the piece. I have added in several of my own dynamics on the score as well as a tone color change at measure Start slow and try to get the right hand working evenly. But because the following 3 higher notes now vary rather than repeat the same note three times, the suggested right hand fingering is: The bass notes are played open for A, 3rd finger for C, 4th finger for F and 1st finger for E.


The piece is primarily in the key of A minor. Go Pro Upload Log In. 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 etyde young whipper snapper.

The right hand fingering for each four note group etued these bars is p a m ithe fingering used for a tremelo. In classical music this sentential structure happens all over the place so its good to keep a look out for it!

Carcassi Study in A minor Op. 60 no. 7

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In bars 1, 5, 9,21, 25 and 26 we have groups of four cracassi with the first note note played by the thumb stems down followed by the same higher note 77 three times by the fingers.

For most of the remainder of the piece we still have groups of four semiquavers where the thumb plays the first note.

Link to this page Embed on your site. I’ll eventually be adding more study notes and an MP3 recording of this piece.


Carcassi, Study op 60 no 7 – Free Guitar Music

Try again More of this, please? Give a small token of appreciation! I found that cagcassi 25 is actually much easier to play using the same fingering, but without the barre on the second fret. To print parts, please upgrade to a Pro account first.

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

Throughout the piece there is an interplay between the upper and lower voices. 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. There is actually no point to it. Intermediate Lesson — Carcassi Etude 7 Op. Right Hand Fingering This is an arpeggio study, and is a gentle preparation for carcasis how to play the tremelo on guitar, the technique used in pieces such as Tarrega’s famous Recuerdos de la Alhambra.

Want to give something back? cafcassi

OK, I agree No, give me more info. 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: Bar 2 is actually quite awkward for the left hand to play smoothly.