Hello, and we're gonna continue
with E minor in the Carcassi method here.
So, just as we've been going along here,
and will continue to in the other keys.
The pattern here is that he establishes
the key with a, with a scale,
and and then a scale exercise.
And then a short arpeggio exercise, and
then a piece a piece or two or three.
As you may notice, if you have the
we're not going through every single piece
And I'm just sort of cherry picking from,
from different pieces.
Actually, in this one it looks like we got
a nice one here in allegretto.
So in the second,
in another video after this we will cover
this allegretto in E minor.
But for now here are the here are the E
minor exercises here, so just the scale.
And in the example there he doesn't,
at least in my copy of the Carcassi
method, he doesn't give any fingerings.
The fingerings that you should use should
just correspond with the fret
in this, in case.
So basically if there's a D sharp on the
second string you'd play it with four,
it's on the fourth fret.
This, [SOUND] this G on the sixth string
should be played with three, and so on and
So zero, two, three, one, two, four, one,
two, four, zero,
two, zero, two, four, one, and so on and
And now to the scale exercise.
a short arpeggio
So, I wanted you to know is a couple of
things about the arpeggio exercise there.
There's a, there's a tricky chord change,
we're going to encounter in some of the
Carcassi progressive studies,
which are quite a bit more difficult than
But what's nice about why I'm taking you
through some of these, these studies and,
and short pieces is because they are gonna
foreshadow a lot of things you are gonna
encounter in the A tunes, which foreshadow
a lot of things that,
that are difficult about playing anything
basically in the 19th century.
So, gonna show you here in measure three.
[SOUND] Here's a very good example
We've got two, one, three [SOUND] going to
three, one, four.
Now the tendency, [SOUND] for a student
within their first
three years of study, is to go at that
second chord change and
try to grab all three of the notes at the
And so this idea that you'll probably see
in a lot of other lessons,
I'm gonna mention this, walking each
figure into a chord change, is very
It's a very good skill that I believe
should be developed earlier in one's
It may seem a little bit more complicated
at first but
actually your fingers are much more adept
at moving in sequence than trying to move
three to three say,
fingers in this three fingers in this
instance to one fixed spot.
So in measure three I'd like you to
practice [SOUND] not just there,
but this chord too.
Two, one, three.
Placing them down only as needed and in
[SOUND] And then here, three, one, four.
Once again two, one, three.
I'll exaggerate the placement of them for
for a fact here.
Two, one, three.
Three, one, four.
if you need to use a little bit more of
extra movement like that,
at first to just train the fingers and get
used to it, that's okay, but then, and
then, you know, once they are comfortable
with the sequence,
then try to reduce the movement or make it
a more relaxed, and make a little bit,
make the movements a little bit smaller,
This way of moving the left hand,
even though there are chords and there are
this way of moving the left hand to them
is actually a more,
is much easier for the left hand over time
than, [SOUND] this.
This is very difficult to do.
To take three fingers and
move them each into one, you know, into
very specific spot like that.
That's why if you listen closely to a lot
of folk guitarists, yes I mean, I can,
I can hear some of you saying like well
but folk guitarists do it all the time,
they, they they'll take I'll take a C
And they move to F major immediately
there, and so those are six notes that all
have to be played at the same time,
but if you listen to most most rock or, or
full guitar players, they're lifting their
hand in between.
You hear quite a few strokes there where
there's open strings.
So they're more like this
[LAUGH] And that gives them the,
the extra time there to actually get all
the fingers down.
Well in the thing in classical guitar, we
don't really have that luxury.
We have to play the notes as they are.
So this walking, I call it walking here,
you're gonna hear that a lot throughout
the curriculum, walk your fingers to the
shift is recommended.
And here's a great opportunity, measure
three of that exercise to practice that.
Hello and continuing with Carcassi method
key of E minor, here's a short piece in
the E minor.
This is the allegretto.
And it's in a six-eight rhythm.
So just a reminder about six-eight.
You'll hear it in other lessons but it's
always good to just remind that six
eight is not, felt in six beats or in
Six eight is a two beat meter consisting
of three eighth notes per beat.
So it is counted as one-and-a, two-and-a.
So, this six subdivisions in six-eight are
in, are six, six eighth notes,
hence the six over the eight and
their grouped into two beats of three
eighths notes apiece.
So, this would be counted as, a-one,
A one, a two, a one, a two.
So here we go, here is the allegretto.
From the E-minor of the Carcassi method.
Notice how much I really am feeling each
of the subdivisions and,
or each of the beats in measure 24.
It's very tempting when there are long
spaces of time that pass between notes.
They can sometimes feel like an eternity.
It's important during those things to
check, in a playback or, or
just to check even as you're practicing
or, or, or performing it.
To see that you are indeed waiting, that
there's a really long pause here in
24 to ju, just to check that you're
waiting the whole time.
And letting all the, the time pass there.
It's, there's a, I've found that through
teaching over the years that,
that students tend to rush that.
Something like this.
It's a very typical thing and, and
sometimes you know, we have to remind
that there are to count during those long
So I'm just gonna count while I'm playing
And I like to count the law,
the larger beats like that in, in, in my
So, if you just feel two and even if you
need to count it for a while, that'll help
you, that'll keep you from rushing forward
to the next to the next phrase.