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Classical Guitar Lessons: Carcassi Method -- Key of G Major

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Carcassi Method,
key of G major.
And G major is one sharp in the key
And in another video, there is they'll,
they'll be one for
the relative minor key to G major, which
is E minor.
Also one sharp in the key signature.
And here we go, and we're going to just go
in this video just gonna take you through
the scale covering the notes of G major.
And then a short scale exercise.
And then a short arpeggio exercise.
So here we go, here are the notes of the
Again, try to follow Carcassi's fingerings
for, for the for the scales.
He basically organizes the right hand
fingerings and,
and the left hand ones too in a very
simple way, incase of the right hand.
Only the, the thumb is playing notes on
the wound bass strings,
the bottom three strings.
I and M is alternating then, from that
point as he moves up the scale and
into the treble strings, then there is
some alternation between I and M.
Here we go.
And then the scale exercise.
And now, the arpeggio exercise.
And in the next lesson, we'll cover one or
two of the pieces in G major from the
Carcassi method.
And continue with, the key
of G major, from the Carcassi method.
This is a waltz in, in this key.
And there's a fingering in the, in measure
It's good to practice it of course cuz
then you're hopping both the second and
third strings from the second and first,
the second and third fingers.
Excuse me, from the second and first
And then you're, you're switching them.
So it's good to practice.
It's good because it's a little bit of
a weight transfer.
But also, I recommend practicing this
fingering: two four,
zero two four two four two, zero two three
two three two.
It's just a nice exchange between two,
three, and
four working together that you will use
often in and especially in this key, but
just in general in guitar playing when the
pieces get a little bit tougher.
Because sometimes you won't have time in
faster pieces to,
to switch two different fingers to two
different strings.
Okay, so here we go, G Major Waltz.
I want
you to
There's a, a kind of damping that I'm
doing that's not with the right hand.
You'll see in different examples of the
Cacarssi method some of these short pieces
and [COUGH] some other examples and
some of the early etudes in the
fundamental skills block.
We're talking a lot about right hand
But there's a, there's a certain left hand
damp that if you,
if you're, if you feel you're ready for
it to try to practice with, it's very good
in this particular instance.
And that's the nature of damping.
Some, some things work better than others
in certain situations.
In this situation here, right in the first
measures measures one and two.
It's to create the waltz feel,
I'm articulating or shortening the second
one two and one two and one two.
So, it'll be pretty cumbersome with all
these open strings in G major.
I mean you can do it with the right hand,
but you kinda have to use all three
fingers P,I,M.
This is one of those instances that you
can actually just lightly with
a free finger of the left hand.
Now this is not really a, kind of orthodox
thing that is normally taught in say a
fundamental skills section.
It's more of a, a, something that you'll
later encounter
more in the intermediate and advanced
techniques with left-hand damping.
But this is, I think, a really good place
to try it,
to try this kind of advanced move.
And I'm,
what I'm basically do is I'm just taking
my free third and
fourth finger of the left hand and just
lightly touching the,
the the third and fourth and fifth strings
just enough to
shorten that second beat of each of those
first two measures.
See, it's not,
it's not done with my right hand.
It's done with my left hand.
So on and so forth.
And then of course in that second measure
starting in measure eight,
you know, here's another kind of thing.
If you feel like you've got a good handle
on this particular piece,
you can see how the, in this arpeggiated
texture in measure,
starting in measure eight with the pick up
there right before it in measure seven.
Notice how the melody, that top line C
connects to the B in the following
And then in measure 11,
the open E string
connects to the D on the second string in
the 12th measure.
Notice in my performance that
I'm actually not releasing the first
finger on the C until the moment that I
play the open B in the next measure.
This is, again, this is something more of
a, a little bit more advanced than what
you would need to do to,
to fulfill this requirement, if you will,
for fundamental skills,.
But it's more of a musical, a musically
advanced way that it doesn't tell you to
do that, but the music implies that you
should do that.
So I don't, again,
in the case of measures 11 to 12,
I'm actually letting the open E ring over
the bar line and into the next measure.
And letting the melody actually be
connected, legato to,
from the open E to the to the D on the
second string.
And that's also good to do.
That's why that fingering that I
four to three.
That's just something that, it's that,
using the four instead of three
allows you to do this, this more musical
connection of these melodic lines.
And little things like that, you'll,
you'll find as you progress through the
curriculum into intermediate pieces and
studies, I'll be giving other examples
when this happens.
And it's those little things like that
that really make all the difference.
Thank you.