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Classical Guitar Lessons: Milan: Pavan No.1

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[MUSIC]
The Pavan #1
by Luis Milan.
This is a a piece that many of us
guitarists have played.
And I've encountered it in, so many times
in master classes over the last
20 years and it's a wonderful piece and
it's a great study in playing in for early
development of playing chords
balanced chords with P,I,M,A there's a lot
of P,I,M,A chords in this of course.
The last the last phrase being a whole
series of them.
[MUSIC].
Sorry, that would be the second to last
phrase.
But that that's a very good test, final
test after playing all the other
phrases in this piece, of the ability to
balance voices.
And so you will get a challenge out of
that.
There's also a phrase which has a couple
scales in it, which is good.
Nothing too much in terms of the scale
department.
[MUSIC].
I recommend starting the scale with M, so
that M-I-M-I-M-I thumb.
In fact you can even go ahead and after
this,
since you can't hold on to the base note,
you can even as you start the scale,
have a nice light thumb nail plant on the
third string.
[MUSIC]
M, I, M, I, M, I, P.
So that you can finish the scale with a
thumb, [SOUND] and
then do the exactly the same thing on the
second scale,
this time planting your thumb lightly on
the fifth string.
[SOUND] M, I, M, I, M, I, P.
And that's usually a good way to go about
it.
Even get some base scales in here.
[MUSIC]
So there's a lot of counterpoint going
on here, it's a early counterpoint piece
it's from El Maestro collection of pieces
from 1535.
So this is very early counterpoint and
also a very early counterpoint challenge
for, for the guitarist.
So one one last thing I want to mention
before
we have a lesson on performance where we
see that video
is the suspensions.
This is another of very, this piece
actually,
this very short piece has a lot of music
in it.
And uh,he final thing is the suspensions
that are in the texture here,
this four voice texture.
They're not that easy to bring out on a
guitar.
[MUSIC]
if we go to here,
this phrase here
[MUSIC],
the second phrase of the piece
[MUSIC].
[MUSIC]
This one in
here,
[MUSIC]
this chord right here,
this D major you'll notice that
[MUSIC]
there's a tie mark on the A, on the A,
the soprano A mark.
[MUSIC]
And then that next chord [SOUND] is,
just an open E with no third in it,
[SOUND] because your A is still
sustaining as a fourth re-suspension from
the last chord.
[MUSIC]
And then it res and
then that voice finally resolves.
The key to being able to sustain that
suspension is to put a little bit of gas,
if you will, put a little bit of muscle
into the, into the high A.
[MUSIC]
You can roll it, rolling it kind of helps.
[MUSIC]
This, and
then playing the ensuing chord very
lightly.
[MUSIC]
If you play that chord lightly enough,
you'll still hear that suspended note.
There's another example a phrase later.
[MUSIC].
So to make that high A last all the way
over into the next bar you once again,
I'll, I'll do it again.
You'll notice I'll play the notes
immediately afterward it much softer.
[MUSIC]
So those are really the,
the things to, to look for
in the Pavan number one, by Luis Milan.
>> [MUSIC].
>> [MUSIC]