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Classical Guitar Lessons: Tárrega: "Lágrima"

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In this lesson we're going to cover
some of the points about studying and
performing Lagrima by Francisco Tarrega.
This is a very, very famous piece by
Tarrega and it's it's really good,
I wanted to put it in this early section
early development because it's not really
quite an etude.
It is in fact a, a performance piece,
I mean I've, I've played it as as an
encore in some of my concerts.
It's very lovely and features a melody
it's a little tougher than some of
the earlier etudes because the thing that
distinguishes this piece is it's not it,
doesn't have a ton of notes in it but it
really goes all over the fingerboard,
and in particular which is true of a lot
of these very small
Tarrega pieces there's a really nasty
measure or two.
And this is true of Adelita and I always
I've always marveled at the,
at the, the fact that sometimes a piece
like Adelita or Lagri,
Lagrima would be assigned as an early as
one of the first pieces that a student
learns because I feel personally, they, it
should come a little bit later after some,
some command of the right and left hand.
Simply because the intent, Tarrega's
intent here is not to
to compose an etude but a concert piece
and thus it has some nasty passages.
The famous passage that gives a lot of
young student, or students
in the beginning of their development a
little bit of trouble is measure five.
Those four beats right there often
in my experience often give us, some
students fits so
we're gonna work with just a short
I'm gonna show you how to break that, that
measure down, and
starting from the beginning actually, I'll
I'll play you the first half of the piece
with that measure five.
So in practicing
measure five
I encourage students
the to basically
take it one beat at a time.
Or two, in this case two one-eighth notes
at a time so I, I'd like to start when
I'm practicing this, I like to start from
the measure before,
measure four to kind of allow myself to
kind of get into it.
And I just play the first note because
the first note is really the hard thing to
get to.
It's quite a long shift, it's about ten
frets, so let me do that again.
And again, don't feel like you've gotta
get all the, the first finger down as
That first finger doesn't have to come
down until the second one-eighth note of
the measure, so again try to walk your
over to each of the individual notes
whenever possible.
So, step two is to add that second
one-eighth note, so here we go, step two.
There we go.
Step three, add the, just the second beat,
the second beat only, two eighth notes
worth of music.
Okay, and you know,
if you want you can even isolate those two
on their own just to practice,
going between those two beats.
Just to feel the weight in,
in the fingers shift from one to another.
Okay, step four would then be the to
simply add the third beat of measure five.
just like that.
The rest of the passage,
once that measure five is mastered,
Again, if broken down beat by beat, it's
even easier than measure five,
it's, it's the combination I've found of
measures five and six, just that
it's a lot of left-hand information and
every shift looks different, and,
and some of them even look a little too
similar if you know what I mean, and
that's really what gives students
Musically you're really just bringing out
the melody out front,
you keep the other notes lighter and bring
your your quarter note melody and
your bass out a little bit ahead of your
offbeat eighth notes.
Another thing I like to do in measure 11,
and if you just
look at measure 11, this measure here,
it's perfectly okay to let go of
the melody notes at each beat, these high
melody notes,
E, C, A but I like to overlap them.
So for maybe some of the, if you're, if
you've got this part figured out and,
and maybe for some of the more advanced
players if you're a little bit further
along try this, I just think it makes a
nice musical effect I don't know if
Tarrega would approve of it or not but
here it sounds something like this.
It's something all most like playing a
little bit of counter point, making
a little bit more of a counter point
between the melody and the accompaniment.
And that's pretty much it with Lagrima,
just be sure to work on, on really
phrasing and, again, beautiful tone.
We're covering in, in some of the lessons
tone production and
beauty of sound, and this is the perfect
piece for that.
So have fun and, and
this is Lagrima by Francisco Tarrega.