Key of A minor from the Ca,
Carcassi Guitar Method.
And, and the new wrinkle here
is that this is our first minor key of the
And no sharps, no flats, it is the it is
the relative minor of the key of C major.
Now I will, I'll introduce an
articulation, a new articulation here.
You may have heard me play it in other
examples, but I'd like you, in this
lesson, in the waltz that I've chosen from
the musical examples in A minor
here to apply a an articulation to the
first and second measures.
And any of the other measures in the waltz
that are exactly like those first two
But first here is the scale exercise
covering the notes of the scale of
[SOUND] Because he didn't really use this
cord at the end.
That was my fault.
Okay, now on to the [LAUGH] [SOUND] the
And, oh, by the way, one last thing in
this scale exercise.
You may notice that I'm moving around on
Sometimes when I'm coming down in first
position like this, I may use three,
one, zero, three, one, zero, two, zero,
In some other examples I may use four,
one, zero, four, one, zero.
That's one purpose to get you used to the
idea that, you know,
you can use four or three depending on the
that you should be comfortable with both
of those combinations.
Okay so, here we go with the waltz.
The two measures, the first two measures
I, I mentioned sound like this.
I added three and four, measures three and
four so you could hear that whole phrase.
You, of course you have your music in
front of you here.
So, you notice that the second beat of the
first and second measures, and
any other places where that happens in, in
that A section of the waltz.
You notice that I'm playing a staccato
And what that does is it imbues this waltz
with more of a waltz-like feel.
One and two, and one and two, and one and
two three, one and two three, one,
and so that articulation is a, is really
a, a musical affectation that we,
we, we may execute technically in the, in
the right or left hands.
But it's really a musical device.
So note that I'm doing that and try to try
to copy that as it's happening.
Let me just look quickly through anything
else in here and
no everything else looks fine.
And here we go.
I'm gonna play it a little slower, again,
so that you can see the,
the, the mechanics and, and also see the
which is done, incidentally, with a, m.
When I play the second beat of those
to apply the short note or the staccato
note on the second note,
I simply get my, my end finger,
which is playing the open E on beat three,
I simply get it there a little bit early.
Or, another way to look at it, is I
sequential plant it.
I plant the m sequentially, immediately
after the a.
And you'll remember from the Giuliani 120
exercises, in those lessons there that
if you're not familiar with that, you need
to visit that
section and practice your Giuliani 120
Sorry, 120 exercises.
We don't do all of them in the, in the
series but we but but I'm covering a, a,
a good amount of them there.
And so here we go.
So just think of it as sequential
The first time I went through the A
I not only did I put an articulation on
the second beat, but I,
I also played it with a little bit of the,
sort of the Viennese affectation.
So rather than being very literal about
the 16th note, 8th note combination,
I play it almost like three, one and two,
three, one and two, three, one and two.
Which is a little bit more of the, the
And then when I came back to the A
I played the rhythm more straight, or more
Three, one and two, three, one and two,
three, one and two.
You should be able to play in both of
If you listen to a lot of waltzes from
this time period some musicians apply
that affect more than others but it but it
is sort of, it is part of that style.
So, key of A minor.
Thank you very much.