Classical Period Guitar Lesson

Chapter 1: (12:34) Introduction to the Classical Period and Ferdinando Carulli's Waltz Lesson Objectives

-Learn how to play a Waltz written by Ferdinando Carulli.
-Learn key stylistic elements and historical information pertaining to the Classical period of Western art music.
-Study the life and works of Ferdinando Carulli.

Classical Period

Note: Stylistic information pertaining to the five most important periods of Western art music (Renaissance, Baroque, Classical, Romantic, Modern) will soon be posted in the Articles section of JamPlay. This section can be accessed through the left-hand side of the homepage. Learning this information will help you interpret written scores in a stylistically appropriate manner. Without knowing the background information and the approach that went into composing a piece of music, you will not be able to play it as it was meant to be performed.

Ferdinando Carulli

Ferdinando Maria Meinrado Francesco Pascale Rosario Carulli (1770-1841) is one of the most influential guitar composers from the Classical period. Carulli was born in Naples, on February 9, 1770. He began studying the cello as a child. He later switched over to the guitar around age 20. During this time period, the guitar was still not nearly as popular as other chamber instruments. Since there were no guitar teachers to study with in Naples, Carulli developed his own unique style.

Soon after picking up the guitar, Carulli began to perform regular concerts in Naples. The success of these initial concerts eventually led to full tours of Europe. Carulli moved to Paris after a tour through the city. At this time, Paris was heralded as the music capital of the world.

While in Paris, Carulli wrote prolifically. In just 12 years, he composed over 400 guitar pieces in addition to concertos and various chamber pieces. Unfortunately, some of Carulli's finest works have been lost. Music publishers felt that some of his pieces were much too difficult for the average guitarist. Consequently, the publishers thought these pieces would not turn a very large profit. After several rejections, Carulli began to publish his more complex works on his own.

In addition to composing and performing, Carulli devoted much of his time to teaching. One of his most notable accomplishments is his guitar method book entitled "Harmony Applied to the Guitar." This book includes a variety of pieces geared towards a beginner to intermediate level. At the time of its publication, Carulli's method book was extremely popular. It remains to be a popular teaching method amongst classical guitar teachers to this day.

Carulli's Compositions (with Opus Numbers)

Op. 11, Duo In C Major for guitar and piano
Op. 21, Three Sonatas for solo guitar
Op. 32, Three Waltzes for guitar and piano
Op. 37, Duo In D Major for guitar and piano
Op. 45, Great Duo In A Major for guitar and piano
Op. 63, Great Duo In A Major for guitar and piano
Op. 65, Duo In A Major for guitar and piano
Op. 70, Great Duo In D Major for guitar and piano
Op. 86, Great Duo In E Minor for guitar and piano
Op. 92, Three Small Duos for guitar and piano
Op. 127, Nocturne In G Major for guitar and piano
Op. 130, Duo In C Major for guitar and piano
Op. 131, Two Nocturnes for guitar and piano
Op. 134, Duo In D Major for guitar and piano
Op. 135, Duo In C Major for guitar and piano
Op. 140, Petit Concerto de Societé for guitar and orchestra
Op. 151, Duo In G Major for guitar and piano
Op. 161, Great March Of Agthe In C Major for guitar and piano
Op. 168, Great March Of Ries In D Major for guitar and piano
Op. 169, Beethoven's Variations In F Major for guitar and piano
Op. 189, Three Duos for guitar and piano -

Nr. 1, Duo In A Major
Nr. 2, Duo In G Major
Nr. 3, Duo In D Major

Op. 196b, Three Sonatinas for guitar and piano
Op. 207, Nr. 1, Solo In D Major for guitar and piano
Op. 208, Nocturne In A Major for guitar and piano
Op. 233, Two Duos On Themes By Rossini for guitar and piano
Op. 236, Mix On Themes By Rossini for guitar and piano
Op. 333, Grand Recueil (18 Very Easy Pieces for Beginners) - 2 books

(Without Opus Numbers)

Rondo In D major for guitar and piano
Fantasy from "Fiorella" By Auber In A Major for guitar and piano
Variety Of Twelve Overtures By Rossini for guitar and piano -

Cinderella, Or Goodness Triumphant
Bianca And Falliero, Or The Council Of Three
The Italian Girl In Algiers
Tancredi
Othello, Or The Moor Of Venice
The Merry Deception
The Barber Of Seville, Or The Useless Precaution
The Thieving Magpie
Semiramis
Torvald And Dorliska
Edward And Christina
Armida

The Waltz

Waltzes can either be written in 3/4 or 3/8 depending on the feel of the music. 3/8 is usually used for slower pieces in which the beat is subdivided in half. For example, in 3/8 time, eighth notes are counted as the beat. When the eighth note is subdivided in half, sixteenth notes are produced.

Performance Example

Danny demonstrates Carulli's Waltz at 02:00 in the lesson video. Listen to this example several times before you begin to practice the piece. Remember that it is always easier to play something that you have heard several times.

Arpeggio Pattern

The majority of this piece consists of a simple arpeggio pattern. Isolate and practice this arpeggio pattern by eliminating the left hand from the equation. Simply drill the right hand pattern with open strings.

Danny breaks down the proper fingering for this pattern at 03:25.

Chord Progression

Danny breaks down the chords that the arpeggio pattern is applied to at 04:30. This progression consists of the following chords: Em - B/D# - Em -B7 -Em

Note: The arpeggio pattern varies slightly to incorporate a melody line on the first string within the B major chord.

Left Hand

Pay very careful attention to the left hand fingerings that Danny uses to play each of the chords. Remember that economy of movement is extremely important to playing classical guitar.

Rolled Chords

The last chord of this section is played as a "blocked," meaning that all of the notes are played simultaneously. Danny "rolls" this chord or separates each of the individual notes in the arpeggio to give the ending to this section a more dramatic effect. Chapter 2: (08:18) Finalizing Ferdinando Carulli's Waltz Danny demonstrates the second section 00:50. Listen to these 8 measures several times before you dive in and learn them.

Arpeggio Pattern

The right hand pattern changes in this section. Remember to practice each arpeggio pattern with open strings so that you can monitor your right hand technique.

Balance

The melody must always be played louder than the supporting accompaniment part. For example, at the beginning of this section, the melody is played in the bass. Bring out the bass line by digging in more with the thumb. Then, bring out the melody as it switches to the higher register on the first string. Remember that there is always more to playing guitar than just regurgitating what is written on the page.

A Few Notes on the Score

Danny teaches only the first half of Carulli's Waltz in this lesson. Using the skills that he has taught you, tackle the second half of the piece on your own.

As you work through the entire piece, make sure that you are following the musical road signs correctly. "D.C. al Fine" is indicated at the end of measure 32. "D.C." is an abbreviation for "da capo," literally meaning "to the head (beginning)." "Al fine" means to the end. The end or "fine" is indicated above measure 16. Follow the instructions listed below as you play through the piece.

1. Play mm. 1-8.
2. Repeat these measures.
3. Play mm. 9-16.
4. Repeat these measures.
5. Play mm. 17-24.
6. Repeat these measures
7. Play mm. 25-32.
8. Repeat these measures.
9. Go back to measure 1.
10. Play mm. 1-8.
11. Repeat these measures.
12. Play mm. 9-16.
13. Repeat these measures. The piece ends here.

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