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Etude by Ferdinando Carulli (Guitar Lesson)


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Matt Brown

Etude by Ferdinando Carulli

Matt Brown teaches an etude for classical guitar by Ferdinando Carulli. Matt will use the etude as an exercise in string skipping.

Taught by Matt Brown in Reading Music and Rhythm seriesLength: 21:20Difficulty: 2.5 of 5
Chapter 1: (02:00) Performance Watch and listen to Matt's performance of the piece several times before you attempt to learn it. As you watch, pay attention to the following factors:

-Rhythm
-Dynamics
-Left and right hand technique
-The overall musicality of the performance
Chapter 2: (01:06) Introduction Lesson Objectives

-Learn an Etude by Ferdinando Carulli by reading standard notation.
-Learn proper string skipping technique.
-Use the etude to practice string skipping skills. This piece is traditionally played fingerstyle on classical guitar. When arranged for pick-style guitar, it becomes a challenging right hand study.
-Apply musicianship skills necessary to performing a solo piece.
Chapter 3: (03:02) String Skipping Technique

Do not rest any part of the right hand on the body or the bridge of the guitar! Instead, rest the top of the forearm on the upper hip of the guitar's body. This allows for maximum range of movement with the right hand wrist. The wrist is also free to move at a greater speed when this technique is applied.

If you are new to this technique, it will seem very awkward and unstable. You may notice decreased accuracy with your string skipping at first. Keep with this technique! In the long rung, it will make string skipping much easier.
Chapter 4: (15:13) Musicality Process of Learning a Piece of Music

1. Note the Title:
"Etude" An etude is a piece that is composed to teach a specific musical technique. This etude is an arpeggio study that features a melody played against string skipping patterns.

2. Note the Composer

Ferdinando Carulli

3. Note the Key Signature

The piece begins in C major. The B section is played in the relative minor key of A minor.

Review of Relative Keys

For every major key, there is a relative minor key. Relative major and minor keys are written with the same key signature.

Note: Open "Circle of Fifths" listed under the "Supplemental Content" tab.

Around the outside of the circle, each major key is listed. The key center ascends by a fifth interval each time as you move around the circle in a clockwise direction. Moving inwards towards the center of the circle, the key signature for each key is listed. On the inside of the circle, the relative minor key to each major key is shown. For example, A minor is the relative minor to C major. E minor is the relative major to G major.

Finding the Relative Minor Key

If you do not have a circle of fifths diagram handy, you can use a simple shortcut to determine the relative minor of any major key. Simply write out all of the notes within the major scale. To not neglect to add any sharps or flats that may occur in the key. Then, count up to the sixth note of the scale. This note is the root of the relative minor key. Let's use the key of Bb major as an example. This scale features two flats in the key signature. Consequently, this scale is spelled as follows: Bb, C, D, Eb, F, G, A, Bb. The sixth note of the scale is G. G is the relative minor to Bb.

In many musical compositions, the key center modulates from the relative major to the relative minor or vice versa.

Note the Style and Tempo

Moderato - Look up the definition of this important musical term if necessary.

Scan the Piece for Important Features

Look for features such as dynamics, the form of the piece, key changes, temporary modulations, musical road signs, etc.

Crescendos / Decrescendos

Make sure that decrescendos and crescendos are performed smoothly and gradually. Do not play them with the "stair step" approach that Matt demonstrates in the video.

Fermata

"Fermata" means that a chord or note is held indefinitely. In an orchestral setting, the duration of the fermata is left up to the discretion of the conductor. When playing a solo piece, the duration is left to the discretion of the performer.

Musical Road Signs

Here's some quick help with interpreting the musical road signs in this piece:

1. Play up to measure 24.

2. Jump back to the beginning of measure 17 and play the B section again. After finishing measure 23, jump ahead to the second ending in measure 25.

3. A D.C. al Fine is indicated at the end of measure 33. Jump back to the beginning and play until you reach the "fine" indication.

Other Important Terminology

Rall. - Abbreviation for "rallentando," which means "slowing down."

Atempo - Back to the normal designated tempo

Left Hand Technique

Play with strict "classical" technique when playing this piece! Follow these left-hand rules at all times!

1. Keep the thumb lightly pressed against the back of the neck. No squeezing!

2. Make sure that every single joint is arched.

3. Play on the very tips of your fingers.

4. Keep the nails very short.

5. Don't fret a note with the pad of the finger, but rather with the end of the finger where the pad meets the nail.

6. Keep the fingers as independent as possible and as close as possible to the fretboard. The pinky is the usual culprit in this department. It tends to have a mind of its own.

Fingering

Throughout this scene, Matt offers many fingering suggestions. These fingerings minimize left hand movement. As a result, the melody and accompany lines are easier to play in a smooth, legato fashion.

Practice Tips

To learn and master the piece in the most efficient manner, do the following:

1. Isolate and work on small segments such as one or two measures at a time. Drill them slowly with a metronome.

2. Begin to string the segments together once you can play through all of them perfectly at a slow tempo.

3. Do not advance the tempo on the metronome if you consistently make mistakes. Address and isolate any mistakes or trouble spots before moving on.

4. Memorize the piece! This will allow you to look at your hands while playing. Also, it will be much easier to play the place musically if your brain doesn't have to process the extra information that comes along with reading a piece of music.

Video Subtitles / Captions





Supplemental Learning Material

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Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.


mattbrownmattbrown replied on December 27th, 2011

I probably wouldn't pick it like that, since you're playing the important melody notes with upstrokes...As a result, these notes are probably going to come out softer in volume when they should be a little louder. You may want to try this pattern: D-D-D-U-D-U...That makes the picking a little more economical. For the sake of technical development though, you'll want to be able to play this smoothly with alternate picking.

kierkier replied on December 30th, 2011

Thanks got it now! I should have watched your string skipping lesson in the rock series first. I learned Street Spirt a while ago but have been picking it d-d-u-d... also. Have to spend a little time unlearning some bad technique.

mattbrownmattbrown replied on January 2nd, 2012

Yeah...Alternate picking (without anchoring the wrist) in the context of a string skipping pattern can feel very strange at first...Once you get used to it though, you'll find that this is by far the easiest way to do string skipping.

kierkier replied on December 27th, 2011

Hey Matt, question about picking. Do you maintain alternate up down picking for a piece like this? I've noticed that I tend (in the first part) to always down pick the bass note and then down pick the g note followed by an up pick for the notes on the first two strings. So each measure I pick D-D-U-D-U-D. It sounds perfectly fine but I'm wondering if this is bad technique. When I try to play it strictly down up down up it is much harder to be accurate and feels weird. Or is it simply better to play how it feels most comfortable and natural? Thanks.

Reading Music and Rhythm

Found in our Beginner Lesson Sets

Matt brings all of his years of education right to you with this fantastic series on how to read music. You will start with the very basics and work up to some very advanced concepts.



Lesson 1

Intro to Reading Music

This introductory lesson will walk you through the basics of reading music and reading rhythm.

Length: 15:07 Difficulty: 1.5 Members Only
Lesson 2

Reading Music

Learn how to identify notes, the key signature, and the staff. Implement your reading skills by playing a few simple tunes.

Length: 43:32 Difficulty: 1.5 FREE
Lesson 3

Rhythm and Time Signatures

Learn the basics of notation and time signatures. Practice these concepts with a few timing exercises.

Length: 22:01 Difficulty: 1.5 Members Only
Lesson 4

3/4 Time Signatures

Now that you've learned a bit about 4/4 time, it's on to 3/4 time.

Length: 22:20 Difficulty: 2.0 Members Only
Lesson 5

Reading Music Practice

Now that you know the basics of reading music, it's time to put that knowledge to work with some exercises.

Length: 25:43 Difficulty: 2.0 Members Only
Lesson 6

On Top of Old Smokey

Get some more practice reading music and rhythms during your rock fest rendition of "On Top of Old Smokey".

Length: 15:54 Difficulty: 2.0 Members Only
Lesson 7

He's Got the Whole World

Matt Brown reviews the G major scale and teaches "He's Got the Whole World".

Length: 13:18 Difficulty: 2.0 Members Only
Lesson 8

Amazing Grace

Matt Brown explains how to read music in the key of F major. He uses the song "Amazing Grace" as an example.

Length: 15:22 Difficulty: 2.0 Members Only
Lesson 9

Shoo, Fly

Matt Brown teaches the song "Shoo, Fly" as another excellent rhythm and reading example. This song is in the key of G.

Length: 14:46 Difficulty: 2.0 Members Only
Lesson 10

Scales and Key Signatures

Matt Brown returns with the 10th installment in his Reading and Rhythm series. In this lesson, Matt discusses key signatures.

Length: 14:09 Difficulty: 1.5 Members Only
Lesson 11

Minor Key and Aura Lee

In this lesson Matt Brown covers the first minor key song in this series, "Aura Lee".

Length: 12:11 Difficulty: 2.0 Members Only
Lesson 12

Scarborough Fair

In this lesson, Matt introduces the A Dorian mode. He applies it to the song "Scarborough Fair".

Length: 16:29 Difficulty: 2.5 Members Only
Lesson 13

Second Position

In lesson 13, Matt Brown discusses and demonstrates second position.

Length: 29:52 Difficulty: 1.5 Members Only
Lesson 14

Rhythm

Lesson 14 is all about rhythm. Matt Brown discusses its importance and provides several exercises.

Length: 20:17 Difficulty: 2.0 Members Only
Lesson 15

On Top of Old Smokey Review

Matt Brown reviews "On Top of Old Smokey". This time around, the melody is played in second position.

Length: 7:56 Difficulty: 2.0 Members Only
Lesson 16

Reviewing Angels We Have Heard On High

For lesson 14, Matt Brown reviews "Angels We Have Heard On High". The melody is now played in second position.

Length: 12:02 Difficulty: 2.0 Members Only
Lesson 17

Shoo, Fly Review

Matt Brown reviews the song "Shoo, Fly" in second position.

Length: 8:56 Difficulty: 2.0 Members Only
Lesson 18

Rhythm Strumming

This lesson covers right hand rhythm technique. Matt introduces syncopated strumming patterns.

Length: 25:38 Difficulty: 2.5 Members Only
Lesson 19

Down by the Riverside

Matt teaches the melody to "Down by the Riverside". This tune is used as preparation for learning accompaniment techniques.

Length: 15:02 Difficulty: 1.5 Members Only
Lesson 20

Accompaniment

Matt uses the song "Down by the Riverside" to teach accompaniment techniques for rhythm backing.

Length: 12:31 Difficulty: 1.5 Members Only
Lesson 21

Fur Elise Pt. 1

Matt teaches the classic tune "Fur Elise" in a two part series. For Part 1, Matt demonstrates the melody section.

Length: 24:03 Difficulty: 2.5 Members Only
Lesson 22

Fur Elise Pt. 2

In lesson 22, Matt teaches the accompaniment sections to Beethoven's "Fur Elise".

Length: 13:12 Difficulty: 1.5 Members Only
Lesson 23

The Entertainer Pt. 1

Lesson 23 starts a 2 part series on the classic tune "The Entertainer".

Length: 16:30 Difficulty: 2.0 Members Only
Lesson 24

The Entertainer Pt. 2

Lesson 24 completes the two part series on "The Entertainer". You will learn the accompaniment in this lesson.

Length: 14:06 Difficulty: 2.0 Members Only
Lesson 25

Sea to Sea Pt. 1

Matt starts another 2 part lesson, this time on the tune "Sea to Sea" by William G. Leavitt.

Length: 20:36 Difficulty: 2.5 Members Only
Lesson 26

Sea to Sea Pt. 2

Lesson 26 completes Matt's 2 part series on "Sea to Sea".

Length: 10:17 Difficulty: 2.5 Members Only
Lesson 27

Stars and Stripes Forever Pt. 1

Matt introduces the B flat major scale and teaches the song "Stars and Stripes Forever".

Length: 21:31 Difficulty: 2.5 Members Only
Lesson 28

Stars and Stripes Forever Pt. 2

Matt completes his two part series on "Stars and Stripes Forever" by teaching the accompaniment.

Length: 7:39 Difficulty: 2.0 Members Only
Lesson 29

D Major in First and Second Position

Matt Brown teaches the D Major scale in both first and second positions.

Length: 17:55 Difficulty: 1.5 Members Only
Lesson 30

Danny Boy Pt. 1

Matt Brown demonstrates "Danny Boy" in both first and second positions.

Length: 16:28 Difficulty: 2.5 Members Only
Lesson 31

Danny Boy Pt. 2

Matt Brown teaches the accompaniment to the "Danny Boy" melody.

Length: 12:03 Difficulty: 2.5 Members Only
Lesson 32

Silent Night Pt. 1

Matt teaches the Christmas classic "Silent Night."

Length: 18:17 Difficulty: 2.5 Members Only
Lesson 33

Silent Night Pt. 2

Matt teaches the accompaniment to the "Silent Night" melody.

Length: 4:55 Difficulty: 1.5 Members Only
Lesson 34

Funiculi Funicula Pt. 1

Matt Brown teaches "Funiculi Funicula" as an exercise in reading and playing in 6/8 time.

Length: 14:39 Difficulty: 2.5 Members Only
Lesson 35

Funiculi Funicula Pt. 2

Matt Brown teaches the accompaniment to "Funiculi Funicula".

Length: 16:40 Difficulty: 1.5 Members Only
Lesson 36

Strumming Triplets

In lesson 36, Matt provides exercises to help you strum triplet patterns.

Length: 23:30 Difficulty: 2.0 Members Only
Lesson 37

Strumming Sixteenth Note Rhythms

In lesson 37, Matt Brown demonstrates how to strum sixteenth note rhythms.

Length: 17:28 Difficulty: 2.0 Members Only
Lesson 38

Song of the Volga Boatmen

Matt Brown demonstrates the melody and tips for playing the Russian folk tune "Song of the Volga Boatmen".

Length: 11:33 Difficulty: 0.5 Members Only
Lesson 39

Song of the Volga Boatmen Pt. 2

In lesson 39, Matt teaches the accompaniment to "Song of the Volga Boatmen".

Length: 8:35 Difficulty: 1.5 Members Only
Lesson 40

Dance of the Ukraine

Matt Brown teaches and demonstrates "Dance of the Ukraine."

Length: 15:37 Difficulty: 2.0 Members Only
Lesson 41

Dance of the Ukraine Pt. 2

Matt demonstrates the accompaniment to the "Dance of the Ukraine" melody.

Length: 13:36 Difficulty: 2.5 Members Only
Lesson 42

Etude by Ferdinando Carulli

Matt Brown teaches an etude for classical guitar by Ferdinando Carulli.

Length: 21:20 Difficulty: 2.5 Members Only
Lesson 43

Morning Pt. 1

Matt Brown teaches the melody section to "Morning" by Edvard Grieg.

Length: 18:44 Difficulty: 2.0 Members Only
Lesson 44

Morning Pt. 2

Matt teaches the accompaniment for Edvard Grieg's "Morning."

Length: 8:08 Difficulty: 2.5 Members Only
Lesson 45

Bach's Minuet Pt. 1

Matt Brown teaches Bach's classic Minuet.

Length: 14:55 Difficulty: 2.0 Members Only
Lesson 46

Bach's Minuet Pt. 2

In lesson 46, Matt Brown covers the accompaniment section to Bach's Minuet.

Length: 5:53 Difficulty: 2.0 Members Only
Lesson 47

Little Prelude in C Pt. 1

Matt Brown teaches Bach's "Little Prelude in C."

Length: 16:23 Difficulty: 2.0 Members Only
Lesson 48

Little Prelude in C Pt. 2

Matt Brown teaches the accompaniment to "Little Prelude in C" by Bach.

Length: 7:49 Difficulty: 2.0 Members Only
Lesson 49

Clementi's Sonatina

Matt Brown teaches the 2nd guitar part to Muzio Clementi's famous "Sonatina."

Length: 23:46 Difficulty: 2.5 Members Only
Lesson 50

Bach's Invention #1

Matt Brown teaches Invention #1 composed by J.S. Bach.

Length: 21:42 Difficulty: 2.5 Members Only
Lesson 51

Third Position

Matt takes a look at playing in third position. This lesson will set up future reading lessons that require the third position.

Length: 7:16 Difficulty: 0.0 Members Only
Lesson 52

Third Position Practice

Matt Brown has you working through Jean Philippe Rameau's Minuet for third position playing in lesson 52. He provides a play along and accompaniment to help your sight reading and playing.

Length: 15:11 Difficulty: 0.0 Members Only

About Matt Brown View Full Biography Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."

Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.

Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."

Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.

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