The Right Hand<\/h3>\r\n
Originally, the repeated notes found throughout the study were meant to be played by i<\/em> and m<\/em>. This creates groups of pimi, pimi etc.<\/em> However, this study lends itself to strengthening the very common pami<\/em> movement in the right hand. This movement is most commonly associated with tremolo technique. But it also helps balance the right hand as a whole and can be very good arpeggio training. In general I would recommend using pami<\/em> as indicated in the score. For the arpeggios, use either pimi, <\/em>or piai.<\/em><\/p>\r\n There are not too many demands on the left hand in this study. It is predominantly a right hand study after all. There are some slurs<\/a> at measure 16 and 18, however. These should be worked on independently (they are just like the ones from AC\/DC’s “Thunderstruck”!). <\/em>Also it is important to give all of the bass notes their full duration throughout the piece. The bass voice often carries the melody. Thus, it is important to keep your left-hand fingers down while the upper tremolo or arpeggio is sounding.<\/p>\r\n The first section of the piece (from measure 1 – 8) is one long phrase that can be divided into two equal four bar phrases (1-4 and 5-8). Each of these four bar phrases are in sentential structure<\/a> (as in a sentence, like we use in writing) This structure simply consists of a 1 measure idea, followed by another 1 measure continuation then resolved by a 2 measure conclusion. The equivalent of this in writing would look like this:<\/p>\r\n “I woke up, had some coffee. then jumped in the car and went to work.”<\/p>\r\n In classical music this sentential structure happens all over the place so its good to keep a look out for it!<\/p>\r\n Here it is with some phrase marks in the music:<\/p>\r\nThe Left Hand<\/h3>\r\n
Carcassi Etude 7 Lesson:\u00a0Phrasing<\/h3>\r\n
![\"\"](\"https:\/\/www.classicalguitarcorner.com\/wp-content\/uploads\/2011\/06\/Screen-shot-2011-06-20-at-6.16.41-PM.png\" "\\"Carcassi")
<\/a><\/p>\r\n