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Morning Improvisation with my Ipad

Thia morning I recognized that it is very easy to make recordings with the software garageband of my ipad.
I was so faszinated of that possibility, that I ve made a small improvisation with my guitar. Wish you all a nice day!

Morning Improvisation with my Ipad

The 11th Etudes of H.V.Lobos

more than videos i like to make sound files. The main reason is, that i think music is something to listen not to watch and the second reason is the fact that youtube is not available in China and all the other hosts offer very bad sound qualitiy.

As i still have a little space on my server i load up the Etudes number 11 from Villa Lobos. This piece is also one of my students pieces in Shanghai, who always wants me to perform their pieces. Sometimes that shows more than explanations.

Listen to my mp3`s is free, because of my philosophy: what you can give to the community, you should give. The internet is a big chance for more equal rights in learning and education. It is neccessary and good for everybody, if there is such a place with free information.

Heitor Villa Lobos: Etude Nr 11

Jose de Azpiazu:El Vito

El Vito MP3 elvito

As my Macintosh Computer is broken, this recording was made with a very small Lenovo Leptop and without any microfone. I made it for a chinese student, who want to learn some flamenco pieces, but for classical guitar. This small piece is very charactaristic for the andaluzia feeling. It has only four chords: A minor, D minor with the sixt, E major and F major with the great seven and the mixo 11. Oh, I forgot: in the second part is an B seventh accord as the double dominant funktion to the tonica A minor.

 

As the most popular pieces this piece has eight bar sentences which are divided in 4 plus 4. Very nice and typical: the repetitions of the sentences in another oktave.

 

 

F.Tarrega: Marieta

As I suddenly have to go Germany, I don`t have time to put all the current pieces of my students here. Just one, because I already have a recording. Here is the Marieta from Francisco Tarrega. Important: Don`t play the second part too slow (in comparison with the first part). See you!

Tarrega: Marieta.mp3

Siegfried Behrend: Peternas de la Mancha

This weekend one of my students has birthday and I decide to make him a small present. He is playing Peternas de la Mancha from Siegfried Behrend and so, I ve recorded his music for him and made an exercise and analysis.

Peternas de la Mancha is an easy piece played mostly in the first Barree and with only a few chords: Am, E, G, F, Dm, C and G7. It is a good piece for learning something about form and improvisation. And it has a nice rhythm changing between 3/8 and 3/4 .

The Form:

Am E Am| G F E|
Am E Am| G F E|

Am E Am| Am E Am|
Dm Dm E

Am E Am| Am E Am|
Dm Dm E|

C G7 C| C G7 C|
G F E|
E E A| Dm Dm E

Am E Am| Am E Am|
Dm Dm E|

C G7 C| C G7 C|
G F E| G F E

Am E Am| Am E Am|
G F E| G F E

The Improvisation:

you can use the material of the C-Major scale for the whole piece. But if you already have a little bit experience you will feel that it is more the Phrygian mode in E and the Aeolian (and Harmonic) mode in A .

My improvisation is not perfect – I know it sounds a little bit too classical.
The fact is, that I am always thinking in motives and don`t use the scale like a jazz-guitarist. But it is just an example. Hope you will make it better and most important: you have fun!

First listen to the original version (without improvisation): lamancha.mp3

and then listen for the improvisation example: manch1.mp3

And now your exercise: use my form notice and your ear to play the original version. If you already have the sheet music you can try to make your own improvisation after recording the piece by yourself. And you can use colour to make the form more evident. The same parts with the same color. Then try to make a new piece with the same chords but changing the succession.

Shanghai Impressions

recently I met a German man in the Internet, who loves the Chinese music and plays the Erhu, the Chinese violin. Because we want to know each other, I decide to show him one of my trials to reflex the modern Chinese Popmusic. In fact my pieces are not like “Chinese Popmusic”, but you can hear, that I am influenced from something  you may feel as “Chinese”. And this piece has another advantage: the guitar part is so easy, that my students already can play it. Because I don`t have an orchestra I used the computer instruments for the orchestra part. And of course I hope to find people who are able to do this instead of my computer!

And here is: Shanghai Impression Nr.1

Leo Brower: Etudes simples Nr.5 und 6

The best to know something about Leo Brower is to google or directly move to Wikipedia: Leo Brower, where you can find a lot of  links to other websites about this composer. The Etudes simples are technical not too difficult, but its beautiful music, rich of colours and fantasy. The number five I ve already published on my “kein illegales Tagebuch” some weeks ago, the number six is a “dutypiece” of the sixth level`s artist examination for not professional students in Shanghai. So I publish it here for my chinese students. 

Leo Brower: Etudes simples Nr.5

Leo Brower: Etudes simples Nr.6

Song de la Campanellas

This piece is from the shanghai artist level examination book: the first piece of the sixth level:

 Araujo,Song de La Campanellas:

The fingering is possible, I didn`t change. The song is written in D major, the middle part in the subdominant G major. The form is: A1A2 B1B2 A2. The Harmonic is:

Part one, D major:

A1: I |II-| V7| I |; I |II- |V7 |I

   D|E-| A7| D|, D|E-|A7|D

A2: I |II-| V7| I|, VI7| II-| V6/4V7| I ||

   D|E-|A7| D|, B7 | E-| A6/4 A7| D||

Part two, G major:

B1: I| V7| V7| I|,  I| III7 VI-| II7| V7|

   G| D7| D7| G|,G| B7 E-| A7| D7|

B2: I| V7| V7| I|, VI7| II- II7| V6/4 V7| I||

   G| D7| D7| G| E7| A- A7| D6/4 D7| G||

Part three is like A2.

First you can practice the scales of bar 13 , 22/23 and 30.

The Jazzsamba

To show you a typical Jazz Samba I choosed the Chega de Saudade from Antonio Carlos Jobim. I recorded that piece two times. First I played the chords and the next time I played the melodie. To make sure, that I am always using the same speed, I ve recorded with metronom. That you can hear in the backround. With the audacity software I put melodie and chords together. I ve only recorded the part one of the piece, without part two and improvisation:

Chega de saudade MP3

Typical for the Jazz Samba are the Chord patterns (see my instructions about Samba) and the form. The Song is written as a leadsheet. That means the melodie is written exactly and in notes, but the chords are written in chord symbols . So its up to the musicians what they are making with the chords. There are different possibilities and if you listen to different recordings from different artists you will see, that the same song every time sounds very different.

The Form: The thema has two parts a 32 bars. The first part is in C minor with 32 bars: 8 + 8, 8 + 8. Part two (a bridge a 8 + 8 and the theme in C major with 8 + 8 (+2) bars) is in C major. After that, the form should come again with the improvisation. After the improvisation it should turn back to the original. I am saying “should”, because that deepends of the decision of the musicians. For example: Dizzy Gillespie:   he don`t play part one again at the end. He only repeat part two. But during the improvisation he used the whoole form.

The Jazz and Popmusic like the old classical music use very clear and strict forms which can be divided in eight bar parts. So we have 32, 16, 8 . That is, because the music originally is written for dancing.

The Samba from Jorge Cardoso

There are a lot of Latinamerican pieces composed for the accustic guitar. I want to introduce the Samba composed by Jorge Cardoso and compare it with the Samba for Jazz guitar. 

First you can listen to the music: Jorge Cardoso:Samba.mp3

The Samba is a group of dances in Brasilian, but took its rise from Afrika and was originally a dance of the Bantuafrican to celebrate the inauguration

of the soldiers. It was danced between burning torches and broken glas. As ballroom dance the Samba was known in Europe after the first world war.

The Samba is played quickly and in 2/4 rhythm.(Riemann, Musiklexikon) 

The Samba is quicker than the bossa nova, but the rhythm patterns of the bossa nova can be used in the samba, too. Here are some patterns for guitar, if you want to accompany in a band you can use them:

 Rhythm Patterns

(These patterns are from the book of Frank Haunschild, ”modern guitar styles”) 

Now to the Samba from Jorge Cardoso:

 The Form: 

The piece has 53 bars, is divided in two parts A and B. A is 29 bars, B is 24 bars. (Normally one part is 32 bars, every part is divided in 8+8+8+8.) The first part`s theme is a sequenz over four bars with a small four bars cadenz as well, so it has eight bars as usuall. Then the repetition of this eight bar theme get a change and comes in the subdominant, what is pretty speciall. And it only uses the first part theme with the sequenz what comes now over eight bars. The third eight bars only uses the sequenz part as well and goes further in the quint circel up to G major. So it is impossibel to separate the form from the harmonic context. The last “eight bars” are only five bars and make a cadenz back to the tonika (E major). So you can understand why this Samba only needs 29 bars for his first part. Its not so unusual as it seems at the first. 

As the first part is in E major, the second part starts in the paralell key C#minor. Here we have the opposite  appearance: The second part starts with a unregular 6 bar introduction  then be followed from the theme which is nine bars and is repeated without variations (except the last chord, what don`t count.).

 The Harmonic: 

The first part mostly use the dominant connections, so it drives very strong forward. The second part also use II – V – I constructions and a lot of b5 and b9 extentions what is typicall for minor parts. Here you can take a look

on the harmonic plan