In this video, I give a full lesson on Ferdinando Carulli’s Andante, Opus 241 Number 5. The Carulli Andante is a staple piece for students of classical guitar all over the world. This extended (over an hour!) lesson explores the structure, phrasing, and technical challenges of this classic piece.
This piece is often times thought of as a early level piece. However, I have come to really appreciate smaller pieces for exploring advanced musical concepts. I also thought it might be interesting to some people to see how I approach music, from start to finish.
It may be worth noting that I did not prepare specifically for this video. While I am familiar with the piece, and have taught it in the past, most everything I present here is an exploration and an example of my usual process. If I were to do it over, some things would probably be different. But the basic concepts are sound. (As a teacher of mine likes to say, “Those of us with minds are apt to change them.”
Different breeds
Many of the concepts you’ll see in this video may be new to you, or directly conflict other things you have learned. I encourage you to enter with an open mind, and know that my views on many musical performance issues are not exactly mainstream. If you have a way of doing things that you like and are attached to, then by all means, do it your way.
Many of the ideas expressed in this video are derived from an old piano tradition. My musical coach of several years is a world-renowned concert pianist. While I did not invent much of this (if any), I have adapted it for the classical guitar.
More on the subject
I have videos and articles on some of the concepts used in this video. Here are links to those articles that may serve as a foundation or reference.
- The long-short
- Learning new pieces
- The long line
- The power of easier pieces
- On exaggeration in practice
Other posts you may like:
- 42 Questions to Blow (open) Your Musical Mind
- 50 Ways To Test Your Musical Memory
- How to Warm Up for your Classical Guitar Practice
- The Single Most Important Practice Skill
Allen,
Thanks so much for this lesson. You take a seemingly simple piece and bring out a lot of life. I especially found the look at Dynamics and tying sections together helpful and insightful.
One question out of curiosity. Starting at bar 13 the bass voice is tied below and above. I get that this is to indicate that the base line is part of the chord being sounded out as well as the lead voice in that section and flowing into the next class note, but i was wondering if you can expand on why it is notated that way. Thank and I am really enjoying your classes as I dive back into classical guitar after a 20 year hiatus!
Hi John,
Great question. The stems and flags to double duty. They both keep time and show which voice is speaking. There’s an upper part (stems up), and a lower part (stems down). Both parts need to account for all the beats in the measure. For instance, the first note of m13 is part of the bass line, which is shown by the down-stem. But the upper part would look funny with a rest and three 16ths, and it’s easier to just include the bass note as part of the upper as well.
I hope that makes some sense.
Thanks much,
Allen
Hi Matthew
I found this lesson extremely instructive, stimulating and enjoyable – in many ways complimenting my regular lessons. Although I am only studying grade 1 at the mo’, of course the concepts have great applications and readily transferable. I look forward to the next lesson.
Thanks
Jeremy
Thanks Jeremy,
I am so glad you like it. It is never too early to start thinking about and striving to make your playing more beautiful!
Good luck, if I can ever help in any way, let me know.
Cheers,
Allen