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Thread: Calace method exercise 52

  1. #1
    Registered User Hany Hayek's Avatar
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    Default Calace method exercise 52

    I was going through these picking exercises as I am trying to play some Calace pieces. These start in exercise 49, which is quite interesting and challenging. In exercise 52, syncope and tremolo, my question is :
    after a down stroke do I start the tremolo with an up pick/stroke. It's not written, but I know it's used. That would make more sense to have the picking smooth.
    Music expresses that which cannot be said and on which it is impossible to be silent.
    ― Victor Hugo

  2. #2
    Registered User Hany Hayek's Avatar
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    Default Re: Calace method exercise 52

    This is the link to the method for those interested
    http://www.federmandolino.it/listing...per_mandolino/

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  4. #3

    Default Re: Calace method exercise 52

    Interesting, I think it’s more of a Classical question. Does emphasis go on the down beat? or the beginning of a sweep? or...?
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    Last edited by Simon DS; Nov-24-2019 at 2:41pm.

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  6. #4
    Registered User Hany Hayek's Avatar
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    Default Re: Calace method exercise 52

    No 50 is completely different. You have to check no 49. In classical methods like Munier and Calace, you use a down stroke to move from one string to another. It's also like playing the violin you should not hear a difference in sound between an up bow or down bow.
    So I don't think it's about emphasis. He would have used accents.

  7. #5
    Registered User Bruce Clausen's Avatar
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    Default Re: Calace method exercise 52

    Interesting question, but not easy to sort out. It looks to me like the rule given on p. 4 (that tremolo on a new string must begin with a down stroke) will decide the answer in some passages. In ex. 52, for example, a tremolo follows a down stroke in ms. 11, but must start with another down due to the string change. But in mss. 12, 15, and 16, the tremolo follows a down-stroke note played on the same string. So it seems like Calace might have started those tremolos with an up, but he doesn't bother to tell us.

    I have to say, though, that his whole approach to pick-direction seems very strange and foreign to me, quite aside from the tremolo issues. It clearly worked for Calace; but I wonder whether modern players in the Italian tradition follow his practices.

    (The references here are to Hany's 03701 volume; the stroke abbreviations are given on p. 10, ex. 52 is on p. 17.)

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    Default Re: Calace method exercise 52

    Hmmm, I think I would find it hard not to start on a down stoke, and since I am going into tremolo and thus picking a lot quicker I think it would be ok. As to what a modern players in the Italian tradition would think, I do go to a class with taken by one, and we do talk about plectrum direction, sweep picking, reverse picking &c -mainly from Leone although we have just got 2nd position exercises from Calace, and I don't remember this coming up. If I remember I'll ask.
    - Jeremy

    Wot no catchphrase?

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  11. #7

    Default Re: Calace method exercise 52

    Im guessing here but if I started a tremolo on the upstroke, which seems to me to be rare anyway, then Id want to start the tremolo with an upstroke. This would avoid the inevitable hiccup that Id have. (though for others, maybe, it would be a very slight hiccup)

    Playing a fast exercise of downstoke eighths is quite a workout, even more so if instead you play them as upstrokes. That feels strange, for a while.

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