Méthode progressive, Vol.2
Méthode progressive, vol. 2 (français / english /
español)
64 p., Niveau 1
This is an ambitious volume presenting clear
objectives in a series of twelve lessons, each in a chosen key and taking
several aspects of playing, with an overall graduaI progression of difficulty.
Its aims include teaching the keys of C and G major and A and E minor, fluency
in playing arpeggiated accompaniments over chords in first position and
sightreading in fifth position. In addition, improvisation is encouraged,
staccato, dotted notes and blues ideas are introduced and there are many
ensemble items with lines for violin or flute. Camisassa is very thorough before
the lessons begin, with 'six daily exercises' which develop technique and
understanding for what follows, including repeated notes on a single string,
slurs, arpeggios, independence exercises for left hand and open string chords
for right hand. The chords of each of the chosen keys are shown in notated form,
a useful introduction to the shapes that will become familiar later. Lesson one
presents the scale of C major in first position, which is then used in a single
line exercise to develop fluency - a formula used in each successive lesson in
the chosen key, excellent for sight-readlng. A duet for guitar and melody
instrument follows, again typical of each lesson, with an arpeggiated
accompaniment over the basic chords in C major. A valse by CarulIi further
exploits both the key and Camisassa's tendency to add a second guitar part to
the studies so the teacher can play along, with effective results. FinalIy, the
notes in the fifth position on the first string are introduced in an attractive
Barcarola which employs open bass strings as accompaniment. The folIowing
lessons take a similar shape with new aspects of musicianship and technique
progressively introduced. Studies are welI chosen, the duets are enjoyable and
there are some clever, if complicated. pieces using minimal resources and cross
string melodies in fifth position, along with other attractive compositions by
the author which employ South American rhythms. The text is presented in French,
English and Spanish and while the ordering of the material seems complex and a
little untidy initialIy Camisassa's reasons are laudable. I don't think I would
recommend this as an exclusive method for a student, or for under lOs, but it
has a huge amount to offer around the grade 1-2+ mark.
(Linda Kelsall
Barnett, Classical Guitar Magazine)
