Lachrimae (Poulton No.15) by John Dowland and Lesson for Classical Guitar

Lachrimae (Poulton No.15) by John Dowland and Lesson for Classical Guitar
➔ My PDF Sheet Music: wernerguitared...
➔ Or see info at the blog: www.thisisclas...
Lachrimae (Poulton No.15) by John Dowland (1563-1626). PDF sheet music and video for classical guitar. Originally for Renaissance lute. Includes both a notation-only edition with left hand fingering and a separate tab edition. The level is early-advanced (grade 9). This is a PDF Download.
Please note: The sheet music is fingered for relative lute tuning (tune the 3rd string down to F sharp), see videos below for lesson info.
John Dowland was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs and lute compositions. Dowland is one of my favourite composers of the Elizabethan era and this work is an excellent set of themes and divisions.
"This solo work was later arranged and composed into the Lachrimæ or seaven teares. The seven pavans are variations on a theme, the "Lachrimæ pavan", which Dowland had already made well known as a lute solo and a song. (That pavan was reworked into the song "Flow my tears" in Dowland's Second Book of Songs (1600)." Read more at Wikipedia: en.wikipedia.o...
➔ This video was performed on a Douglass Scott classical guitar with Aquila Zaffiro Strings and an ErgoPlay Troster guitar support. See all my gear here: www.thisisclas...
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Thanks for watching!
#guitar #classicalguitar #classicalguitarlesson

[@Thisisclassicalguitar]

Thanks for watching. My pdf sheet music edition for this piece: wernerguitareditions.com/products/lachrimae-john-dowland-guitar-pdf All my free lessons for classical guitar: www.thisisclassicalguitar.com/lessons/

[@jean-marcdujardin6104]

Quelle magnifique prestation !

[@zakbraverman]

Great performance and discussion! Can't wait until I'm good enough to play this piece.

[@rproctor83]

Your technical skill is incredible, thank you for all your help over the years.

[@Thisisclassicalguitar]

Thanks so much!

[@jameswilson5115]

I love anything Dowland and you play it so well. Thank you!

[@Thisisclassicalguitar]

Thanks James!

[@donaldanderson6604]

Another great lesson. Thank you. I've found it easier to practise Renaissance pieces with the capo from the start as the spacing of the left hand is slightly different but I know plenty of players who add the capo once the piece is learned. Some of the stretches become easier as well. I put the capo at the 2nd fret as I have a dot at the 7th fret so the dot becomes the fifth fret. Where the capo goes is a matter of taste and may depend on how the guitar sounds.

[@ernestoinvernizzi6282]

Thanks ,thank you, from Argentina to the great Dowland

[@Thisisclassicalguitar]

Thanks for listening!

[@hansgebben9991]

Great piece, very well played in the style you expect from a Dowland piece.

[@lucienvergez1565]

Excellente interprétation,toute en finesse et sensibilité.

[@Thisisclassicalguitar]

Merci!

[@ticovogt]

Beautifully played. Thank you.

[@Thisisclassicalguitar]

Thanks for listening!

[@gooseface2690]

Hey Bradford! Question: How many repetitions of a composition is required in order to nail it? My repertoire currently sits at around 10. I know them all off by heart, but i wonder whether I'm not being a bit laxadasical in my approach, since I don't limt myself in terms of the number of repetitions. It pretty much goes as it goes. I play and play and play (often 100's of times) until it feels 'second nature'. But is this the right approach? Thank you kindly.

[@Thisisclassicalguitar]

That's a good question. I think it depends on a number of factors. Your technique and musical level in relation to the difficulty of the piece is probably a huge factor. Also, I'd examine closely what kind of mistakes or mishaps occur during a piece and make sure you are tackling the core issue rather than repeating a piece over and over. I'm ALWAYS working on a specific issue when using repetition so I have a specific goal in mind. I've played quite a lot of Dowland at this point and because I made the edition, I didn't find it very difficult to get this work together in order to video record it. That said, I did lots of repetition for the rhythmic work, often once with a metronome and once without it and lots of breathing room for the phrasing. Lots of experimenting rather than direct repetition.

[@gooseface2690]

@@Thisisclassicalguitar Thank you. That's extremely helpful. I need to be more disciplined, that's clear. Intent rather than play. Cheers.

[@DavidMiltonJones]

Thank you for the lovely rendition! I bought your edition even though I play this piece without capo. Having heard it with the capo, I would like to try it. My fear this will mess with my memory as I play it pretty much from memory. Would you advise staying away and continuing without capo or strike forth on dangerous waters? If so, any advice would be most welcome!

[@Thisisclassicalguitar]

If you use a capo often you get used to having it on or off. If you are preparing this for performance and are worried about it I recommend first choosing only one way to play it (either with or without capo). For most students, the recommendation is without capo. However, if you have some time to experiment and try something new without any pressure, give it a try with and without and let the brain slowly work it out.

[@taruchumccullough9045]

Thank you. You play so beautiful !!!!!!

[@Thisisclassicalguitar]

Thank you very much!

[@theunheardprophet4315]

Thank you for the work you've put into this. It helps a lot. On a side note - what guitar are you playing on here again? Is it a Hanika?

[@Thisisclassicalguitar]

This is a Douglass Scott guitar, see info here: www.thisisclassicalguitar.com/2018-douglass-scott-classical-guitar/

[@Karen-ve6ds]

It’s a lovely piece, thank you. How do you play the first chord with a low E when you have a capo on the 3rd fret? I just looked at your sample notation. It seems I wouldn’t even know how to start!

[@DanBanan69]

The sheet music represents the piece without the capo. When you put the capo on, you raise the pitch of the entire piece by 3 semitones, and turn the low E into a low G, the B into a D and so on. If I were to play this, I would practice the piece as written, without capo, until it was well memorised. Then I'd put the capo on and play what I'd practiced, pretending that the 3rd fret is the 1st one. Not sure if this is the optimal approach, but it would work. I don't know when I'll get to this, but it's a profoundly beautiful piece, I would like to play it some day. I hope you give it a try too!

[@Thisisclassicalguitar]

Just pretend the capo isn't there. The capo just functions as the nut of the guitar would.

[@Karen-ve6ds]

@@DanBanan69 Thank you for taking the time to reply, Dan. I haven’t used a capo too often and I wasn’t expecting the notated music as written to accommodate one. That’s handy though! Yes, I would like to play it eventually.

[@Karen-ve6ds]

@@Thisisclassicalguitar I see how you did it now! Thank you 🙂

[@Gordito158]

time well spent. Have a coffee!

[@raphaelgroisard9598]

Très beau

[@Gordito158]

Thanks!

[@Thisisclassicalguitar]

Thanks so much!

[@Th3Alfisti]

nice played 😊why the capo on third fret, not the second one ?

[@Thisisclassicalguitar]

Thanks. Any fret is fine or no capo at all. The third fret puts you relatively close to a lute tuned in G.

[@scottkleyla7752]

Study:advanced classical guitar site reading/slure/notation/voice recognition-work'n kapoeless/3rd position or ?

[@Nylon_and_Gut-MatteoLaurenzi]

Just wonderfull!!

[@Thisisclassicalguitar]

Thanks for listening!

[@mer1red]

I wonder if it's not possible to play this beautiful piece in standard tuning. It would be regrettable if not.

[@Thisisclassicalguitar]

You can definitely play it in regular tuning but it needs lots of edits and arranging. Unless you edit/alter it, it would either not be possible in some spots or very difficult. The open F sharp would need to be fretted on the 4th fret of the 4th string so often. Much easier when it's just an open string.

[@pbabiesinspace6112]

Just play it 3 steps down without a capo. I'm working on this and playing it in this key without a capo is like master level for this already difficult(at least for me)piece. I play it 3 steps down though and it sounds just fine. I'm sure purists would crucify me, but whatev.

[@viarnay]

I will never understand why John Downland is not much popular in the classical music world..

[@Thisisclassicalguitar]

He's probably the most popular Renaissance repertoire but, yes, more people could embrace him. I think the repertoire is quite difficult plus the tuning aspect doesn't allow people to play it at early levels.