GUITAR MUSIC from
TheStudentRepertoire JOHN MILLS FRANCISCO TÁRREGA
61
Pavane
ANON,
22
Pavane
Luis
MILAN
59
Allegretto
MAURO GIULIANI
20
Pavane
Luis
MILAN
60
Allegro
M A U R O G I U L I A N I 13
Adelita A
Toy
Luis
MILAN 58
Pavana Muy
Allemande
ANON. 25
Llana Para Tañer
Allemande
ANON. 28
Prelude
FRANCISCO TÁRREGA
53
FERDINANDO CARULLI 19
Prelude
FRANCISCO TÁRREGA
57
MAURO GIULIANI
15
Prelude
J O H A N N KUHNAU
63
Andantino
FERDINANDO CARULLI 11
Prelude
ROBERT DE VISÉE
43
Andantino
F E R D I N A N D O C A R U L L I 13
P r e l u d e (Endecha)
Andantino
MAURO GIULIANI
22
Prelude
J O H . A N T O N LOGY
35
Sarabande ROBERT
Andante Grazioso A n d a n t e in C
A r i a (from Partita in A minor)
in
D
DIEGO PISADOR 62
FRANCISCO
minor DE VISÉE
TÁRREGA
FRANCESCO
64
MOLINO
54
GIULIANI
56
41
Balletto
ANON. 31
Sonatine
Bourree
ANON. 32
Study in A (Opus 35,No.21)
FERNANDO SOR
46
Entrée
ANON. 21
Study in A (Opus 60, No. 3)
MATTEO CARCASSI
52
Estudio N o . 1
FRANCISCO TÁRREGA
26
Galliarde
ANON. 34
Greensleeves
ANON. 17
Lagrima
FRANCISCO TÁRREGA
55
Lesson
DIONISIO
AGUADO
12
Lesson
DIONISIO
AGUADO
21
Lesson
DIONISIO
AGUADO
39
DIONISIO AGUADO
40
MAURO GIULIANI
17
Lesson Maestoso
MAURO
Study in A minor (Opus 60, No.7) MATTEO CARCASSI
30
Study in B minor (Opus 35, No.22) FERNANDO SOR
50
Study in C (Opus 3 1 , N o . l )
FERNANDO SOR 11
Study in C (Opus 35, N o . 1)
FERNANDO SOR 14
Study in C (Opus 35, No.13)
FERNANDO SOR 36
Study in D (Opus 35, N o . 17)
FERNANDO SOR 38
Study in D (Opus 6, N o . l )
44
F E R N A N D O SOR
Study in D major (Opus 60, N0.10) Minuet
M A T T E O CARCASSI
18 MATTEO CARCASSI 45
Minuet (from Sonata N o . 1 in C) A N T O N DIABELLI 42 Minuet (from Suite in D minor) ROBERT DE VISÉE 37 Minuet in G Orlando Sleepeth
FERNANDO SOR 24 J O H N D O W L A N D 29
Passamezzo
ANON. 33
Pavane
ANON. 28
Pavane
Luis MILAN 51
Study in E
FERNANDO
SOR
Study in E (Opus 3 1 , N o . 7 ) Study i n E minor
FERNANDO SOR
34
48
FRANCISCO TÁRREGA 32
S t u d y in E m i n o r (Opus 31, No.6)
Study in F (Opus 6 0 , N o . 16) Study in G (Opus 35, No.4)
Musical New Services/Wise Publications Distributed by Music Sales Limited London / New York / Paris / Sydney / Copenhagen /Madrid
FERNANDO SOR
26
M A T T E O CARCASSI
49
FERNANDO SOR
23
Study Notes / Track Listing onto the D (2nd string 3rd fret). At this stage, the little finger is usually pretty weak, and there is a temptation to rush, resulting in a jerky rhythm. The first two notes of the second half are also played as a legado, but this time the 1st finger does not have an adjacent string to come to rest against. This in some ways makes it a more difficult legado than the first, and the student must see to it that the finger does not move too far away from the edge of the fingerboard.
1 Study in C —Sor This is a beautiful example of Sor's easier music for the guitar, and is a popular and widely-taught study. It has two voices or parts mostly, and it is important to sustain the bass-line. Be particularly careful where there are dotted-half-notes (minims,) as it is all too easy to let these go early. At the beginning of line two, and again in line four, there are five repeated G's. The first four of these form a sort of middle voice, but the last one is the beginning of the next phrase, and being the melody should be brought out a little more strongly than the others.
6 Study in C —Sor The writing here is similar to the first piece in the book, this particular study being a slightly later composition. Again the music is in two parts mostly, and careful use of the rest-stroke will be found beneficial at times to give more "focus" or weight to particular notes, e.g. the D in bar three line two. There are several left-hand legados (slurs) from a G to open E (1st string), the 4th finger being used. No turn of the hand should be allowed, just make the finger do the work, and remember to hold on to the bass note each time. Try to avoid splitting treble and bass notes, e.g. line three, and take care with the left hand fingering in the 2nd bar from the end of the piece where a separation of third and fourth fingers is called for.
2 Andantino — Carulli A very simple but effective little piece, it is a study for the right hand. There is no problem for the left hand if the fingerings are closely observed. Use the 4th finger for the top G in bar six, the 3rd finger being kept ready to drop on to the bass C. Slight accentuation of certain notes is also suggested, e.g. 2nd note in bars 7 and 10.
3 Lesson in A Minor — Aguado This is usually given to students very early on, as a right-hand study, what melody there is being in the bass. A good clean attack is of course essential, but care should be taken with the left-hand fingering to make certain that only the tips of the fingers are used to stop the notes, (e.g. bar 3).
7 Andante in C — Giuliani This little piece seems in the past to have been neglected by guitarists, which I think is a pity, as it is a most charming work. In my arrangement, I have left out the rather longwinded repeat of the second half, and also omitted the somewhat weak ending which originally followed the short cadenza in bars 38-41. It seems logical for the opening theme to reappear after this, and so I have introduced the which I think satisfactorily rounds off the work. One or two technical points may be worth mentioning. In bars 5 and 6, the third bass note (G) is to be played with the r.h. index finger. Bar 7 looks harmless, but getting the bass to sound smooth requires careful practice. Also, the r.h. fingering given, must be used in this bar. The fingering in bars 36 and 37 may seem a little unusual, but when practised becomes very easy.
4 Allegro in A Minor — Giuliani To bring this up to a reasonable length, I have introduced a repeat into this little right-hand study. For the first two bars, keep the 2nd finger of the left-hand down on A. When examined carefully, the movement from the last note of bar 2 onto the 1st note of bar 3 may seem risky, but in fact works quite smoothly when practised. There are a couple of other places where a similar thing happens, and the pupil must always listen to make sure he is not lifting the l.h. fingers too early. In addition, there are several bass notes to be cut, (e.g. the last note in bars, 1, 3, and 5).
5 Andantino — Carulli Here we have one of the most widely used teaching pieces. The average beginner is usually confronted with this little study after perhaps a couple of months, and it is very often his first encounter with legados. Indeed, the opening couple of notes can create quite a problem, and it is amazing the number of times the pupil finally takes heed of the words of the long suffering teacher, about cutting one's fingernails on the left hand, really short. With this kind of legado, it is essential that the l.h. 1st finger is pulled across and downwards, so that it comes to rest against the next string. The finger must on no account fly off into mid-air. In bar 2, another legado problem arises when the l.h. 4th finger has to 'hammer' down
8 Greensleeves — Anon The version of Greensleeves which I have used, is taken from William Ballet's Lute Book of 1580. Here we are presented with more or less the 'bare bones' of this beautiful and very popular tune. There is nothing to really worry beginners in terms of technique—usually this piece is learnt during the first 3-6 months, but the left-hand fingering must be carefully followed, (e.g. it is tempting for learners to use a different fingering in the G major chord which opens the second half). I have also found this a useful piece in which to introduce pupils to the technique of cutting off unwanted bass notes with the thumb of the right hand.
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9 Maestoso — Giuliani
13 Entrée — Anon
Usually given to a student very early on, Maestoso is an excellent study in clear separation of voices. Bar 11 is a good example of the sort of difficulties to be encountered. The pupil invariably cuts off the D in the top line when changing to the second chord of the bar. If taught and studied correctly, this is a very good exercise in left-hand finger movement, and should be practised with great attention to detail, eg. do not snatch at the final chord of bar 3; in bar 6 first beat, the 2nd and 4th fingers must go down together; bar 8 see that the 3rd finger is poised ready to drop straight down onto the bass C, bar 10 check the positioning of the half-barré for if it is not collapsed enough the 3rd finger will have difficulty in reaching over for the bass G.
This is a very good piece for the relative beginner, as it requires perfect control in both hands to bring out the treble and bass parts. The last bass note in bar 1 must not be cut short, and to ensure that the bass G in the next bar sounds legato, the third finger must be positioned ready to drop on to the note. In bar 6, check that the left hand remains in the correct position in relationship to the strings.
Although sounding straightforward, this little piece requires good left-hand control, to ensure that the treble and bass lines emerge clearly. The dotted rhythm must be articulated well, and it is suggested that free-strokes are used throughout.
10 Minuet in C — Carcassi
15 A Toy—Anon
For a minuet, Carcassi's piece takes a slightly unusual form. It is in three sections, the first being the normal subject, the second a trio in the key of A minor, and the third a restatement of the minuet but this time in the form of a variation. There are no pitfalls to catch the unwary, but a slight contrast in tone and volume is advisable when moving from the 1st to the 2nd sections. Also, be careful to bring out the dotted rhythm in bars 11 and 15. The closing section is quite easy, but in passages such as this where the music moves along in a flowing movement of quavers, the phrasing must be clearly defined.
This little piece which comes from Jane Pickering's Lute Book, should be played at a brisk tempo, with very much a feeling of two dotted-crochet beats to the bar. Try to introduce as much dynamic variation as possible, as well as tonal contrast. You will notice that bars 5-8 are basically a repeat of the first four bars, and a nice 'echo' effect can be achieved here. However, do not overlook the last note in bar 8 which marks the beginning of a new phrase. Also take care to hold the bass notes for their correct duration, particularly the bass G's in bars 1 and 3.
14 Lesson in G Major — Aguado
16 Andantino — Giuliani 11 Andante Grazioso — Candii
This is basically an easy study for the left hand using thirds, sixths and short chromatic runs. However, benefit for the right hand can be gained if concentration is directed towards a smooth relaxed plucking action. Keep the left-hand fingers over the notes as much as possible, and avoid any 'rocking' of the hand positions, e.g. in bar 1, it would be preferable if we could keep the 1st finger positioned over the E, but to do this would mean tilting the hand far too much.
Here, a flowing style should be used to bring out the melodyline. Do not let the tempo become too slow. Make sure the change of fingers at the note D are not discernible when moving from bars 3 to 4. The fingering at the end of the first half where the melody moves to the second string, is done purely for tone quality and control.
12 Megretto — Giuliani 17 Study in G Major — Sor
There are several difficult spots which are frequently found to be stumbling-blocks for pupils. The first problem comes at the end of bar 5 immediately after the semi-quaver run. The run ends on a C 1st finger second string. The finger then has to move straight to the 6th string, and as there is no other way of playing this passage, the pupil must simply work at this movement until it becomes smooth. Another problem is the positioning of the chord which comes at the beginning of bar 7. Obviously, 2nd, 3rd, and 4th fingers must go down at precisely the same time which may require careful practice. Bar 14 has another technical 'hang-up'. Here the full bar is held down until the open E occurs. At this point release the bar, positioning the 1st finger so that it may drop onto the next note (F).
In this piece, a good control of the right hand is imperative, if the very beautiful two-part writing is to be brought out. The last three notes of bar 4 mark the beginning of a new phrase in the bass, and in the next two bars, the quaver figure must be nicely balanced with the treble part. In bar 8, I would suggest that the G followed by the F sharp mark the end of one phrase, and the quavers D, E, and F sharp, the lead in to the next. This also occurs in bar 32. Also, do not forget to cut off any bass notes—watch out particularly for the open D at the end of bar 6, and both the A and D in bar 22.
18 Minuet in G Major — Sor In Fernando Sor's total output of minuets, there are several
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examples, including this piece, which are curious in that they begin on the 1st beat of the bar. It is, in fact, the baroque minuet which does this, the minuet of the 18th and 19th centuries always starts on the 3rd or up-beat. This is often overlooked by guitarists, and is of course vital if the piece is to be phrased correctly. Each half should be divided into three phrases—2, 2 and 4 bars. Make sure the open D in bar 1 is stopped before the next bass note is sounded, (see also bars 13 and 15). In the repeat of the second half, a nice effect can be achieved by playing the G seventh chord, (2nd beat, 3rd bar from the end), very softly. This can then be followed by a slight crescendo in the next bar, with the climax coming on the 1st beat of the final bar. The last pair of notes are played slightly softer, as the harmony here is resolving onto the tonic harmony.
This is a relatively straightforward dance, consisting of four 4-bar phrases, the first two phrases beginning on the first beat, the other two on the fourth beat of the bar. Do not cut off the bass G in bar 2 in the effort to reach the B which follows. Also, make sure the final chord in bar 9 is not cut short. The first finger has to jump from the first to fourth string, but with practise this can be made to sound very smooth.
19 Allemande — Anon
24 Orlando Sleepeth — Dowland
In bar three make sure the chords are clearly played with good balance between voices. The phrasing and structure of the piece is slightly unusual—phrase one begins on a downbeat, but the answering passage commences on the 4th beat (bar 4). Phrase three begins on the last crotchet of bar eight, and this can be divided into two shorter phrase-lengths, the second beginning on the final chord of bar ten. Here we have a kind of overlap where one musical sentence ends and another commences, and this is repeated in bar twelve where the new phrase also implies something approaching a sequence. On our recording of these pieces, the repeat has been omitted.
A very beautiful piece, Orlando Sleepeth shows that music need not be difficult to be effective. A calm serenity pervades the whole work, even during the change of rhythm in the second half. The performer must see to it that all the chords are perfectly balanced, and that any unwanted bass notes are cut off, (in fact the first four bars are well-worth careful studyin this respect). Rest-strokes may be employed for just about all the single melody notes, e.g. the E and F in bar 1, as long as the volume can be matched to that of the chords. Also notice that bars 9 and 10 are not exactly identical. In bars 21 and 23, hold the last note (C) for a full crotchet, and in the change to the first chord of bar 24, try to position the 2nd and 3rd fingers over the required notes beforehand.
full bar as smooth as possible. The part writing in bars 10-14 should be very carefully practised taking note of the quaver movements where a treble line is answering an octave lower, e.g. bar thirteen. In bar fourteen be certain to hold the dotted crotchet D as it is easy to release the 4th finger when taking away the third.
23 Allemande — Anon
20 Estudio No. 1 — Tárrega 25 Study in A Minor — Carcassi
In this little right hand study, the 4th, 7th, and 10th notes in the bar should be played using rest-strokes. At bar 3, the bass notes must be held for the full dotted-minim value—do not fall into the trap of releasing this too early in the effort to reach the F. From bars 4 to 5 use the first finger as a guide. The half-bar in bar 6 is quite easy, but see that the little finger presses only with the tip on the high C. In bar 10 the half-bar covers only the 1st and 2nd strings, and is positioned by simply collapsing the 1st finger after it has played the C.
This, the celebrated tremolo study, is one of the most widely used teaching pieces. The tremolo here is somewhat slower than the finished article as used in a piece such as Recuerdos de la Alhambra by Tárrega, but for the student this new technique can be the source of one or two problems. Tremolo is quite easy on the 1st string, but once it moves to one of the inside strings, all sorts of strange things can happen, usually caused by an uncontrolled third finger on the right hand. Also, there are several tricky sections for the left hand. Bars 13 and 14 should be practised slowly and any unnecessary movement of the left-hand eliminated. Bars 16-19 are of course excellent practice for left-hand legados.and a great deal of attention should be directed towards this section. Beginners frequently make a desperate grab for the half-bar six bars from home. There is absolutely no need for this, for if the 3rd finger is placed on the D, the barré will follow a fraction later. The barré should cover strings 2, 3 and 4, so that the finger can easily move down the fourth string afterwards.
21 Study in E minor — Sor The emphasis here is very much on the right hand, for clear articulation of the thumb, and index and middle fingers. On the couple of occasions when the thumb is required to strike two notes, try to make them sound as one.
22 Pavane — Anon Smoothness and clarity are the secrets of playing this Pavane. The student should notice the frequent use of guide fingers e.g. in bars 2 and 7. In bar seven, try to make the change to the
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phrase one-4 bars; phrase two-4 bars; phrase one (2nd half)- 2 bars; phrase two-2 bars; phrase three-4 bars. In bars six and seven notice the hemiola-type rhythm. Here we lose the strong three-in-a-bar accent, the easiest way to play these two bars being to imagine them without the barline. This makes a bar of six crotchets in which we must accentuate the 1st, 3rd, and 5th beats.
26 Balletto —Anon This is a charming little dance which can best be described as brisk. Notice that the first two notes are to be played on the second string. Leave the 3rd finger down on the F sharp ready for the chord. The passage commencing on the last chord of bar eight is tricky and must be practised very slowly to make the phrases legato. Also notice that the last phrase consists of six bars, two bars longer than the others. Even though the piece lands firmly on the tonic chord in bar sixteen, there is nothing final about the effect and two more bars are required to bring the piece back into the home key.
31 Study in E Major — Sor The first consideration in this piece, is to maintain a steady tempo. In the triplet semi-quavers in bars 1 and 2, and the rising semi-quavers in bars 9 and 13, it is quite easy to speed up, and practise with the assistance of a metronome is recommended in the early stages. (A good practice tempo is approx = 92.) The last group of notes in bar 6 can be tricky rhythmically. It is in fact the grace note (G sharp), which comes on the 3rd beat of the bar. In the 1st bar of the second half, the left-hand legados, if played correctly, (see note for Andantino by Carulli), will obviously cut off the melody notes. The l.h. fingers must therefore be pulled across and upwards, so as to clear the top string.
27 Bourrée — Anon The main problem here is the left-hand fingering in bars 4 and 5. Although it may seem extravagant, on closer examination any other fingering usually results in loss of clarity in one or both parts. Use the 1st finger as a guide in bar 4, being careful not to leave the G sharp sounding on the 3rd beat. In the next bar the 4th finger is the guide. Cut any open-string bass notes which may ring on beyond their correct value, e.g. A and E in bari.
28 Study in E Minor — Táffega
32 Aria — Logy
A study for the right hand, this piece makes an ideal warm-up for the celebrated 'Spanish Romance' which uses the same r.h. fingering. Use rest-strokes for the first note in each group of triplets, but remember that this technique is employed primarily for tone quality, and not volume. Be careful not to cut the last note of bar 2, in changing to the next chord. Bar 12 is not easy, because the l.h. position has to be slightly 'sideways on', so making the stretch from bass G to B more difficult. It will help if after the second beat, you make a conscious effort to get the hand back to a normal position.
In this opening movement from the Partita in A minor, the performer must be aware of the two-part writing, particularly in bars 3, 4, 9, and 13. The change from bars 1 to 2 can sound clumsy, and good control of both hands is essential. The melody in the final two bars has been put up an octave, which I believe makes the conclusion more positive.
33 Study in C Major — Sor In bar 3, remember to retain the 3rd finger on C, and slide the 2nd finger up to the F. At bars 18 and 22 the bass C must be kept ringing for its correct duration. When moving from bars 19 to 20, make certain that the 1st and 4th fingers are down, one or other invariably wants to lift off. At bar 24 when playing the last note, try to position the 3rd finger over the next bass note (C), this will reduce the likelihood of an awkward gap. In the section from bars 27-29, hold the 3rd finger down as a guide when moving from chord to chord. Finally, remember to let the bass note sound throughout the penultimate bar.
29 Passamezzo — Anon This is a dance form thought probably to have originated in Italy, and should be played with a definite feeling of two beats to the bar. There is some tricky fingering in both hands for the beginner, even though the piece is played mostly in the 1st and 2nd positions, and some difficulty may be experienced in the rather nimble movements required of the righthand thumb (e.g. bar 13). Passamezzo is one of those pieces which I have found to be very popular with pupils, and would recommend it to other teachers.
34 Minuet — de Visée Coming from the Baroque period, this movement begins on the 1st beat of the bar, (compare this with the minuets by Carcassi and Diabelli). The 1st note in bar 2 must not be clipped, the change of position being made only at the last moment. Bar 1 in the second half can be quite tricky. The first chord is played with a half barré on strings 2, 3, and 4, plus
30 Galliarde — Anon Apart from the semi-quaver run in the second half, there is nothing which should really present any problems to the student. Careful note must be made of the phrase-lengths however. I would think of the piece in the following way,
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the 2nd finger on C sharp. This is a very useful technique, as it allows the top E string to vibrate freely. The change onto the final chord in this bar, can be made smoother if the 4th finger is positioned beforehand over the required note (E). The 1st finger is already on the correct string, and has only to be pushed up 1 fret, so leaving the 2nd finger to find its own way onto the bass C sharp. I think I should mention that my use of the low D in the de Visée pieces (by tuning the 6th string down 1 tone), is purely a personal thing, and the pieces can be played with normal tuning simply by either cutting out the low D's, or putting them up an octave.
35 Study in D Major — Sor In this study for the right hand, it is important to bring out all the melody notes (upright tails). The barré in bars 4 and 5, covers the top four strings, (this also applies to the barré in bars 28 and 29). Take special notice of the l.h. fingering on the last note of bars 8 and 16. Both are fingered on the second string, purely from the point of view of tone quality. Finally, a word about phrasing. The piece should be thought of in four 8 bar sections. Section 1 is divided into three phrases of 2, 2, and 4 bars. Section 2 begins on the last note of bar 8, and again consists of three phrases of 2, 2, and 4 bars. Section 3 starts at the end of bar 16, and has two fourbar phrases. The final section begins on the last note of bar 24, and consists of four 4 bar phrases. If due consideration is not given to this aspect, the music becomes metronomic, and boring.
the chords are arpeggiated from the top note downwards. This was a commonly used device in De Visée's time, which I believe should be incorporated as much as possible today.
39 Minuet — Diabelli This is very much the standard form of 18th and 19th century minuet and trio. The piece begins with a powerful upward rising figure in the bass. In bar 5, the treble takes over, and in the two short quaver runs, the performer should make sure that no speeding up occurs. In the second part of the minuet, the grace note F sharp followed by the G (hammered with the 4th finger), might cause difficulties, but it is worth persevering with the fingering. A more delicate character is assumed in the Trio, and here the chords must be played gently and with great clarity. Much attention should be given to the dynamic markings, particularly in the trio, for without these the music can easily become dull and lifeless.
40 Prelude — de Visée The three pieces by de Visée which appear in this book are taken from his celebrated Suite in D minor which dates from 1682. The Prelude is best thought of as being in two sections, the halfway point coming on the 1st beat of bar 5. In bar 3, the C sharp which falls on the 4th beat must be given its correct value. This applies also to the half-notes F sharp and E in bars 5 and 6 respectively. Also notice the beautiful echo effect under these sustained notes. If all three are performed as a group, the order should be Prelude, Sarabande, and finally the Minuet.
36 Lesson in A Major — Aguado This lesson can be used to introduce the student to the higher positions. The left-hand fingering is in fact very straight forward, but use of legados should have been taught before embarking on this piece. Rest-strokes should be employed for many of the melody-notes.
37 Lesson in E Minor — Aguado The performer should aim at producing a very 'full' sound, avoiding any jerkiness in the rhythm. For the second half the harmony changes to the major, and here a more singing tone with a little vibrato can be employed. Rest-strokes should be used for some melody-notes in the second half, which culminates in a run-down in demi-semi-quavers, played as legados. Care must be taken to ensure that in this run, the 3rd and 4th fingers do not 'drift' too far away from the top strings.
38 Sarabande — de Visée This is a fine piece. Accents tend to lie on the second beat of the bar for much of the time and here the student must be careful not to let the tempo drag. You will notice that some of
41 Study in D Major — Sor There are no big technical problems, but the student should look carefully at the passage from bars 18-31, to make sure that the fingering is completely understood. At bar 19 watch out for the E on the second string which can easily be overlooked. The stretch in bar 28 is made easy if you allow the hand to 'rock' slightly on the third finger, so enabling the fourth finger to press down on the tip. Do not press with the pad of the finger as you will probably block out at least one of the adjacent strings.
42 Study in D major — Carcassi A beautiful and strangely rather neglected study, the purpose of which is to strengthen the 3rd and 4th fingers by use of legados. To begin with the student may well find the rapid position changes a bit of a handful. To give more bite here and there, I stop the bass-notes, and when the piece has been thoroughly learnt the pupil may like to try this. The notes to be cut off are in bars 10, 12, 37 and 38.
43 Study in A —Sor
pivot, (see note on Sonatine by Giuliani), and the passage in thirds (bars 30-33) is plucked with index and middle fingers for better balancing,
Sor's study in A is a really beautiful piece, and with correct handling can sound most effective. At bar 14, 2nd beat, the fingering may cause difficulties for people with small hands, and if found to be impossible can be re-fingered using 1st, 3rd, and 4th fingers. The top notes (B and A) in bars 20 and 21 are very effective if held on as crotchets. Remember that most of the writing is in three parts and this calls for superb clarity, and the utmost in control.
48 Study in A Major — Carcassi Certainly the most beautiful, this is probably the best known example from the collection of 25 Melodious and Progressive Studies Op.60. Although intended primarily as a right-hand exercise, the left-hand fingering can cause quite a few problems for pupils, an example of this being the move from bars 1 to 2. In this instance, keep the 2nd finger on the B string, slide it up to D, at the same time dropping the 3rd finger onto the bass G sharp. The 4th finger can then come down on the B a fraction of a second later, and finally, the 1st finger drops onto F sharp. The barré used in bars 10 and 11 should cover the top four strings only. Another thing which must be avoided, is losing the final notes of a bar when there is a particularly difficult chord change to negotiate. The danger area for this is in the last five bars of the piece. As for the right hand, although this may appear very easy, we must not forget that in addition to providing a smooth flow of triplets, the bass melody must be clearly defined, and most important of all, the melody produced by using rest-strokes on the 4th and 7th notes of each bar should not be allowed to sound in any way clumsy.
44 Study in E —Sor Here is another lovely study by Sor, in a flowing style incorporating 16th notes (semi-quavers). Several left hand slurs appear using 3rd and 4th fingers, and the change to the chord at the beginning of bar 2 line 4 should be worked out carefully. Notice also the F double sharps in the last bar of that line, these being played at fret 5 on the fourth string.
45 Study in F Major — Carcassi Basically a right-hand study, the double notes which form the accompaniment must not be split. Try to make the melodic line 'sing' by very smooth position changes, e.g. bars 7 and 8, and 15-18. The phrasing of this piece is very simple, each phrase being two bars in length, but unless these are observed, it will sound very dull.
46 Study in B Minor — Sor
49 Prelude — Tárrega
This study may be practised using rest-strokes for all the melody notes. These come on the 1st and 3rd beats in each bar. Keep the l.h. 3rd finger down on F sharp for the first 6 bars, also from bars 9-11, 17-25, and 33-38. Bars 42-44 can present some problems, and it may help if we go through the passage note by note. When playing bar 42, just press down the full barré at position four, and then add the E sharp (3rd finger) afterwards. Continue along the same lines in the next bar—put the 1st finger on F sharp, and 4th finger on A sharp, then add fingers 2 and 3, (E natural, and C sharp, respectively). At bar 44, slide the 1st and 4th fingers up one fret. The next note is an open B, so this leaves plenty of time to get the 3rd finger on to D, The third string is now producing a higher note than the second, which means a possible balance problem. Practise this bar very thoroughly.
In the original edition the composer uses a number of lefthand legados. I felt that the piece had a better flow without these, and I have cut them completely. In the 1st and 2nd bars, I have brought the treble line onto the second string, with the object of enabling the notes to 'sing' a little more. The opening four bars are simply an introduction, and the student should allow the fourth bar to slow a little so that the phrase which begins at bar 5 makes more sense musically. The same applies to the short link passage at bars 18 and 19. In bars 13-15, let the lower notes of the chords sound for their full duration. The artificial harmonics at the end are in themselves quite easy, the only improvement I would suggest being to pluck the first four notes with the thumb instead of the third finger, as on the covered strings this gives a cleaner attack.
47 Pavane — Milan
50 Prelude in D Minor — Molino
Here occasionally in order to carry voices through, slightly unusual fingerings are introduced, e.g. in bar 8, I like to carry the A through to the next bar, so that the second finger is playing behind the first. In bar 10, the half-barré has to be positioned on the last beat to give a smooth transition to the next chord. The final note in bar 21 can be played using a
The works for guitar by Francesco Molino, seem to have been almost totally discarded by both performers and teachers, but as in the case of this little Prelude, if one takes the trouble to look, there is always the chance of coming across something which may turn out to be useful. This piece begins with a short introduction of five bars, which then leads into a flowing
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53 Prelude — Tárrega
semi-quaver passage where there appears to be no real melody. In fact, the 3rd, 5th, and 7th notes of each bar, provide the melody, which continues for three bars until taken over by the thumb entering on the B flat (bar 9). From bars 11-14 there are in reality two tunes, culminating in a dominant-seventh chord at the beginning of bar 15. There is a brief passage reminiscent of the opening introduction, followed by a short cadenza, and the piece then ends quite quietly, but firmly, in the tonic key. No extravagant technique is required for this work, but the performer should be quite secure in the use of both full, and half barres. It is in fact, of most benefit, when used as a study in position changing.
In the recording of this piece the tempo I set may seem on the quick side, but I feel that this adds to the flow, avoiding a rather ponderous, drawn-out style which can so easily happen. Up to the chords at bar 9, play all the melody-notes using rest-strokes. The half-barré in bar 8 must cover the 2nd, 3rd, and 4th strings, as this makes the movement to the bass G sharp much simpler.
54 Pavane — Milan At bar 11 you will see that in the middle voice the second finger has to be carried up to the C. This is the only way in which the treble and bass lines can be held for their correct value, and although initially quite hard does work with practice. At bar 34 hold the bass B for the whole bar. The beautiful entry of the middle voice in bar 40 must be brought out, and students should also observe the 'echo' effects commencing the second half of bars 46 and 56.
51 Lagrima — Tárrega The most famous of Tárrega's Preludes, this lovely piece, (the title incidentally means 'tear-drop'), is a favourite with both teachers and pupils. Each half is split into three phrases of 2, 2, and 4 bars, and whenever possible, rest-strokes should be employed for the melody. For example, in bars 1 and 2, use rest-strokes on the crotchets G sharp, A, and B, and the dotted minim F sharp, but keep to free-strokes for the other notes. The fingering for the last 4 notes of bar 6, allows all these notes to be held on, a typical piece of Tárrega fingering. However, in the next bar, the G sharp has been placed on the second string, which enables it to speak more freely. (Originally, this note was played on the 3rd string, which is inclined to be rather 'dead' above the 12th fret.) One other point, see that you get the full barré on the 2nd beat of this particular bar. In bar 11, whilst playing the A and C natural, position the l.h. fingers over the next two notes, as this will result in a smoother flow. It is impossible to hold the bass B in bar 12 for a full three beats, but at least keep it down until you have played the open B.
55 Pavane — Milan Probably the best known of the Six Pavanes from Luis Milan's famous book 'El Maestro', this is a much more difficult piece than it sounds. Consisting of three-part writing, much attention must be given throughout this piece to the clarity of tone, in order to bring out the various voices. The fingering of the D major chords in bars 1, 2, and 3, may seem rather elaborate, and these can be played equally as well with a halfbarré at the 2nd position, and the 2nd finger on D. In bar 6, if any difficulty is experienced in getting on to the final chord following the rather unexpected C natural, this usually means the left hand is not being held in the correct position. The C sharp in bar 12 has to be held for the whole bar, whilst the middle part moves in crotchets underneath. Also be careful when playing the sustained treble notes in bars 17, 18, and 20. Finally, the l.h. fingering on the 3rd beat of bars 19 and 22, may appear unorthodox, but this kind of thing is being used a lot more these days, and is well worth perfecting.
52 Sonatine — Giuliani The two groups of octaves at the beginning of the piece are difficult to play well. They must be strong, with if possible rest-strokes on the top notes, and any open strings should be cut after their correct duration. A slight change in tone colour is recommended in bars 13-16. In the movement from bars 22-23, do not carry the full-barré up to the fifth position—instead simply using a pivot, (the first finger is held as for a full-barré, but in fact only presses down the first string, it being held clear of the other strings). The passage from bars 45-52 is worth close study as it is more difficult than at first appears. The major problem is that the left hand is not held at the same angle throughout, and if the fingering given does not prove to be satisfactory, bars 46, 47 can be played with full-barrés at the 1st, 3rd, and 1st positions respectively.
56 Pavane — Milan The opening of this Pavane is an excellent study in chord playing with regard to clarity of sound, control, and balance. The stretch up from the barré to the E in bar 12 should be possible for the majority of guitarists but if this proves impossible, an open E may be substituted, but remember that the bass F must be held. One other detail which is sometimes overlooked—the two lower notes of the chord in bar 20 should ring throughout the bar.
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57 Adelita — Tárrega
each other. The 16th Century form of the Pavane, was usually made up of eight-bar sections, and this example is no exception.
Apart from the downward legados, the first half presents no real problems. In the first legado, make sure there is enough pressure on the 3rd finger, as it is fairly easy for it to slip over the edge of the fingerboard. The first note of the mordant in bar 4, is played at the same time as the bass E, on the 1st beat. When moving from the final chord of bar 7, to the first chord in bar 8, use the 3rd finger as a guide, but also keeping the string depressed, so as to create a glissando. In the second half of the piece, the chief difficulty lies in the three ornamented barré chords, (bars 11, 12, and 14). The first of these is perhaps the easiest, all the pupil has to do is concentrate on hammering down on the E with the tip of the 4th finger. In the next chord, there are two things to think about. Firstly, the A on the 4th string sometimes comes in the joint of the barré finger, so we must ensure that there is enough pressure here. In addition, the mordant requires a slight extension of the 4th finger, making it difficult at first to get the tip of the finger on the note. The last of these chords, again has the problem of the barré, but the difficulty really lies in the mordant, which is played on rather 'soft' notes, high up on the 3rd string. In the pull-off from the F sharp to E, the 4th finger must come to rest against the 2nd string.
An exquisite piece of music, it should not become a chord exercise as many pupils seem to play it. It will pay the student to examine in very great detail every finger movement of the left hand, as in many instances the fingers for a group of notes need not, indeed should not, go down at the same moment. However, I would suggest that before a single note is played, the student goes through analysing the harmonic progressions, as this will help in the learning of the piece. Notice the frequent use of guide fingers, e.g. bar 4, when going to the second group of notes, leave the 3rd finger down and slide the 1st finger down from the 4th to the 2nd fret. When you have a movement such as this, take most of the pressure off and slide the finger without actually depressing the string. Study carefully the passage from bars 6-9. You will notice that the finger which plays the final note in each group has to jump straight to the first note of the next group. Do not cut any notes short, with correct practice this section will become less difficult.
58 Pavana — Pisador
60 Prelude (Endecha) — Tárrega
The full title of this piece, 'Pavana muy llanapara taner' means 'Pavana, quite easy to play'. It consists entirely of three part writing, and once again, is not quite as harmless as it looks. Bars 5 and 6 require a certain amount of 'clambering about' in the lower positions, and in bar 6 a full barré and then a half barré must be used. In bar 19, I have introduced a 'harp' effect on the 2nd and 3rd beats. By playing the four crotchets on different strings, they can be made to overlap and run into
In the third bar play the A using a pivot. The chords in bars 7 and 8 must be played smoothly without any awkward pauses. For the 2nd and 3rd chords the half-barrés should cover strings 2, 3, and 4. Notice the length and shape of the phrases, particularly in the section beginning on the last note of bar 8. This phrase ends on the second chord of bar 10, and a very slight pause is effective at this point before beginning the next phrase. At bars 12 and 13 a rallentando helps in rounding off the phrase satisfactorily.
59 Prelude — Kuhnau
Foreword This revised edition of Music from the Student Repertoire is a combination of the majority of music which appeared in the two books previously issued in the mid 1970's. With this new volume, we offer a collection of sixty selected pieces which I have now put into a graded sequence, giving a wealth of material for students in their first couple of years of study. In terms of musical and indeed technical value, all these pieces are worthwhile, and the student need have no qualms about playing any of these if called upon to perform in public. As well as the more familiar examples by such names as Aguado, Carcassi, Milan, Dowland, Sor, Tárrega, etc., there are also a number of lesser-known pieces which I have found to be very popular with pupils of all ages, and therefore hope that other teachers may find of some benefit. fohn Mills.
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1
Study in C (Opus 31. No. 1)
2
FERNANDO SOR (1778 -1839)
Andantino FERDINANDO CARULLI (1770 -1841)
11
3
Lesson DIONISIO AGUADO (1784 -1849)
D.C. al Fine
12
4
Allegro
5
Andantino
13
MAUR O GIULIAN I (1781 -1829 )
FERDINANDO CARULL (1770 -1841)
6
Study in C (Opus 35. No. 1)
14
FERNANDO SOR (1778 -1839)
7
Andante in C MAURO GIULIANI (1781 -1829)
15
D. S. al Fine
16
8
Greensleeves
9
Maestoso
ANON (from William B allett's L ute book) (1580)
17
MAURO GIULIANI (1781-1829)
10
Minuet MATTEO CARCASSI (1792 -1853)
18
11
Andante Grazioso FERDINANDO CARULLI (1770 -1841)
19
12
Allegretto
20
MAURO GIULIANI (1781 -1829)
13
Entree
14
Lesson
21
ANO N
DIONISIO AGUADO (1784 -1849)
15
A Toy
16
Andantino
ANO N (from Jane Pickering's Lute Book)
MAURO GIULIANI (1781 -1829)
17
Study in G (Opus 35. No. 4)
23
FERNANDO SOR (1778 -1839)
18
Minuet in G
24
FERNANDO SOR (1778 -1839)
19
Allemande
25
ANON
20
Estudio No.1
21
Study in E minor (Opus 31. No. 6)
26
FRANCISCO TARREGA (1854 -1909)
FERNANDO SOR (1778 -1839)
27
22
Pavane
23
Allemande
ANON
ANON
28
24
Orlando Sleepeth
JOHN DOWLAND (1562 -1626)
D. C . al Fine
29
25
Study in A minor (Opus 60. No. 7)
30
MATTEO CARCASSI (1792 -1853)
26
Balletto ANON
31
27
Bourrée ANON
28
Study in E minor FRANCISCO TARREGA
32
29
Passamezzo ANON
33
30
Galliarde ANON
31
Study in E FERNANDO SOR (1778 -1839)
34
32
Aria
from Partita in A minor
35
JOH. ANTON LOGY (1643 -1721)
33
Study in C (Opus 35. No. 13)
36
FERNANDO SOR (1778 -1839)
34
Minuet from Suite in D minor
37
ROBERT DE VISEE (1600)
35
Study in D (Opus 35. No. 17)
CII
38
FERNANDO SOR (1778 -1839)
36
Lesson DIONISIO AGUADO (1784 -1849)
39
37
Lesson A llegr o moder ato
40
DIONISIO AGUADO (1784 -1849)
38
Sarabande
From Suite in D minor
41
R OB E R T DE V I SE E (1600)
39
Minuet (from Sonata No. 1 in C) Allegro
42
ANTON DIABELLI (1781 -1858)
40
Prelude ROBERT DE VISEE (1600)
43
41
Study in D (Opus 6. No. 1)
44
FERNANDO SOR (1778 -1839)
42
Study in D major (Opus 60. No. 10) Allegretto
45
MATTEO CARCASSI (1792 -1853)
Study in A
43
(Opus 35. No. 21)
Andante
46
FERNANDO SOR (1778 -1839)
47
44
Study in E (Opus 31. No. 7)
48
FERNANDO SOR (1778 -1839)
Study in F
45 Allegretto
(Opus 60. No. 16)
49
MATTEO CARCASSI (1792 -1853)
46
Study in B minor Moderato CD.
(Opus 35. No. 22)
50
FERNANDO SOR (1778 -1839)
47
Pavane
51
LUIS MILAN (1536)
48
Study in A (Opus 60. No. 3)
52
MATTEO CARCASSI (1792-1853)
49
Prelude
53
FR ANCISCO TARREGA (1852 -1909)
50
Prelude in D minor FRANCESCO MOLINO (1775 -1847)
54
51
Lagrima FRANCISCO TARREGA (1852 -1909)
55
52
Sonatine MAURO GIULIANI (1781-1829)
Allegro moderato
56
53
Prelude FRANCISCO TARREGA (1854 -1909)
57
54
Pavane
58
LUIS MILAN (1536)
Pavane LUIS MILAN (1536)
59
56
Pavane
60
LUIS MILAN (1536)
57
Adelita
61
FRANCISCO TARREGA (1852 -1909 )
58 Pavana Muy Llana Para Tañer DIEGO PISADOR (1552)
62
59
Prelude JOHANN KUHNAU (1660 -1722)
63
60
Prelude (Endecha) FRANCISCO TARREGA (1852 -1909)
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