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GUITAR SOLOS
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BIOGRA?HICAI NOTE Juan Martin is a yirtuoso sxildist. So are a handful ofother anists in the world, but mtre has quite tbe app.oach or lhe feeling or the backromd which brs narked outMartin as avery rre lalent ind@d. His special naturc has been abundandy evideni in his recordings. Solo suibr albuns i. \a,hich his flmenco background was dominant have been foltowed by others where inlluences are far more diverse: coliaborations pith jazroct instrumenialists d noted as
[email protected] player Tony Hyms and lercusiotrisl Simon Philips; compositions ettempting to relect the paintings ofPic.sso; a superb series ofromanlic tunes with backing from the Royal Philhmonic Orchestn; a Top Ten hil single of the Love Tleme from the Thom Bnds. His eclectic apprcach hd 1ed to apleamnces on TV sho*6 lite To! ofthe Pops ud Wosan d wel d a1 rhe Monteux Jaz Festival md the Edinburgh Festival. He is d much ar home in the concen hals ofAmsterdam, Florcnce, Madrid, Zuich, Hong Ibng as in the Bebican or ihe South BaDk auditoria oflrndon where he resides. His besirmings in llamen@ were h the purest Spanish lraditions ofthe guitar, studyins in ddabso'bing tbe anrosphere ol Malaea. one ofrhe arear hjslodc@nues ot0menco.lhat idiosyncadc doce musiclorr.nser a *e116 suilar, s onm qd in moodand otuD ekborate in melodx Then came the clinb to his present slatus s a soloht in recitals md coltabomiorof Juan Martin's guilzr method -'!El Ane Fhmenca de la GuitanE, look six yem ro complete,and has beenacknowledgedworldwideas lhe definitivework on the flamef,co guitar. His woildwide standing is turther emlhasisedby his being voted into the to, rhrce ofthe.Best Guitarisls'@tegory for two years llnning in the Amencan mag@iDe'cuitd nayer'. He is also featured promircnUy in the Evans Guitar anlholosy.
;fuonclfartin GUITAR SOLOS
12 pieces
for Spanish Guitar
recorded by
JUAN MARTiN
from the besrseling arbum SEREM,4TET Th. Rnaannc Guitot olJuat Manin 0\E1267, WEA and K-Tel)
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GLOSSARY Explanation ol S)rnbols
LEFI ttAND I'INGERING is indicated by nlmbers b€side not€s, with o denotirg open sting md the llngeB numbered I (index) lo 4 (liltle finger).
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RinBed numbers benearh notes indicate stri.g to be played, e.s;
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Roman numemls above siave indicale f.et position. C befole numeral denotes first finger bere ard 1/2 C indiates a bme affos tbiee o.lou. strings.
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CImA (Iablalure) The sixline stave represenls the six strings ofthe guita. wilh the tusl sbing al the to! and the 6ih (bass E) ai the botlom. Numbes od each line indicate the lret at which .otes a.e llayed on rhe string. For lhe sak€ of clditx timins ot noles and details offingedns e indicaled only in relalion 1o the musical noliation and have nol been duplcaled in the cifra. RJGI{T IiA.ND ENGERING
i = index nnger m = middle fins€r a = nnc finger e = little finser
(h rassueado,
RASGUE DOS (Strumming lechnique,
A doma|oke,lrom ild,caLed
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An uo'ko\e. tmm ueble ro bds n
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The letter benoth esch arrow indi€tes the risht hand fineer which makes the stroke. stroke of each finser is @presented by a seDarate anov. Thus ltr "hst Ftuewell" a Esgueado by loul llngers and thumb which stans before the first bear oflhe bar ud ends wi.h acce.r 01 ,he f6l bear F .bown N lollos
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indicales a slroke made with two fingers (a and m) simnltatreously.
MSGUEo APAGADO (D&mping). To cut shorl lhe sorDd ola chord once sL'ucL 1wo flamenco methods ee used. In RIGHT hand apagado, the palmar sudace ol the hand h brousht down straish! adoss lhe strings, stopping their vibratiof, abruptly. This is lndi€ted by a bracket lollowing the chord with the ietlerRabole it,
ln LEFT hand apagado (which
is used wherc cho.ds are repeatedly damped qulte rapidly)
simila. etrect is achieved by bnnging the left hand fing{ very liehtly stnisht acro$ lhe stdngs, with just enough piessuie to stop the strinss vibmlins. This is shosn by a bBcket a
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other rdgueado techniques ee more fully explai.ed and illustraled in Juan guitar method, "El Arte Flamenco de la Guitarra'.
SLAPPINC
TrCII\IQUTS IOR Rt-\,tB { G\ J.ed in 'Decied_)
indicates a daD on the face ofthe euitar made wirh the Dads (tot the nails, othesise damage the guita, ofthe rish! hand finses which a.€ slapped flat across the lou strinss in the normal playing posilion between soundhole and bridge.
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indicales a slap onto lbe laceolthe guitar, iust lo the neckside ofthe soundhole (ie to lhe l€ft as you loot down on the euitlr in playiag position)In both iDes ol slapping movement the palma. surface ofthe fingers ]s brought down al rieht ancles acros the stnngs. thereby stoDping their vibntion. as in R hand apagado.
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I p'sJeo ss, lslr sJpe8sio ['om ba\. ro Lreble lile belore d .hord ind.care. .hdr _Ldt ' qhere rhe'irLk fi nser.weep\ &ro.. l.rewell' or oc6ion, ly. a.,n'Rotrr, e_ do the strl.!.Ircm teble to ba$. A wdry
INTRODUCTION AND PLAYING NOTES by Juan Martin These twelve pieces ofdusic fton my.ecod album "Serenade" alproximately ascendjns order of difflculry for the suitadst.
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On lhe iecord I was backed by the manelous anangements by Louis Clark for the slrincs and woodwind of the Royal Philhamonic Orchestra, and some of the pieces included cuitar over{ubbing. But these almgenents are atl complete solos in ihemselves, wilh the exception of Chi Mai, whi.h h presenred here as a duet for t{o guit3rs. They are all idenlical or closely simild to the music I played for the remrd or to solo veulotr I have played in lve concerrs md iecit8ls. They a.e not simplified versions and i. some ofthem, such as in my composition Desi@d" ed "Da!id's Song", I have added larisiions nol included on the re@rd to add extra interest ior solo ledomance. Ifl order to make lhe wilten music accessible to players ofa sid€ ranse ofabilities I have included a srea! deal oihel! wilh lingerine. The music is Milten in both slallnotaion and tablalure ('cifta") lo help lhose mary people who find ii hard to read noiation for the suila. Even for those who can read music quite well the ciha is helpiul, panicularly for u.Jbmilid chords and notes in the hieher positions ofl the guitai fingerboard. Indicalions for left-hed finge.ings aie those I prefer myselli sometimes they cldly show the Ilamenco suitarist\ liki.s for placins lhe left hand in chord shapes ev€D when not a1l the strings ol lhe chord are srruck. Symlathetic overtof,es liom s|ings wnich are stolped but nol sounded enrich 1!e sonority of lhe gultar. Some ol the rieht hand techniques you may nor h^e mer betore; rl'eJ dre erpl"ined rn lhe gloldry. For the recordlngs I rsed my 1972 Sobdflos de Dominso Esleso guitar, vhich is a particular lavourite ol mine b€@use ol its excellent lonal balame and wmth. Most people will lavour a'tlassical" nyton stru.g instnmenl.In some pleces I used a'tejilla" (or flamenco apo). as indicaled ai the slart of each piece, 1o achieve a chamcteristic !i1ch and tone from the guitar, but all pieces may be played in the open posiiion as vritten. For some ol the tieces chord nanes are included along wlth lhe music so that you can play with other instruments or try youl o$n altempts at multi-tracking. I hope you will enjoy, as I have done, ptayos these pieces in such a way as to try to bring out the nagical ftnse ofsounds and expr€sion available frcm the Spanish suitar
IjYe Ihme lioto "TqORN BIRDS" This urangemed ot Henry Mancini\ theme lor the TV serialisalion of"The Thorn Btds" reached lhe U.K "Top Ten' as a sinele. I orlginaly dmeed it for the guiiar after hedins a vocal demo vesloir from ihe USA. beforc the serial arived on British screens wlth Heffr Mancini\ own orchestration. For the record I llayed it with a cejitla at the frIlh frei, .ahing l1e key from E mimr (in rhich the music and cifm are winen) to A minor. The tune is simple, yei deceDtively so, and its almost reticenl bl1ter-sweetness pedectly underlined the penrup emolions ofthe series.Illayed i! very stniehl, without vibmtq just giving a slight plainnve "tend" !o the D md A nole! (by pushing inMrds oD the strings across the lretb@d to mise lhe !i!ch a fraction) where sho$r on the second page
MISSING musician who comlosed 'Msine". is lery weU known ior the film "Chariots ofFire". I played the music tttroush with him betore with helptul advice. The solo version here is a special
afiugemenl for this atbm. On lhe record I llayed i! maidy as a s]lele note solo in the higher positions, so accompanying bas noles and chords have been added to nake an attmctive solo that is complete in itsell There are no great lechnical problems in the fingerlng but it is lmporlant to nnger the opedng chords corecdy wilh the left hed in order to allow the tune to flos alone withoutjerkiness as lhe left hand finsets stop the strings. The short sectio, in E flat and B flat becomes easy vhen you vork ou1 the hmiliar chord sbapes lor the left hmd. ROMANCE
Ihis anonymou$y-composed littie masterpiece is quintessenlial music tor the Spanish guitar. Many a student ofthe flamenco aod classical suitar has $aned his voyaee of lamins the ins!rumeDt wilh iL Popularised by Narciso Yepes in the soundhack ofthe film "Jeux InterditJ' (Forbidden Game9, it has been played in many versions, as an exceUent exercise for aDeegio technique a.d l,o introduce the use ofthe higher positions, or as a solo that still appeals to audiences as a haunting lune almys arsociated with the guilar- $hen I first recorded ii with orchestE and percu$ion as a sinele, I changed the 333 Daltern of ihe
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but this is the orisinal versioq with just the addilion of an introduction and coda in diminished chords to frame the melody.
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DAT'ID'S SONG
Davidt Sons w6 sivetr to me in the vesiotr that ac.ompmied the Tv series ol Robert Louis Stevetront "Kidmpped", for vhich i! E6 performed by Lish folk musicim. I found it transoibed very well as a solo for Slanish guitar. For lhe solo here I have sliehuy altered the arpecgio seciions ftom the recorded version io add interest and greater valiety ol guile techniques. PX.ELIIDE:
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This Cholin prelude, orisinally composed for lhe pieo and ihen adapied for the baltet trs Sylphides, makes a charming guilar sola The dnEactic poin! which jovolves a spread chord wirh a finger stretch from 9lh to the 14th liei looks daunrins at fiBt. but you will find it comes morc easily under the Ieft hand thar you ltrhk Because the lune is so wel lnowlr, it lresents a good challenge for the guittuist 10 brins out the right delicacy and "lill'' h the rhrthm. TTIE I"{ST FAND\!DT,I,
I composed this N a lighlh@fi€d lasliche on the Latin-American tango, to be ptayed as are on the dance-floor in Buems Ates with a rose between your teeth and a long night of@ssion ahead ofyou.. The euiiar plays rhe tune d plovides the dance-band accompanimen! emlhasisins the steady ihrob ol the emlhatic 4/4 rhrahm by meanl of chords played msgueado and with dampiq techniques lor risht a.d lell hand (see elossaiy). Repeat it until your audience h faint with exhaustion.
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DESIRED The harmonic basis ofthis piece is the chord sequence E minor C, B mino., A. lt came !o me as I sas exploring alternalive sequenes to the usual Ptfygian progression of flamenco music (e.g. D minor C, B llat, A) and I became sreatly intdgued with it. The
piece b in lhe form ofa rumba, wilh ils characteristic 332 acceffuarion. Fo. the solo version I have included some ofthe chdacteristic strummilg dd stappine techriques the flamenco rumba, phich I Int Morded in lhe venion for my album "Picasso PortBits". These de explaiftd in the Closary.
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ROMEO AND JT]LIET Composed by the Italid composer Nino Rota, this lovely melody accompanied ZeffreUi\ of the Shatespede play. The solo vesion js slidtly mended for the euitd to ,ll oul the hamonisation, but is very similar !o the re@rded solo. The arreggio sectioN bemne st aightfonr?rd when you identiry the conect sequence oflefi hand cho.d shape!, which are most quicLy idenilfiable ftom lhe cil'ra. As with much ofthe romanlic music io this atbuE, the lowing leealo line ofthe tune is aI imlortant, wlth great opporlunities to develop your skills oftouch and tone-!rcduction to make the iDstrument sing.
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ARANLIEZ: Adaeio
Amjuez. RodrisoS first euii{r concierto, and especially iis cIe€t themes oflhe slow second movemenl, bas become one ofthe most polular md profolndly app*ling worti in the whole guiiar repedoire. I am sue that very dany guitdisls, evef, ifthey never have lhe Themes frcm the slow movement of the Concierro de
lrivilesed oplortunity ofplaying this marvelously erc@tive Sranish music with an orchestn, wilt enjoy the chdce to piay thse themes in their original (albeit here gieady abbrevia.ed) vesion and to mNd at Rodriso\ inspned inve iveness in his use oflhe chordal capacities ofthe guilar. So slrons and erlre$ive are the themes ofthe slow molemenr that they sound beaulitul even a! a single melody line o. ihe solo guii,ar- The chords included h the second tune, in rhe bass, should be played as ifthey were !rcvid.d by a second suitar sirummins m accomluimenl in dialogue with lhe theme. CAVATTNA
Guilarisl John WiUims made the onsinal version of Slanley Mye6' "Cavatina" which fetured in the sound-track ofRobert de Nirot filn "IXe Deer Huntei'. Ir has become one ofthe mosl popular modem classics lor the guilar, perfecny suited to the inst.ument in its fom ofa iydcal lheme with a rict y hmonised arleegialed acompmiment. Once again, the cifta should help you worl out lhe teft-hand fineer;ng of the chord cbanges, which will have ,o be patienuy worked on bar by bd. MOONLIGHT SONATA: Adasio
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solo veuion inctudes most of the music ftm the ftst movement of Beethoven s ereat piano sonai4 the '1rloonli8ht". Opinions aiways difler 6 to whether such revered classiG should be atlempled as rranscriplions for the guilar, but I refuse 10 believe Beethover would have been offended. TXe lefr hand lirgering is tecbnicaUy chaUenging but the etrort is rewarding. I thint it works rather well, the steady pefug ofits slow aQeggios bnngirg ou1 a darker kind of sonoriiy tom lhe guitar which can be profound CTII MAT
The popular theme music for the TV series 'fte Life and Times ofDavid Uoyd Geoge" is presented here as an anangemenl for two guitars. In this my I have stuct very closely to the suilar music on the record, including both lhe roelodic theme and the accompanying obliSato oerdubbed on ahe recor( with the addirion ofa euiiar melody in rhe middle secrion which is canied by the orchestra on $e record- The rh}1hrn needs (refirt attefltion tbrcughour The piece giyes orpodunities lor a djsplay ofthe expressive qualites of the suitar sound from use of the hisher Dositions of the fretboard.
Contents lnve Theme fron "Ihom Birds"
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Missms
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David3 SoDg Prelude:
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20 23
Sylphides
24
Desned
26 30
Themes ftom Rodiigo's Concieno de Aranjuez
33
Calatina A&eio f.om Beethoven s "I,loodisht" SoMta Chi Mai - "The Life and Tiraes ofDavid Uoyd ceorge" (for two suitas)
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Love Theme from *TI{ORN BIRDS" HENRYMANCINI
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LASTFARE\AIELL JUANMARTIN (Recorded with cejilla at Sth fret)
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MONA4OUR The Adaeio Movement of the Concierto de Aranjuez from 2nd Movement of lst Guitar Concerto Adaptation and Lyrics by Hal Shaper Music by Joaquin Rodrigo-Vidre arranged by Juan Martin
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