Classical Guitar study
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(2) Digitized by the Internet Archive in. 2012 with funding from. LYRASIS Members and Sloan Foundation. http://archive.org/details/classicalguitariOOwues.
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(5) The undergsigned, appointed by the Schwob School of Music at Columbus State University, have examined the Graduate Music Project. titled. CLASSICAL GUITAR INSTRUCTION FOR THE PRE-COLLEGE CLASSROOM. presented by Blake Wuestefeld a candidate for the degree of Master of. Music. and hereby certify. it is. that in their opinion. (Project Advisor). J. -•I. in. Music Education. worthy of acceptance..
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(7) Classical Guitar Instruction for the Pre-College Classroom. Blake Wuestefeld. Columbus. State University. December 2007.
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(9) Ill. Abstract:. This project levels of study and. is. is. a curriculum for secondary guitar instruction.. It. consists of eight. designed for the beginning to intermediate student.. selections and explanations of the pedagogical validity of the works.. It. has repertoire. These works were. selected due to their cumulative and didactic nature and because of the specific technical. issues they utilize.. These technical issues are introduced gradually. to ensure a student's. steady and incremental progress in both technical and musical aspects.. The. student executes exercises from such sources as. the Classic Guitar, the. Royal Conservatory of Music graded repertoire. by many of the most celebrated composers repertoire of all styles and periods and. guitar educator.. Aaron Shearers: Learning. is. series,. and works. for the instrument. This project includes. truly varied.. It is. an invaluable tool for any.
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(11) IV. Table of Contents. Abstract. iii. Introduction. Level. 1. 5. 1. Level 2. 19. Level 3. 24. Level 4. 29. Level 5. 32. Level 6. 35. Level 7. 38. Level 8. 41. Appendix A: Repertoire References. list. 46 52.
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(13) Introduction.. Throughout. its. history, there. philosophy of the classical. pedagogues. as,. among. Sor, and Dionisio. guitarists.. have been a variety of contributions. Thanks. guitar.. others,. is. pedagogical. accomplishments of such important. Aaron Shearer, Matteo Carcassi, Mauro. Aguado, there. One can draw from. to the. to the. Giuliani,. Fernando. a great deal of information available to aspiring. these diverse contributions. many. useful instructions and. exercises.. An extremely positive a. demand. aspect of guitar. for guitar instruction has. grown. is its. recent rise in popularity.. to the point. As. a result,. where the private sector alone. is. not able to meet the social need. This has lead to the introduction of guitar instruction in public schools. This growth requires the need to assess the. way. that. music educators. teach guitar. While disciplines such as band or chorus have long been taught in the. classroom is. now. setting, guitar. has generally been taught in the one-on-one lesson forum. There. a need to teach the instrument in a class setting. This project. repertoire and. method. is. a compilation. that results in a practical, concise collection that will. prove. to. of. be. an invaluable tool for a secondary guitar teacher. This curriculum. ensemble. is. intended for a secondary school student. for a two-year sequence.. It is. who. is. taking guitar. divided into eight sequential and didactic levels.. Executing these levels requires the student to master important aspects of guitar playing.. The curriculum follows. a standard four semester high school schedule, with each year. divided into two sections. Moreover, specific standards requirements.. it. Each. exercises for a developing guitarist.. is. cumulative, sequential, and allows for any area. level consists. of appropriate studies, works, and.
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(15) The. first level is. intended for an absolute beginner. who. has no experience with. the instrument. Issues concerning seating, posture, holding the guitar, nail shaping and. basic right-and-left hand techniques are introduced. In addition, basic music reading. introduced in the reinforces. first. position.. competency on the. Next. is. of the principles of level one and. a continuation. guitar and reading in the. beginning of simple arpeggio studies. Level three adds studies as well as. music extending up. first. in. position, and include the. more advanced right-hand. The next. to fifth position.. section continues with. studies and elementary repertoire with the addition of advanced scale patterns.. consists of beginning pieces as well as the continuous. hand. studies.. The following. reading beyond the. level introduces shorter. fifth position.. The seventh. fifth. left-. multi-movement works and music. level includes. as different types. The. all. read in. The. advancement of both right-and. on fingering and left-hand techniques such final stage requires students to. is. more advanced knowledge of slurs and simple. trills.. positions, play at the intermediate level and. have knowledge of extended techniques.. Each of these each technique that issue.. This. is. is. levels will include repertoire lists. to. be taught, as well other pieces. a defined sequential. method of teaching. and specific musical examples of that include the. class guitar. same kind of. on the secondary. level..
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(17) Below. is. a. summary of issues addressed. in. each level of the lesson plan.. Levels of Development. Level. Goal. 1. Seating, posture, holding the guitar, nail. shaping, basic right and. left. hand. techniques, basic music reading in the. first. position.. 2. Seating, posture, holding the guitar, nail. shaping, basic right and. left. hand. techniques, basic music reading in the. first. position, arpeggio studies.. 3. Arpeggio. studies, reading. up. to fifth. up. to fifth. position.. 4. Arpeggio. studies, reading. position, easier repertoire.. 5. 6. Arpeggio. studies, reading. position,. more advanced. Arpeggio fifth position,. shorter multi. 7. Arpeggio. up. to fifth. repertoire.. studies, reading. more advanced. up. to. repertoire,. movement works.. studies, reading. up. to fifth.
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(19) 4. position,. multi. more advanced. repertoire, shorter. movement works, improved. left. hand. fingering and techniques.. 8. Arpeggio. studies, reading,. repertoire, shorter multi. improved. left. more advanced. movement works,. hand fingering and. techniques, improved reading in. positions.. all.
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(21) Level. 1.. AjL Right hand technique Right hand technique classical guitar instruction.. is. the. most important. The volume,. tone,. initial. issue to be addressed in. and speed of a student are. all. affected. by. the technical mastery of the right hand. Without a proper right-hand technique, in. addition to inaccuracy and poor tone, injuries. RSI, as. it is. known,. is. may. occur such as repetitive strain injury.. an umbrella term for any muscular, tendon, or nerve disorder. caused by any movement that employs undue tension to execute a movement. result in the student not. It. can. being able to play the instrument and having pennanent issues. with his or her hands (http://content.nejm.Org/cgi/content/short/355/8/8 1 8). Avoiding counterproductive tension. is. the foundation of good guitar playing and. development of the student. The goal of good right-hand technique execute. movement without. amount of undue. the least. Classic Guitar Vol.. The a. way that. the most efficient and ergonomic; this. in. an awkward. way. that. hand executes movement best when Efficient. Motor Function" (Shearer. productive tension.. crucial for the. be able. to. This can be. Aaron Shearer's Learning. the. 1.. The opposite of this type of tension known hand moves. in. overall goal of proper right-hand guitar technique. is. is to. strain or tension.. accomplished by following many of the ideas outlined. is. as. is. known. is to. execute. movement. as "Productive Tension.". "Counter Productive Tension,". is. when. encourages excess tension in the hand. The. it. utilizes. 1990).. what Shearer. in. calls. the. human. "The Four Principles of. They encompass every. part. of playing with.
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(23) Muscular alignment. is. the. first. playing with proper technique. This. is. of these four principles and. is. the. most. the idea that "Muscles function. step to. first. efficiently. only when naturally aligned with their base and joint attachments" (Shearer 1990). This alignment allows the most efficient movement of the hand, wrist, arm, and back.. The second of these states that. position. is. principles. is. the midrange function of joints. This concept. muscles function well when they are in the midrange position. The midrange. when each joint. contract or relax.. is at rest.. On any joint. The muscles. there are. in the. human body do two. things, they. two types of these muscles, flexors and. An example. extenders. Flexors are the muscles that cause a joint to contract.. of this. is. the muscles used to close one's hand. Extenders are the muscles on the outside of the. joint such as the ones that. open the hand. The midrange position. and extenders each have the. midrange position. is to. least. amount of tension. drop one's arm to the. in. them.. side, the natural. A. is. when both. the flexors. good example of the. curve the hand makes. is. the. mid-range position.. Uniform direction ofjoint movement. is. one of the principles. many. that. find difficult to accomplish. This principle states that "Muscles function. only. when. all. three joints of a finger or the. (Shearer 1990). This flexion then. The. all. allows the. the concept that. is. when one moves. of the joints must contract or extend. no. restraint applied to stop the. where a. batter does not stop his. movement of swinging. efficiently. are either flexed or extended together". a finger in the direction. in the. same. An. movement.. swing once he. the bat to complete. its. of. direction.. final principle is follow-through; this is the notion that. begun, there in baseball,. is. thumb. most. guitarists. when. excellent. hits the ball.. natural cycle.. a. movement has. example of this. The player. is.
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(25) 7. The. instruction of right. hand technique. is. so paramount that a student must. accomplish the fundamentals of this technique before the left-hand. The following. exercises are designed as the initial lesson.. exercises that encompass twelve basic. used here. is. the standard labeling of fingers used in. labeled P, and. is. is. all. in. are a. M, which. the abbreviation of anular.. even discussed.. list. of right-hand. playing guitar. The system. of classical playing. The thumb. taken from the Spanish word pulgar the index finger. stands for indcce the middle finger. which. movements used. They. is. is. labeled. /,. represents medio and the ring finger. and. A. is.
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(27) Right. Hand. Exercises.. AMI A. M 1. I. alternating with. AMI. M alternating with AMI A. alternating with. AMI. arpeggio. IMA. arpeggio. AMI. P P. alternating with. AM IP arpeggio PIMA. arpeggio. AMI.
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(29) B. Musical literacy.. Level. Work 1.1. So-RE One. 1. Repertoire List. Composer. Pedagogical benefit. Shearer. Practice playing the. an. 1.2. Bugler's Tune. Shearer. D. open. G. strings. Practice playing three. open. strings.. 1.3 Scale. Song. Shearer. Practice playing part of the. major 1.4 Counterpoint. Shearer. scale.. Student. is. introduced to the. basic idea of counterpoint.. 1.5. 77z<?. Weaver. Shearer. Improvement. in. reading. quarter and eighth note. passages, develops a sense. of rhythmic proportions 1.6. Dance of the Downward. Shearer. Skip. 1.7. March. Practice skipping multiple. strings.. Shearer. Practice using. P. exclusively.. 1.8. Serenade. Shearer. Student plays multiple lines. for the first time.. 1.9. Folk Dance. Shearer. Similar to Serenade, but.
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(31) 10. with more complex rhythm.. 1.10. Two by Two. Student plays two notes. Shearer. simultaneously.. Student plays in a musical. Shearer. 1.11 Petite Valse. texture. 1.12. Andante I. common. to guitar.. Rhythmically similar. Shearer. Serenade, with a greater variety of notes.. 1.13. Music Box. 1.14 Moorish. Dance. P with IM. Shearer. Alternates. Shearer. Alternates a bass line with. broken chords. 1.15 The Gondolier. 1.16 Etude. Moderne. Musical literacy. is. Shearer. PIM Arpeggio. Shearer. PIM Arpeggio. an aspect of the classical guitar that. is. of the highest. importance. Unlike popular styles such as folk, rock, or finger style of the instrument,. is. essentially impossible to. music. The text that. I. be a successful. have chosen for the. Sheaer's Learning the Classic Guitar Vol.. classical guitarist. initial. II.. exercises to be contained in a single volume.. section of the curriculum. This. has proven itself to be one of the finest texts in. and not be able. is. is. it. to read. Aaron. an industry standard method and. this area.. It. is. The following. also helpful for these initial. are the exercises that are to.
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(33) 11. be introduced. after the sections material has. been presented. Each chapter begins with. the introduction of the material to be learned.. and. D. seems. string.. to. While the book explains. be more advantageous. student to stay in a. to. use. more comfortable. that. I. The. first. one needs. for the. D. thing introduced. to. string. the. is. open. use P to play these notes,. and. M for the G.. G. it. This allows the. position while learning to read music.. The student. should keep P on the bass string to allow for a more stable position. The chapter then gives short studies in the form of duets.. accompaniment. someone. at the. The top. line is the student. and the. line is for the teacher. This gives the student the opportunity to play with. very beginning of their training, and for development of rhythm. The end. of each chapter includes a solo piece. that. encompasses everything learned..
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(35) 12. 1.1. Reading exercise. 1-. LCGII. pg. 14-15. So-RE On. (. Shearer 1990). Student. ^:=ifc. 3§:r:i:-fi:. "#- -ar~. fcftrse. '^EE:EJE. Eft:.. ~i$hz:. Teacher This lets the. is. an example of one of the exercises used in the. student practice playing both the open. these exercises. is that. G. and. D. first. strings.. chapter. This exercise. An. excellent aspect of. these pieces utilize the open strings. Using open strings allows the. student to be able to keep the standard posture that they have already learned.. encourages follow-through, and. is. It. also helpful because each finger is only assigned. one. string.. 1.2. This. Reading exercise. is. G, D, and through.. 2-. LCGII. pg. 17 Bit2ler's. Tune (Shearer 1990). an example of one of the end-chapter solo pieces.. B. strings.. It. includes use of the open. This allows the student to use three finger and encourages follow-.
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(37) 13. 1.3. Reading exercise 3-LCGI1. pg. 26 Scale. Son2. (Shearer 1990). ^^. in. This exercise utilizes diatonic writing to introduce the student to a portion of the. major. scale.. The second. section also has eighth-note rests followed. by successive. eighth notes. Practicing this exercise helps the student develop a better sense of. rhythm. 1.4. Reading exercise 4-LCGII pg. 28 Counterpoint (Shearer 1990). ^m. I Counterpoint. 's. strength lies in that. it. tests a student's ability to. play a single line. while the teacher plays counterpoint. This requires the student to be able to listen to not only their. 1.5. own part,. but to their partner's part as well.. Reading exercise 5-LCGII pg. 29 The Weaver (Shearer 1990). £ r The Weaver requires the student. lt. ". to play eighth-note passages.. student to improve their reading skills and overall speed.. This helps the. The change from. eighth to half notes also helps the student to develop a sense of rhythmic. proportionality.. quarter to.
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(39) 14. 1.6. Reading exercise 6-LCGII pg.35 Dance of the Downward Skip (Shearer 1990) M.M. J = 116. i. ^. n~rr. Dance of the Downward Skip covers It is. J. all. '. J. of the notes presented. in the. previous lessons.. sixteen bars long with constant quarter notes with only one half-note at measure. eight.. also requires the student to skip multiple strings; an increasingly difficult. It. technique.. 1.7. The work. also requires students to read larger intervals.. Reading exercise 7-LCGII pg.42 March (Shearer 1990). f^in The March. an excellent exercise for students to practice playing bass notes with P. is. for the first time.. M, and. I,. the top three strings,. A. are not being used, so the player can rest those fingers. which gives the student a proper reference point. on. for playing this. exercise as well as stability. 1.8. Reading exercise 8. L. ffrrr. Serenade. is. the. pg. 44 Serenade (Shearer 1990). ^M. m. i. i. LCGH. first. L rzni. exercise in the text that has two parts for the student. Shearer. introduces this concept to the student by having each individual part play on different beats.. In this piece, the student. never plucks more than one string. understand the concept of playing multiple. parts.. at. a time but begins to.
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(41) 15. Reading exercise 9 LCGII Folk Dance (Shearer 1990). 1.9. 1. J>fi. IX multiple lines.. It. HUT. r. Folk Dance. is. is. J. r. \. the final piece in the section dedicated to playing music with. similar to Seranade but contains. dotted-quarter-eighth note motive in the. first. more. measure.. difficult. It is. rhythms such as the. repeated throughout the. work. and helps the student with issues of counting. 1.10. Reading exercise 10 LCGII pg. 53 Two by Two (Shearer 1990). m. -. r. Two by Two. r. f. 1. i. mm. introduces the next level dealing with playing two notes simultaneously.. This exercise stands out from. many. from the Shearer. music which can bring the student incrementally. level. text provide. others due to the concept of the piece.. by having them execute simultaneous notes both a. third. to these specific intervals gives the student a greater sense. and a. The examples. fifth apart.. to the next. Keeping. of accomplishment due. increased activity in both hands, without excessive left-hand difficulty.. to the.
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(43) 16. Reading exercise XI LCGII pg. 54. 1.11. ff#^ f. Petite Valse (Shearer 1990). «. r p. r Pefr'ft?. Valse introduces the student to a. common. guitar texture: valse. accompaniment. The combination of a bass note followed by two quarter notes in. much of the. at the. also gives. them experience playing. two. in a. waltz-style texture.. i Much. BE. same. at. major; a. common key. and. the. Andante. I. (Shearer 1990). fUU m m m m m. like the Serenade,. and bass. pg. 58. 1. $. string. same time but. Reading exercise XII. LCGII. 1.12. found. guitar repertoire. This not only gives the student practice in playing. notes on the treble strings. common. is. Andante. I,. is. an exercise that simulates playing treble. time. Another beneficial aspect of this piece. in guitar music.. M on the B string.. This. is. It. also implements the use. excellent practice for. string alternation subsequent example.. when. is. the introduction of. of alternating. I. D. on the E. the student begins same-.
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(45) 17. Reading exercise XIV. LCGII pg. 64 Music Box I (Shearer 1990). 1.13. —m— m—. —. w. tf. '. m—^. m. —. w-*. m. —. This exercise introduces the student to alternating between two simultaneous notes. being played and a bass note. This. is. one of the most important studies. the student could use this later on as a warm-up.. thumb. that is. used. is. The. alternation. in the. book and. between fingers and. an invaluable aspect of guitar playing.. Reading exercise XV. pg.68 Moorish Dance (Shearer 1990). 1.14. M.M.. I r In the. J-. 96. rrr. Moorish Dance, the student. alternates. between playing a measure of bass notes. followed by an alternating bass-chord measure. This exercise gives the student experience in changing compositional texture with each measure as well as the opportunity to focus on. P alone,. then. P with. fingers..
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(47) 18. Reading exercise XVI. pg. 73 The Gondolier (Shearer 1990). 1.15. B1EEfegg. r. m r/ze. case. it. in the. is. f. ±. J:. f. Gondolier. f is. the. first. /YM. This technique. development as a. piece that the student plays an arpeggio pattern, in this. is. guitarist.. a staple of the classical guitar repertoire and. It is. at this. is. crucial. time that a student might be able to. progress from the method book and into actual small pieces, such as arpeggio studies.. L16 Reading. rp.. 4I ,. i r. This concept.. exercise. is. XVII. pg. 75. Etude Moderne (Shearer 1990). rrJ, rfl, rft. r. f. F. a supplement to the student if they are having difficulty with the aipeggio. Many. students might need. continue with this exercise. This. is. some more time. in this text. and therefore should. because the student might not be able to execute the. arpeggio pattern with the fluency they need to. move. onto the next level..
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(49) 19. Level. 2.. Arpeggio Studies Studies involving arpeggio patterns provide an excellent foundation for a. guitarist's right-hand technique.. on the. rest. These following studies can have. of the student's guitar playing. material for the student to use as. career.. warm-up. to truly positive affect. These exercises are also excellent. material, technical. development and. maintenance.. Level 2 Repertoire List. Work 2.1. Prelude. in. Composer. Pedagogical benefit. A Major Op. Ferdinando Carulli. PIMA Arpeggio. minor. Op. Ferdinando Carulli. PIMA MI Arpeggio. minor. Op. Ferdinando Carulli. PM alternating I Arpeggio. Matteo Carcassi. PIMA. 114 2.2 Prelude in a. 114.. 2.3 Prelude in e. 114 2.4 Etude. #2. in a. minor. followed by changing. position to play Right. hand. alternation.. 2.5 Etude. #19. Matteo Carcassi. AMIMA. 2.6 Etude. #7. Matteo Carcassi. Tremolo. Leo Brouwer. PAM1AMIPAMIP. 2.7 Estudio Sencillo. Arpeggio pattern. Arpeggio.
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(51) 20. 2.1. Prelude in. A Major Op. 114.. -Ferdinando Carulli (Ricordi 1973). ri^n^^i^ n. r. f. r. This prelude consists of a repeated right-hand pattern of PIMA. basic of these patterns and. more. it. the. most. an excellent piece for a warm-up routine. There are some. difficult left-hand fingerings but. acquired,. 2.2. is. It is. with the experience that the student has already. should be an attainable goal.. Prelude in a minor. Op. 114.. -Ferdinando Carulli (Ricordi 1973). 2 1. Carulli 's Prelude in a minor features an extremely. the aspiring guitarist.. make up. It. common. arpeggio pattern for. involves a continuous right-hand pattern of PIMAMI. Septuplets. the continuous rhythmic pattern and this gives students the opportunity to play a. piece with an interesting rhythmic concept. These pieces are also valuable due to the. frequency that these patterns appear in guitar compositions..
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(53) 21. minor Op. 2.3 Prelude in e. iX. ill. a. i. It is. followed by. /.. in e. 4 *. -. r. The Prelude repertoire.. m. m m. m. ~m. -Ferdinando Carulli (Ricordi 1973). in. a,. J. 114.. M. m r. m. minor by Carulli. is. another staple of the classical guitar study. an ideal piece for dealing with alternating between. The. real benefit. of this study comes when the student moves on. and the experience of playing. string alternation,. P and M together. this piece prepares. them. to single. for this. new. technique.. 2.4. Etude #2. minor- Matteo Carcassi (Hemry 1993). in a. P. m. m. JL. '"*-. m. ^. t!!. p. i. # m. t. mff. This study. is. an excellent. right-hand alternation. This. is. way. cresc. -,. for a student to get introduced to the concept. the technique that requires the player to alternate playing. with two separate fingers on the right hand. This. M.. This. is. alternates. almost exclusively done with / and in that. it. is. the technique used. and scale-like passages. This exercise works quite well because the player. between a standard. followed by alternating / and. from the. is. an extremely important part of playing guitar,. to play scales. of. third to the. first,. PIMA. arpeggio, to which they are already familiar,. M on the top. which. is. string.. paramount. It. also involves string crossing,. in right-hand alternation.. moving.
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(55) -)•>. 2.5 Etude #19-. Matteo Carcassi (Henry 1993) 4 «l. I. J.. 1. 'W. , ~~. §E" ^ =. fL. -. -"^. -. '. #. _». MW4-W-! >» # r# ^ #. i. i. r. «rf. This study employs the use of an arpeggio pattern. many reasons why. begins with A. There are these. that. is. that,. unlike most studies,. students find this etude difficult.. by beginning with A, and playing a bass note. at. the. same time. One of. forces the. player to complete an arpeggio without having the stability of having the thumb give support. Another issue. is. the changing of the right-hand pattern from. measure. to. measure. 2.6. Etude #7- Matteo Carcassi (Henry 1993). ¥. 2?. O. 1. This study. ability. is. a. I. ». sustained tone,. I. ,. 1. '. m. M jja. t is. designed to introduce the student to the concept of tremolo. While. more advanced. of a student. i. \. /. tremolo. J JJ. !. technique, the overall difficulty of this piece. at this level.. by having. The. technical goal of tremolo. is. three notes play in sequence followed. is. within the. to give the illusion. by. a bass note.. of a. The. piece breaks up the tremolo pattern with interludes of arpeggios that have already been studied. This gives the student a. change. in pattern. and gives. their. hand a chance. to relax..
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(57) 23. 2.7 Estudio Sencillo #6-. Leo Brouwer (Brouwer 1972). This work by Leo Brouwer. is. an excellent example of a study that students will. While the execution of this piece. find challenging.. the reading of this piece can be quite intimidating.. hand pattern but aspect. is. how. it. is. more complex than many. the student. must read. is. not as difficult as one might think,. The piece involves. studies,. in higher positions. due. the. to its length.. and be able. same. right-. Another. to shift to. shapes with accidentals, which they are not normally accustomed. While. difficult. chord. many of these. arpeggio studies require the student to read in positions in which they might not be confident, the. left. reach the chord.. hand chord shapes do not change very. often, giving the student time to.
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(59) 24. Level. 3.. Level 3 Repertoire List. Work 3.1. Country Dance. 3.2 Wilson. 's. Wilde-. Composer. Pedagogical benefit. Ferdinando Carulli. P. Anonymous. Student uses more advanced. vs.. IM. alternation. alternation and. hannonic. structure.. 3.3. The Parlement. Anonymous. Student uses more advanced. alternation,. more complex. rhythms, altered tunning. Anonymous. 3.4 Volt. Student uses more advanced alternation,. more complex. rhythms, altered tunning,. more 3.5. Andante Op.44, No.l. Fernando Sor. Work. shifting. of positions.. includes. monophonic. texture followed. by. counterpoint.. 3.6. Andante Op. 27. Ferdinando Carulli. Student must play. homophonic. texture. alternating with chords.. 3.7. Andante. op. 35, no. 14. Fernando Sor. Piece contains. more. advanced rhythmic figures and. stylistic. concerns..
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(61) 25. 3.8. Andantino. Mauro. op. 50, No.. This work develops. Giuliani. students ability to execute. 21. complex rhythmic ideas and stylistic issues. 3.9. Arpegge. Francis Kleynjans. The piece. utilizes. patterns and. harmonies. arpeggio. modern. to give the. student a piece from a. different period.. 3. 1. Country Dance- Ferdinando Carulli (Kraft 1990). The Country Dance, by Ferdinando. Carulli requires the student to develop. P and IM.. calls for the eighth-notes in the. alternation. line to. between. be played / than M,. 3.2 Wilson's Wilde-. J. f. gj. J. it. is. While the score. more. beneficial for the phrase to. Anonymous (Noad. -iJ. r. 1<J. J. -. 1974). be fingered. melodic. MM..
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(63) 26. Wilson piece. is. much. 's. Wilde. less. is. an excellent work from the Renaissance period. While the. many of the. complicated than. composition and one that. is. It. harmonic ideas. also requires the student to use. positive aspect of the. work. it still. is. quite a successful. The piece. appropriate for a student of this level.. into three sections, featuring similar. theoretical ideas.. time,. is. that could. be used. more advanced. the bass notes location on the. open. is. broken. to explain. alternation.. strings,. many. Another. which makes. it. playable.. 3.3. The Parlement- Anonymous (Noad 1974). 4i). \k. w. ^. to. D. and. tuning.. tools. is. excellent. ^. jyj. melody and contains many excellent pedagogical. technical. experience playing with the most. demands of this piece can be. alternation and string crossing, this. is. ft. %. inr. g. —. ~=M .. r. lf. The E. string is. common. tools.. lowered. alternate. difficult for a beginner.. challenging but accessible.. 3.4 Volt- Anonymous (Noad 1974). I. t. the fact that this piece employs scordatura.. this gives the student. The. *. o«*. The work has an. One of these. v. It. requires.
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(65) ). 27. Volta. excellent. is. another piece that a student must play with. companion piece. to. D. tuning.. It. makes an. The Parlement as they are in the same key, both are shorter. works, and stylistically consistent. 3.5. Andante Op.44, No.l-Fernando Sor. m. A. i. -. (Jeffery. 200 1. Mm. m i. *r 3J. r. This simple work of Sor serves as an excellent piece for the aspiring. While the work mainly consists of a monophonic This work helps the student in. texture, the. many ways, one of which. outlines chords. This helps the student learn. how. is. ending. how. is. guitarist.. contrapuntal.. the solo line simply. left-hand chord shapes are. formed and. assists in their overall reading ability.. 3.6. Andante Op. 27- Ferdinando Carulli i. m. i. m. i,. w £Fftyl Andante slightly. is. (Kraft 1990). i. >/. a wonderful exercise for a student guitarist. more advanced piece of the. who. repertoire. This execution. is. now. able to play a. of this piece helps. students to be able to play both scale material and alternating chords. This allows the student to be able to play both scales and chords in one piece. the work,. it is. Due. to the. Ternary form of. longer than most of the examples and performing this work can improve a. student's stamina..
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(67) 28. 3.. 7 Andante op.35, no.. 14-Fernando Sor. P^4. -3 J. r. *. i. (Jeffery 2001. —. J. j. This work involves the implementing of the dotted-quarter-sixteenth rhythm.. There are also two instances. that involve triplets. This is. an excellent piece. student's rhythm and to teach the stylistic concerns that are associated with. 3.8 Andantino op. 50, No.. n ±. SB. 4. _. F. Andantino rhythmic issues great. is. later. way to show. 21-Mauro Giuliani. to solidify a. it.. (Jeffery 2002). £. s::. m'/:. F. another piece from the classical period that can help with odd. on. in the piece as well as contrapuntal writing,. it. could also be a. students the similarities and differences in the works of Giuliani and. his contemporary, Sor.. 3.9 Arpegge- Francis Kleynjans (Brightmore 1987). mm. m. m. P*. g'frrrr^TTrT7l. F. Arpegge gives a student the opportunity. to. have been working on previously but with minor. implement arpeggio studies. alternations.. It is. that they. a contemporary work,. so one could use this as a forum to discuss the stylistic aspects of modern art music..
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(69) 29. Level. 4.. Level 4 Repertoire List. Work. Composer. Pedagogical benefit. 4.1 Study #1. Francesco Tarrega. Improved. alternation,. diatonic scale passages. 4.2. Minuet. J.S.. Bach. Counterpoint, get to play. Bach 4.3. Almoin. Robert Johnson. Difficult. harmony and. rhythm 4.4. Trow Nocturnes,. no. 1. J.K.. Mertz. Student learns to play in the. romantic style 4.5 Adelita. Learn higher positions,. Francesco Tarrega. ste. m direction, distinguish bass and treble. 4.1 Studio no.l- Francisco. Tarrega (Rodriguez 1991). f?!!!*!H8B--_ i-i. --,: „&6.::.. 4ffi. «. The. ?/,. first. !w™w™~«JB™. ,.„.,.„y„. •%$*-. .). study by Francisco Tarrega. improves the student's alternation of/ and. .;. is. M. E. ai-.™!™**™***.. an excellent exercise for any giving them. many. guitarist.. opportunities to play. It.
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(71) 30. diatonic scale passages in the. crossing. 4.2. is. position.. first. Due. to the alternation, difficult string. required.. Minuet- Johann Sebastian Bach arr. Norbert Kraft (Kraft 1990). (M.M.J =96). m. I. p. /. J. i. | f. °J. J. f Minuet guitarist.. m. '. It is. is. jj. I. ir. r-. i. an excellent transcription that can be quite helpful to the student. a great exercise to assist a student in understanding counterpoint. able to execute complex right hand movements. Also the student. by one of the most important and 4.3. influential. composers. is. and. able to play a. to. be. work. in history.. Almain- Robert Johnson (Noad 1974) 4 1*". g. J. I. Almain. is. %. T. *. another piece from the renaissance period, that allows the student to be. able to play interesting rhythms and harmony.. overwhelmed but. still. It. is. shorter, so the student is not too. able to convey these musical ideas.. 4.4 Trois Nocturnes op.4, no.l-. Johann Kasper Mertz (Wynberg 1985). Andante con moto. 3E I. 1 3 13. i. l. nPrf^ r. .. Ai,. T. T. ^P^P T.
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(73) 31. The these. three Nocturnes. by Mertz. are. some of his more. an excellent example of the Romantic. is. style.. It. didactie pieces.. allows. room. give a student the opportunity to attempt more expressive playing.. rhythms. like the. Sor only. 4.5 Adelita- Francisco. this piece requires. moving. The. for rubato. It. first. of. and can. also contains dotted. to the fifth position.. Tarrega (Rodriguez 1991). $3 p. ?. Adelita. f is. an excellent. concept of the piece. is. way. for students to learn the higher positions.. The. overall. quite simple but the execution requires the student to play out of. their comfortable range.. It. also gives students the opportunity phrase. and balance inner voices. The piece can also be used. to explain. melodic passages. stem direction and the. notation involved in distinguishing between the treble, bass and inner voices, as well as. slurs..
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(75) 32. Level. 5.. Level 5 Repertoire List. Work. Composer. Pedagogical benefit. 5.7 Canarios. Gasper Sanz. Hemeola, use of ornamentation. 5.2 Walzer. WoO. J.K.. Mertz. Slurs and staccatos. 5.3 Trois Nocturnes, no.. J.K.. Mertz. Rubato and phraseing. 5.4 Preludio sem.29. Tarrega. Complex chord. shapes,. higher register. 5.7 Canarios-. Gasper Sanz (Koonce 2006) ir. U. w. r Canarios. is. arguably one of Sanz's most well. hemeola created by the division of the bass. known and most played works. The. line is quite effective.. grouping of two in the bass line followed by a. He. D on the second beat. first. establishes a. of the next measure,. establishing a grouping of three. This piece also requires the student to use. which for the. is. an invaluable tool for any. Baroque. guitar,. which can. guitarist.. also. The. strumming. students also get to learn a piece written. be discussed within a. historical context..
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(77) 33. WoO- Johann Kasper Mertz (Wynberg 1985). 5.2 Walzer. No .4.. p $. a. EjeeI "f. t. -r. r. r. The Walzes by Mertz. is. ? 1. i. requires. much. It. It. r. r. many of the. characteristics that. we. has a strong melody and the overall writing of the. practice from the student, but. above seems easy, the further appears.. »p. a piece that holds. think of in relation to good music.. work. g. into the piece. is still. attainable.. one studies the true. While the example. difficulty. of the work. includes slurs, which were introduced in Adelita and staccato figures that can. really challenge a student.. 5.3 Trois. Nocturnes. op.4, no.2-. Johann Kasper Mertz (Wynberg 1985). Andantino. ^^^^^^^P. No.2.~. f. The second of the. The. difficult. three nocturnes. of this piece. lie in. by Mertz, follows the same concept. as before.. the musical aspects rather than technical subdivisions.. requires the use of rubato and phrasing to be affective.. It. duple in the treble line while simultaneously playing in. triple division in the bass.. playing two against three the. open. string. makes. is difficult at first,. this. the slow. an attainable goal.. does require the student. to. It. play. While. tempo and placement of the note on.
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(79) ). 34. 5.4 Preludio sem. 29-Francisco. Tarrega's 29. registers.. th. prelude. is. Tarrega (Rodriguez. 1. 99 1. a great etude for teaching a student to play in higher. A reason for this is that the work is not long and focuses on block. chords. followed by arpeggios. This gives the student time to reach these difficult chord shapes. and learn these movements. Though piece. makes. it. it. looks quite difficult, the tempo and length of the. easier for a student at this level to. be able. to. perform such a work..
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(81) 35. Level. 6.. Level 6 Repertoire List. Work 6.1. Pavanas. Composer. Pedagogical benefit. Gasper Sanz. Ornamentation, specifically. trills. 6.2 Valse in. C minor. Understand three-part. Franicis Kleynjans. texture, holding out note. values. 6.3. Jamie N. Zenamon. Recuerdo. Bringing out of melodic notes in an otherwise dense. texture. 6.4. Reggae Sunrise. 6.1. Pavanas- Gasper Sanz. (. skill. from the. a. zjr. This Pavannas guitarist. ornamentation,. it. is. w^. another famous work by Gasper Sanz, which requires. who. paterns. <Coonce 2006). $ f. Complex arpeggio. Martin Byatt. plays. can be quite. it.. It. difficult.. much. can look deceptively easy, but with the required. An example. takes place in the second measure of the work.. of this. is. the inner string. trill. that.
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(83) 36. 6.2 Valse en si. ^. mineur Op.. J.. r. •*#. 77- Francis Kleynjans (Brightmore 1987). J. Tw^m. 7^. This Fa/se by Franicis Kleynjans a waltz, with the. i. ,.J. is. more modern harmonies.. a great. It. example of mixing an old. such as. gives the student the experience of bringing. out certain melodies while balancing the inner voices.. them grasp the concept of the. style. three-part texture.. One can. utilize this. work. The execution of this piece. to help. also requires. the player to hold the notes to there proper and full value.. 6.3. Recuerdo- Jamie M. Zenamon (Brightmore 1987) Moderato. ^m m. nip ^^=S r. mf. This work requires the student to fluent reading in. them. piece. also valuable in that to properly play. is. single melodic notes. It. also. and play more contemporary harmonies. The. requires. to read multiple accidentals. many positions.. it,. from a otherwise arpeggio. one must master the texture.. ability to bring out.
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(85) 37. 6.4. Reggae Sunrise- Martin Byatt (Brightmore 1987). tf. a-*^ a##•. fr-nb. fcg-g ff. cr. i. 2-e-. (5). Reggae Sunrise syncopation.. concept.. It is. in. The piece. The piece. as a. is. a great piece to help a student understand and internalize. E Major and. also requires. consists of chords outlining the basic syncopated. many. arpeggio patterns containing. many. accidentals.. whole also includes much chromatic writing and the necessity. advanced fingerings.. to use. more.
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(87) 38. Level. 7.. Level 7 Repertoire List. Work. Composer. Pedagogical benefit. 7.1 Paisaje. Jaime M. Zenamon. Correct note duration. 7.2 Chinese Blosson. Jaime M. Zenamon. musicality. 7.3 Monferrina. Mauro. Grace notes. 1. A Lessson. Giuliani. Fernando Sor. 8. unusual chord shapes and non-idiomatic writing. 7.5 Petite Piece. Fernando Sor. dotted-quarter-eighth. passages, slurs. 7.1. Paisaje-. Jamie M. Zenamon (Brightmore 1987). Calmo. a. m. -i. a. P. m. T The work is. i. 'LU' is. in 6/8. and requires the student. it is. paramount. i. m. lU. to follow the correct note duration.. especially difficult to accomplish this in the bass.. discipline to attain this concept but. p. It. to. requires. good. much. It. practice and. guitar playing.. The work. also.
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(89) 39. thumb on one of the other. much 7.2. notes on the. many of the bass. requires the student to play. Chinese Blossom- Jaime M.. rest his or. her. Zenamon. performance of this piece. (Brightmore 1987). a slow melodic piece that requires the student to be able to. is. this exercise is technically. much. is. convey the musical exercise of the piece. While. to. simpler, the musical expression needed for a successful. of a high. level.. Legato can be a. accomplish when playing an irregular arpeggio pattern,. be able. to ring. to. difficult expression to. this exercise requires the student. execute this concept. The student also will learn. beyond duration, such. Monferrina Op.. 12,. as in the last beat of the. No.3-. Mauro. first. how. *EBE5 a ;. —£n. m bl. m. I. Giuliani (Kraft 1990). j£. 4. M. r. mi. The Monferrina within the classical. is. style.. m. 9. r. T. * t. another Giuliani piece that requires the player to perform. This. throughout the work. This quite simple. allow certain notes. I. 4. T. to. measure.. /. I. 1. and then. can be a difficult movement that could require. strings, this. show extreme musicality and touch. 7.3. string. practice.. Chinese Blossom. to. D. is. is. made even more. difficult. due. to the grace note. passages. a great piece for the aspiring player in that the texture. which allows the student. to. be able. lesson that practicing the piece can yield.. to concentrate. is. on the more important.
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(91) 40. 7.4. Lesson 8 from 24 progressive lessons. Fernando Sor. op. 31-. (Jeffery. 200. 1. Andante 4~#.. Ogr -r '. I. ^'". l. ;' ;. EE3EE. .. f'"""-" ,4"*i'"'y. ". y J— ~~A~-~A. „„. *. j. „. *. *. AJB-Jil "*j3"~~»if. ,. -4-. -j. I f f 7^^.,,^^:. 1. ,. .:.. I :?:. t. p Number as. it. addressees. uses essentially. this. eight of the progressive studies. many. issues such as unusual chord shapes and non-idiomatic writing.. many techniques and. work helps students. is. this allows the student the. 7.5 Petite piece 1. This techniques.. difficult.. It. how. requires. many awkward. the right-hand part. freedom. op. 32-. by. is. much. shifts.. less. on the more. to concentrate. from 6 Petite pieces. Fernando Sor. Another reason. complex than the. (Jeffery 2001. many of Sor' s. one of the. It. consists of chordal and dotted-quarter-eighth patterns and can. six small pieces. Sor.. It. requires the student to be proficient in. The piece. also. utilizes. writing. be quite. complex rhythmic ideas such. employs the use of slurs which. previous works in the collection.. left. difficult concept.. is. quintuplets and sextuplets.. many of the. an excellent tool for a student guitarist. is. as. differs than. It. that. and.
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(93) 41. Level. 8.. Level 8 Repertoire List. Work 8.1. Cake Walk. Composer. Pedagogical benefit. Richard Charlton. chromatic texture, improves dexterity and speed. Mauro. 8.2 a Sonatina #1 op. 71. Movement. Arpeggio figures. Giuliani. that are. common among many of. I. his larger works, continuous. theme and variation. Mauro. 8.2b Sonatina#l op. 71. Movement. In F, also requires limited. Giuliani. alternation. 11. and arpeggio. figures. Mauro. 8.2c Sonatina op. 71 #7. Contains both sixteenth. Giuliani. Movement III. note and arpeggio patterns within the movement.. 8.1. Cakewalk- Richard Charlton (Brightmore 1987). Andante (J. pip 7 rnf. -. ca. 96). 3. frte. TR. 1. jjJMJ. •2.
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(95) 42. Cakewalk in. is. another modern piece that could really improve a student's. terms of left-hand dexterity and speed.. a great exercise for the left. It is. abilities,. hand and. improves dexterity and speed. The use of accidentals and therefore, chromatic texture. makes. this piece. an exceptional reading challenge.. 8.2 Sonatina op. 71 no.l. The in three. final piece in the. movements and. Sonatina. -Mauro. is in first. is. Giuliani (Jeffery 2002). curriculum. is. Mauro. a staple of the student guitarist's repertoire.. position,. which. is. comfortable for one. allows a student to focus on other difficult tasks.. of multiple movements. eight only has. It is. It. a. includes. how. An example would be the variations.. One could. classical style.. work. The work. The. idea of returning to the. (Jeffery 2002). Mao 5 to so. "TTf. it. is. entire nine. consists. why. level. weeks. to. an accurate example of the classical time and this knowledge can be. explanation of how the. which. is. trio. first. movement. movement. to. and then a return to. one of the cornerstones' of the. A section after both the B. and. C. the cohesiveness that gave these classical forms their esteem.. Movement I-Maestoso. work. and therefore. use the Menuetto and Trio. also includes a rondo,. a. entire. not an easy work, as. during this era the menuetto would be followed by a. the menuetto.. gives the. is. many of the most famous forms of the. theme followed by. explain. is. two pieces. The majority of students would take an. imparted to the student.. is. This. at this level. The. It is. the largest endeavor of the curriculum and this. prepare a piece of this size and scope. The work. style.. Giuliani's Sonatina no.l.. sections.
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(97) 43. The. movement of the work. first. theme and variation his larger works.. that utilizes. The form. many. a typical. form of the. arpeggio figures that are. be discussed. itself can. The movement begins with. student.. is. the. melody. classical era; a continuous. common among many of. to introduce these. concepts to the. in quarter notes then evolves into. multiple variations containing eighth and sixteenth note phrases, this rhythmic acceleration can an excellent. Movement. ¥. s. '. Z7. II-. ". j. to introduce this. Menuetto and Trio. — —t. JT "i. ". a>. V. ^. p. way. fk.. <*>. ir. —-. _ -—. —. a. I. (Jeffery 2002). g-^rr-^—w. movement. is. Movement. is. a. menuetto and. trio.. This. movement. ideal practice for an instrument that rarely plays in flat keys.. It. III-. also contains dotted-eighth-sixteenth patterns throughout the. Rondo. The Rondo The. is. movement.. is in. F. The. common. in. movement.. (Jeffery 2002). the concluding. movement of the work and though. practice of playing longer pieces prepares the student for. require playing a long piece.. the. *. «A. also requires limited alternation and arpeggio figures that are quite. guitar music.. playable.. —. — ~. The second movement of the work Major, which. concept to a student.. It. it. is. extended but. when they do. contains both sixteenth note and arpeggio patterns within.
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(99) 44. In conclusion, classical guitar instruction can. teacher and student.. As. it. is. with. all. music. be overwhelming for both the. instruction,. bad habits are hard. to. should be avoided. In order to provide for good instruction one must have a. break and. set lesson. plan for the student. Issues of rhythm should be introduced incrementally to properly. guide the various complexities therein. The register of the piece must be of the proper level or the student will. be too overwhelmed with the concept. The length of works must. be appropriate or the student. have the muscular or mental stamina. will not. properly execute a work. The student must be given a piece that. is. to. be able. to. of a sufficiently. simple reading level or he or she will develop bad reading habits or a simple inability to read notation.. The. repertoire selection,. struggling with a piece that does not. advanced. level,. must be idiomatic. work well on. in nature, or the student will. the guitar and, until they reach a. Key. another more suitable selection should be chosen.. signature. be. more. is. another important aspect of repertoire selection; in that the guitar can be exponentially. more. difficult to play in flat. reason.. The. overall texture of the. If the texture is. level.. right. work can. affect the validity. and left-hand. important things to remember. parts.. One should. is. this. of the repertoire selection.. simply too dense, then a student might not be able. One of the most. both hands.. keys and so a teacher must choose a different piece for. to play a. work of this. the difficulty of the individual. not choose a piece that. is. extremely difficult for. A good teacher would choose a piece where the student can accomplish the. requirements of one hand easily be able to concentrate on the other hand's issues. This allows for a more gradual improvement, which. is. always preferred.. It is. with these. concepts for which a teacher must be prepared, or said teacher must face inconsistent progress and overall stagnation of the learning process. This. is. why this. curriculum. is.
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(101) 45. such a practical tool for the secondary guitar instructor;. it. takes. all. of these. account and leaves the teacher with a quality sequence of instruction.. pitfalls into.
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(103) 46. Appendix A: Repertoire. List.
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(105) 47. The complete. list. of repertoire.. Work. Composer. Pedagogical benefit. So-RE One. Shearer. Practice playing the. an. Bugler 's Tune. Shearer. D. open. G. strings. Practice playing three. open. strings.. Scale Song. Shearer. Practice playing part of the. major Counterpoint. Shearer. scale.. Student. is. introduced to the. basic idea of counterpoint.. The Weaver-. Shearer. Improvement. in reading. quarter and eighth note. passages, develops a sense. of rhythmic proportions. Dance of the Downward. Shearer. Skip. March. Practice skipping multiple. strings.. Shearer. Practice using. P. exclusively.. Serenade. Shearer. Student plays multiple lines for the first time.. Folk Dance. Shearer. Similar to Serenade, but. with more complex rhythm..
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(107) 48. Two by Two. Shearer. Student plays two notes simultaneously.. Shearer. Petite Valse. Student plays in a musical. texture. Andante. Shearer. I. common. to guitar.. Rhythmically similar Serenade, with a greater variety of notes.. P with IM. Music Box. Shearer. Alternates. Moorish Dance. Shearer. Alternates a bass line with. broken chords. The Gondolier. Shearer. PIM Arpeggio. Etude Moderne. Shearer. PIM Arpeggio. 14. Ferdinando Carulli. PIMA Arpeggio. 114.. Ferdinando Carulli. PIMAMI Arpeggio. Ferdinando Carulli. PM alternating / Arpeggio. Matteo Carcassi. PIMA. Prelude. in. A Major Op. Prelude. in. a minor. Prelude. in e. Etude #2. in. Op. 1. minor Op 114 a minor. followed by changing. position to play Right hand. alternation.. Etude #19. Matteo Carcassi. AMIMA. Etude #7. Matteo Carcassi. Tremolo. Estudio Sencillo. Leo Brouwer. PAMIAMIPAMIP. Arpeggio pattern. Arpeggio.
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(109) 49. Wilson. 's. Anonymous. Wild. Student must use more. advanced. right. hand. alternation.. Anonymous. The Parlement. Student uses more advanced alternation,. more complex. rhythms, altered tunning. Anonymous. Volt. Student uses more advanced. alternation,. more complex. rhythms, altered tunning,. more Andante Op. 44, No.l. Fernando Sor. Work. shifting of positions.. includes. monophonic. texture followed. by. counterpoint.. Andante Op. 27. Ferdinando Carulli. Student must play. homophonic. texture. alternating with chords.. Andante. op. 35, no.. 14. Fernando Sor. Piece contains more. advanced rhythmic figures and. Andantino. op. 50,. No. 21. Mauro. Giuliani. stylistic. concerns.. This work develops students ability to execute. complex rhythmic ideas and stylistic issues.
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(111) 50. Francis Kleynjans. Arrpegie. The piece. utilizes. patterns and. harmonies. arpeggio. modem. to give the. student a piece from a. different period.. Study #1. Francesco Tarrega. Improved. alternation,. diatonic scale passages. Minuet. J.S.. Bach. Counterpoint, get to play. Bach Almoin. Robert Johnson. Difficult. harmony and. rhythm Trois Nocturnes, no.. 1. J.K.. Mertz. Student learns to play in the. romantic style. Francesco Tarrega. Adelita. Learn higher positions,. ste. m direction, distinguish bass and treble. Pavanas. Gasper Sanz. Ornamentation, specifically. trills. Valse in. C minor. Franicis Kleynjans. Understand three-part texture, holding out note. values. Recuerdo. Jamie N. Zenamon. Bringing out of melodic notes in an otherwise dense.
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(113) 51. texture. Reggae Sunrise. Martin Byatt. Complex arpeggio. Paisaje. Jaime M. Zenamon. Correct note duration. Chinese Blosson. Jaime M. Zenamon. musicality. Monferrina. Mauro. Grace notes. Lessson 8. Fernando Sor. Giuliani. patterns. unusual chord shapes and non-idiomatic writing. Petite Piece. Fernando Sor. dotted-quarter-eighth. passages, slurs. Cake Walk. Richard Charlton. chromatic texture, improves dexterity and speed. Sonatina #1 op. 71. Mauro. Giuliani. Arpeggio figures. that are. common among many. of. his larger works, continuous. theme and variation Sonatina#l op. 71. Mauro. Giuliani. In F, also requires limited. alternation and arpeggio. figures.
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(115) 52. List. of References. Brightmore, R. (Ed.). (1987). Modern Times Volume. I.. Heidelberg: Chanterelle Verlag.. Brouwer,. L. (Ed.). (1972).. Etudes Simples. -. Volume. 2: Nos.. 6-10. .. Paris:. Max. Eschig.. Matteo Carcassi - 25 Melodic and Progressive Studies, Op. 60. Milwaukee, WI: Hal Leonard.. Henry,. P. (Ed.). (1993).. B. Jeffery,. (Ed.). (2001).. Fernando Sor: The. New. Complete Works for Guitar.Vol. 4. Budapest: Telca Editions.. B. Jeffery,. (Ed.). (2002).. Mauro. Giuliani: The complete Works Vol. 8 London: Telca. Editions.. Koonce, Frank (2006). The Baroque Guitar. in. Spain and the. New. World. Pacific,. Mo:. Mel Bay. Kraft,. N. (Ed.). (1990).. Kraft,. N. (Ed.). (1990).. Royal Consen>atory of Music Guitar Series: Book Oakville, Ontario: The Fredrick Harris Music Co., Limited. Royal Conservatory of Music Guitar Series: Book The Fredrick Harris Music Co., Limited.. 1. 2.. Oakville, Ontario:. Kraft,. N (Ed.).. Noad,. F. (Ed). (1976).. The Classical Guitar.. Noad,. F. (Ed.) (1974).. The Renaissance Guitar.. Consematojy of Music Guitar Series: Book 3. Oakville, Ontario: The Fredrick Harris Music Co., Limited. Rodriguez,. (1990). Royal. M (Ed.). (1991).. New. York,. New. NY:. York,. Ariel Publications.. NY:. Ariel Publications.. Tarrega: Obras Completas Para Gitarra Vol.. I.. Madrid:. Soneto. Ricordi, (1973). Carulli, 24 Preludi, dall'Op.. 1. 14,. Per Chitarra. Milwaukee, WI: Hal. Leonard.. Aaron (1990). Learning the Classic Guitar Part Music. Pacific, MO: Mel Bay.. Shearer,. Shearer,. Aaron (1990). Learning. 2:. Reading and Memorizing. the Classic Guitar Part One. Pacific,. MO: Mel. Bay..
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(117) 53. Tarsy, D,. & Simon,. Retrieved. D,. K (2006).. December. 4,. Dystonia. The. New England Journal ofMedicine,. 2007, from. http://content.nejm.Org/cgi/content/short/355/8/8. Wynberg, S. (Ed.). (1985).. Chanterelle.. 355,. 1. 8.. Johan Kasper Mertz Guitar Works volume. V.. Heidelberg:.
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