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CHIESA - Tecnica Fond Amen Tale Della Chitarra VOL 2 - Le Legature

CHIESA - Tecnica Fond Amen Tale Della Chitarra VOL 2 - Le Legature

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Le legal.!lN rappreseneano una pa:rti'.>olarc e~r",tte.ristiea nelt·eet'!~lCadd~,~'chitana, tramitela pre$S!ione e ]0 strappocon le , dh.a: JeJ.h mano s.1ll1i:rtra, II ]orQ inil[J~ego; giil eonosciuto ne] ftln"reimento;iuintroilaUo 30pr.attl.i!;tO a. pllrtir-e daU'cpoca baJ;'ol)ca; pe.r paesare in ~lJlto nello :>~i1eelasslco e poi nell" mUSICii ,.roggi. Medjll~lte le legature si ottiene un frase.gglo piu. morbido, una ffiOiggiore d:isinwltura Del pass~i V'inuQ$iarid e U!);~ :!3[10rrreauta. ,cs!)clu,ione. nei v<IIdHpi ~l\ ::lib ert! ment], b G-lli. eaerciz'i e gli S~IJcH centenuti n(ll volume 8~ p[le~OiHai1o come segue: lEG AT UR[ SEI'!{H'UC[, dove sone prese \11 cOl1lsi,derazlone
][1 aumerose

oomhln;llzi,oul mOIlic>d:ic:rnt $1) ciasenna sllillolacorda. ScA lE M A.GGlORi e M [NOR I, Gmpp,o, I, Eondtt.t.c S'l.i~, pl?incipio di unire con lJl!l'irlr.lj.c~ !e-.g.atlm'l tune ]e now che lii
troV!i.!lQ !iiI,! una ~Q!.g<L,

The ,i;{tir i.f a Ch().~.. t~ri'!'tic I.llc:ment of gtdtar t~chi!liqoUe, o 6lair:!ed h r1li!pr~S$iP'i,g ¢. ~t1'ing tvUh (l! p:r~g;er ,of thc left hand and ~h~tt pumng t~e fingW'~harply a=" Altho1l(gh we fin,d the' sl~4r U$'ed (1.$ e{!Tfy o:~ th~ R(tnais.:mnc;e d becam!l' wi.desp'read primarily- #1 ,flJe Beroqu« ~r!l' and IV{lS tli:en p~$.ed on to ,tne CJassical p>e.i(.>d ,m"d has f-em(l!~:n;edin lue ro the: prese n t day. The :durail.::ltf,ij jor smootner- phra~ing, II fr!.eling 0:/ ~.tBIr rdaMh{)Jt al1.f lltUw(llm~n in llf.·~uorop~m:ag~s, al'ld' ~ponta. ned)' in, e"%flC'uthlg the ~'Qri(!t!r.~types .of omaments. The f!XerClsU and e~I1d!!~' in th!'s v·olume OTe prs'scnted ir! rh,e l()ltQw[ngor~t€r J S 1M r L.£ B.lJJ.1? $, ate stud, ,of Mrio t[s monodic cOff~M'l(l:t~-Qrl~' H~ ~t!c.h hNUtih/ool .s trii'l~'. ~ M AJDR AND Muwn seA .LEB. ,Group J. b.tr$ed on lhe principle of connecting all the nOMoS on one .w'iliC with a siligle

'LEG A'IURt A :gel), ehe iUl.lstra.no" tramlte scale discel'ldttltl, i pund dove la ]egat~lt!Lslottiene su due corde diveree, pit'~I.(;~ndo hi pr:im~ e pl'em.et!;(lio, con Ia sO']11 mano ai.nitl~[ala nora app;trtf;nel1t~ alla seconda. SCALE M AGGWiH £; M]NO It], G!fI~PP() n, dove le note ddk scale WDO l.;:gate a due a (ltll>. tE G ATU R Ii; CON NOTE n:: NUT K,ese:rcizi di g.t'a:ndc

slw.

im.JKI.rtanzap'ecl' -10 ~vi!'\.'lprQ r]dl,e ~egatl][,e i1IeJ:latt<:nka

pol:i-·

foniea,
LEG A'f RE DOI"PIE, una aerie dl -eombinazlen! scelte ~ra qllelle !t,eahrU:llte rJBCollitriLhili nella lettal'atul."a c.hitarristica. 81 UDJ - Qui &Qno st;!Jti nllHiti aleuni i:r'a i nu l'r'IiYrosi e~e,mp~ di ,gtl!uUie di ..arrn;'.kmi. ri~lIlenti alPepo-ciIi d~$s:ic.a, In tal moJo .M ./'= witde; di toor~.ZZ;lj~e le legatm1''e, awicjxuil'lij,o.si. inveee .alb gl'l'@si.ta ....va the neprevedeva 1'uso, T ramite lec(lmp(lsi~kmi di: AgtJado,. Caecassi, Carum, G~llliani e LegJlanl, I'a:p:prendime'i'ito $ar~ pill piacevole e Inagg~ormel1te proficuo.

ECrW Sf URS, iUu5tr(IMng, by mear'ls of de~certdfn.ftS'c(jks, tholl'e PQ!itU-$ M wllicl! J1!J1.t$ C(1.n be: ,obMil'l~n-jl on hvo ,s~pn'r<lll]' ~trir!g.$: by pb~ckingth€ first smng rlnd d~prlls:tillg Oi!1"l ~etlolil-d with the ief~ hand aIQ ne, . MAJOR AND MINOR SCALES, Gr'lIup JI, in which tile Jiolt,!$ I)f ~he '.dalil (lj'e slurred.ill Wlo-not~ pkra;l(ls. SLURS WlTH SUSTAIN'W NOTES, €I ~'ery impo:rront I;':t'erei$e for tlM de'~el(lpmel'l~ of &ltir technique in polj'phmdc

JtMisic.

DOUBLE SLURS, a sM of ~()mMn(ltion8 $t!,lecte,d from those acruai~y .ene~Hl:itMr~d in the Utem~u:re io.r guitar. ErUDES - A ~\~/eai'on of il(ude~ arul ooMa,tion: jram the rich literature ()f ~ft{l (;'!'a,ssicalperiod, By T!?{)rking wl:tTt ~h1! repertoire' of ~he period, ttl'eal)otd' IJ purely thMretlcaJ(1pprOClIt:ih to the .s~ur, c·rtd' offer tk.e student live ~Ori tac t wdh ~h~ ac:tlllli mtl;ric i'l u:ohi'ch U l·~ !I,sed.
Through
L~ool'l-i"
wOI"'k8

by A.c:oodo, Can:;a.:;si
proM9s' profitable,

the

I~(1r1i:i!'jS

p!easr.tmbl'e

alld

more

wm

j

C(!r~m, Giulial'li and
botllmO'ft!·

,~'e ir.!Ulid,~

Les lialsons re]))'eSei~lent. nne Ca[;tcu)['usU,que p,artkuliere it l'aide d'Url geste de presslon er J'arri'l!chemel1t des d0igtS de Ia m.tin gauche. Lear emploi, iMja connu a I'epoqu e de- I.. Re:nai.$smce, fut surtout ~ntroduit ,~ ptlrtilr de. .l'epoCJ:u-t harQGp!.!e, pMr passer ensuite Jails le style classique et dans la mllisique dj'lIUjou:rd,1IUi, Lea. liaisons permettent une phrase musicale plus douce, une plus

de b tlZodmique tile li01gvitare, obtenue

grande d~8il!l\lolture dans les p~ag'e$ faisant montre de >,frEno·
5]te et uneexeeution

Les exereiees ,eI les etudes preaelltent de la facon suivante:

spontanee des Jh'Ci;:s. ypes, d'ow:'e.ment9:. t contenus Jans ee v.oJume se

LIA ISO N S SJM-PLES, de nombreuses ecmbinaisoua monodiques sur ehaque corde sent .p'l'kl~ eo consideration, EGHEL.LES MAJEURES &1' MH'HUJ'U:'S, Groupe ], fond6es sur le principe d.'u.llir p,at ~ml; seule Ihuson routes leg. notes se trou ..ant sur une eorde. LU !SONS A ECHO, lllustrant au moyen d'echeliles descendantes les polnts O~l t:!t iiaiSOtl S 'ohHellI 8U.J: lieu xcordes clifferentes, ell piaeant la premiers ct ell pre8;S~[lJt: la seule 'm~]11 de g,lUchc la note ~PI)a~t1.6i'!!inta la ssconde. Eel:!HUS MAJEURES lET MlNEU RES, GrQupe H, ou les notes des echelles sont Iiees deux par deux, LlAfSONS AVEC NOTES 'U::NUES, exereices de gran,de im portanee [pour Ie deV'e lop'poemci'lt des ~ia.~sona dalils 181 technique po1yphoniquc_ L1A[SONS DOUBLES, UI~,e s{\rie de combjnalsens eholsiea parm] celles que 1'(Iii trO'IJ'i"ceOjzct.ivli:me[lt d:m.9, 111 Ilitteratl!Jfe pour glll:tare. ETU DES QueJJquescUt.iS des nombreux exemples (j':etudes ,(l!t variations remontant it i'epoque olassique ent
c

ou

Di'e: Bindlll!g8fL, die durch d~1I,Druck u/I'~d ~s Zupfen ·Ode'f Zi!lJ~en d!)!r Fmgerd'er linhen: Ha~d e'~idt wcr-aen, stellendrte besorld.~:re. Charal!'t.ensbk diN GiwrJ"cntecl'lniil: dar, lhre .4u~(J~I'idung, ~:;Uesffllon in. aer R,eliai'8.:5'OJ'lC'8 b,ek(!llJ\lt 'war" iu:mkf'!\?tii'iene~,iC'h vor a.{{em mit Begir.ltt der Barvcknrit, um ifpiiter .(rut den., ldauycnen Stil lInd dl.lfln o.l.ffdie kelttige Jl!usih ii1}i1l'rt~he~l. Dwch ai'e Bj·ndunge.n er$ielt man ein.e weicnere Ph~I~.$t..entn.5, dne u,i';i.;mlffl {inge.:;:;w u.nge~h.eit' bei den viFt!W~en Pfl.$$1.1,gen. ulid ~J:ne '&:PQntall..:l A~f!iI:t.r!1<Plg .(1er 1)~rMhied~fl,efi Ornammttetypett. AUe dro In Ji~.s!lm Band finti.LuUe'Mm, iibu:",~get~wid St!l:di!U~ e.rsdleilltt! in folgellder A,ufmadUmz: EfNF A.C 11E nu'o'D' U lYG EN, be! dimeil ~oh.rFC:idw monQ .. disde KGlmiJ.inaricmell1 ~uf je,der einzellie.n&iit.e i'n B,~tr(!eht·
f¥-'it,r},en werden.

DUR· 'lIPId MOL.L,TOf'i'L.ElTERN, Gruppe I, die a.u.f'dem Prin'ZIP ,griinden., mit einer eiP'lzigcn Bind!tng aile a.u[ e:in·er Sarte bejil-uUichen No ten zl;.!v!'!reinen. li ClIO - BIN DlJ 1'1' C Ii N;. die mil'teb .ablM·ig~ndfJ·fl T01ile'iMrn ,fr!n,e P!t"k re heruorftebert, W~ mAA die .Bindm1g ,auf Z!~i ~;oeJ"~chiedftllen Saiteu en::idt, im;lem man dieenro 'Zupjt mul mJt It UiI' der lillkeU Han,rJ die der zweite~~ Sa.it!!tl1{p~h,(jrige.7I.Note dliickt ... D'UR· ~.~tJ MOLl-.TONLElT.{f,R.N; (;l'J:.Ip:pe II, bei de.Mln dk N()~-end!2T Tonfeiterl'l .i'ti~wdtgtb!tl'ide.n sind.
BINDUNOE.N MfT A.USGEHALTENEN NOTEN,
au-:;rer'lt

reunis ki- 0

II

a tviti alrl.s:i ethe-oriser d

Ies liia.ioons, se rappro-

et~

wicht!'g,e Ubu.ngen fUr di,e gru wic kJung der HlndUJl.g'1lrt itl del' polyphonis~M'!~ Musi". DOffELTE RfNDUNGEN? eine Serie VOn KOniIIloUttl!lioneJ:l, die Uil~ejl' d.en: eIfe,"&. ~itJ in: d,er Gi:tar;enli,te'1:l:tu.:r anlf'!effoat'en

gewiihlt tvorJet!. :t,ind:, STUDIEN - Hie,. silld eilOFsc d,er' .rohlreic},ten

chant al!l eontraire de la musir.ple

vivante qui en privoyait

t\l:sage_ Par ['entremise des COJ11po&il:rimlS de Aguad.o, Car-cassi, Cal'ulM, Gil.lnlilrli€'~ Lcgnaai, I'etud.~ sera plus agreaMe e'l: anssi
plusprof tabie.

$tl1d'f.en und Vari(1.~ion.e'1i Ilere!nt, die' auf acu' fdas:s!'sdte Zeahalter zur[ickgehen. A. uj diefe JP'ei.,e h:.J:t mali vermillden, d{~' Bi.rii:(hwgen Zil ~ku.O'n'sl'ell'e,r1", .un:~/lick dO$~rt, m€kr ae,r tebElll· dige~ Mu;~ik Zit niihent. die de-:fflnA nwendrmg !u)l'(m~ga.reh.i!n llat, A n/t·!Uiid der K Qmpo~i'I.()lten il)O'i Asw.ufo, Car.cas_si, Cafu.IU, G iulitJJ'tl ilPl,d Legna1U: wird fkIs Erlerlte'fl erfreuliclulr !Uld If [.It.rbring,~nder ,s€m.

Bei'iJpidepQn

TEC.NICA FONDA1vlENTALE·
VOL"

DELLA CHITARRA
RUGGERO CHIESA

n

LE LEGATURE
LEGA TURE SEM.PLICI

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SCALE MAGGIORI E MINOR! CON LBGATURE

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