E S$ S$ ON T WwW ‘To people unfamiliar with the guitar and its music, ‘one of the most surprising aspects is the abitity of the guitarist ty play music in which the melodies are in more than one part. A frequent comment is that a good guitarist can sound fike two people playing, This illusion comes ftom the player's care- ful attention to the different lines or voices in the score and to the time-vahies of each. For this rea son special care should be given to the value of every note. Exercise 147 EN T Y - ns ‘To stress the equal impartance of each melodic line, the following exercises are given in “canon” form, the second voice following the first with the same melody, When a new voice enters, make this, clear by giving it slightly extra prominence over the other part. Each line must be sustained exactiy as if it were played on a separate instrument. Only after these have been perfected should exercise 144 bbe attempted.Exereise 148 (continued) CONTRAPUNTAL MUSIC Exercise 149 STUDY NOTES FOR ETUDE IN C by Femando Sor (1778-1859) This is a very important study, and its purpose is lost if particular attention is not paid to the value of each note in each of the three parts. For this reason very detailed notes are given for the first section and these should not be ignored. A. Both D and G should stil! be sounding clearly with the B B As you play the 4th string E the 2nd ull remain on the GL © Both Dand } must ring through to the end of the measure, D. The Sed finger remeins firmly placed until it moves up to the G. E_ Similarly the 1st finger holds the E until it has, to transfer to the C. This fingering enables the and Ato be sustained tor the remainder ofthe mea- nger must °F 7 sure, Note that in this and the succeeding measure, where the lower voice moves, the other two are istained and vice versa, Try to make this clearly audible by playing the sustained notes strongly enough to sound through. F Give emphasis to the entry of the lower voice here and to Uhat of the upper voice in the next mea- sure, © Leave the 2nd finger on the Pwhen you reach for the high 4. H_ The upper notes must sound through the com- plete measure. I Tobring out and help sustain the tied notes, the chords on the third beat of this and the succeeding, measures may be arpeggiated slightly. As the upper note of the chord is reached, the right hand finger gives a slight extra pull to this string. J Remember to leave the 4th finger on in prepara- tion for the grace note in the final measure. TTCONTRAPUNTAL MUSIC hs Etude in C