= eco a) Core serUt Mi MM MM ld Mh dd Ul Ue MU Mb Ue Ms selecred and sraded Dy Frederick INOad 100 Graded ~ Classical Guitar StudiesFrederick Noad has sclected one hundred studies from the works of three outstanding composers of the classical period: Fernando Sor, Mauro Giuliani and Matteo Carcassi. All these studies are invaluable to the guitarist for developing both right hand and let hand skis. At the same time, their musical content makes them a constant pleasure to play and listen to. The studies have been carefully graded, so that they can be of value even in the early stages of studying the guitar Many of the studies have not previously appeared in collections. In the case of Sor, for example, itis usual to publish only the dozen or so studies suitable for advanced players. Here, Frederick Noad has included a number of studies whose charm and clarity are ideal for the beginning to intermediate student. Students will find this book invaluable for making technical progress. In addition, they will build 2 repertoire of some of the most melodious music ever written for the guitar. Teachers, too, will find this, ‘graded collection an ideal aid to their own teaching. Frederick Noad is a noted author of a number of widely used educational guitar books and anthologies, including ‘Playing The Guitar’ — possibly the finest seif-instruction guide in print A graduate of Oxford University he studied the guitar in Spain. In the United States he founded the ‘Spanish Guitar Center in Hollywood. For many years Frederick Noad appeared on American television in a guitar instruction series based on his published books. He is active as a performer both on the guitar and the lute. ll i i ll ee liPU Selected and graded by Krederick Noad 100 Graded Classical Guitar Studies The purpose of this volumeis to presentunder one covera wide selection of technical studies from the best guitar composers of the Classical period. In addition it was decided to includea brief note on the idactic purpose of each study since playing the pieces ‘without any particular goal or purpose has litle value Often the intent is quite clear, and few of Sor’s studies havea note which spells this out (seebelow). At other times the purpose seems to be moreto provide familiarity witha key rather than digital exercise. As far as possible have tried to givea purpose to help both teacher and student to use the studies profitably ‘The grading of the pieces is of course subjective. However, the earlier selections require less knowledge ofthe fingerboard and tend to favour simpler keys. Since the sharp keys of A andE arenatural to the guitar because of the arrangement of open strings, the student is quite soon expected to become familiar with the notes concerned sinceadditional playing difficulty is notinvolved. Fernando Sor (1778-1839) was themost distinguished ofthe early 19th century \\ composer- guitarists ®\, whose pioneer work p\ established the guitar, |\ withits recently 1 added sixth string, pie) asa soloinstrument Hj) ofconsiderable capacity Sor wasan accomplished singer ‘anda prolificcomposer of opera and ballet music. His early training took Dlacein the celebrated school of ‘music of the Montserrat monastery near Barcelona and be was able to bring tohis compositions for the guitar a degree of overall musicianship shared by few of his conter:poraries and rivals, Sor output of didactic pieces was considerable, comprising in all 121 études of widely varying levels of difficulty. The first collections, Opus 6 and Opus 29, were unfortunately completely lacking in fingering, ‘These were followed by the 24 lessons of Opus 31 which contained fingering and an occasional instructional note. Opus 35 and 44, each containing 24 works directed to beginners, were fingered but without instructional comment; and the final publication, Opus 60 contained both fingering and comment and laid the groundwork for his method. ‘The present selections are drawn mainly from the later works which offer more for the beginner.In the days of his first publications Sor was in the position of being virtuoso in considerable demand, witha select group of students drawn from the well-to-do classes. Later after he settled in Paris, he became what he described in his method asa professor" anditis possible to seein the studies from this period more terest in the problems of theneophyteanda more scientificapproach to these problems. Sors fingering has been retained exceptin thecase of obvious mispnizis, and on a few occasions where modem practicehas clearly suggested an improvement. Asan example, Sor frequentiy used the fourthtfinger at the third fret without special reason, wheremodernus..ge would prefer the third finger Inspiteof the simplicity of many ofthem, thepieces are uneful and imaginative. They have tended to be neglected in favour of the dozen or 50 famous studies whichare suitable for moreadvanced players; but their rity and charm make them valuable material forthe beginning.and intermediate student.Mauro Giuliani (1780-1828) _Aftera successful career as both a composer and ‘was one of the most performer he died in Paris in 1853. celebrated composet- virtuosiof the eat 19theentury whos Carcassi’s best known publications, which have been continuously reprinted since his lifetime,are his pioneer work ‘well-organised ‘Complete Method for the Guitar’ and established the the accompanying 25 Melodic and Progressive Btudes, guitarasaconcert — included here. instrument. ‘The études are of only medium difficulty. They His musical serve their didactic purpose well and when practised careerwascentered — uptotempoare enjoyable to play. Teachers willfind in Vienna,wherehe _ thatthey serveas a transition from first position was acquainted with _playingto more advanced exploration of the themostdistinguished fingerboard. musicians of the period; ‘andhewas included amongst the celebrities who assisted in the first performance of Beethoven's 7th Symphony.in December of 1813. His prolific output included chamber works, three concerti for guitarand orchestra and many vocal compositions in addition to the multitude of solo guitar pieces. The latter included 2 large number written for students and amateurs, from which the present collection is derived. “The Giuliani selections are based on scores from the period, and only obvious misprints | ve been corrected. Where Giuliani included fingering this has ‘been followed where possible, but changes have been ‘made where the enlarged fingerboard of today’s guitar ‘makes the original fingering impractical, and also where an obvious improvement has become apparent. Itshould be noted that Giuliani frequently fingered Carcassis own fingerings were excellentas one the A major chord thus: would expect from an experienced performer, and havechanged them only where there appears tohave been a printers error However, many areas wereleft ‘unfingered and in some of these Ihave tried toadd suggestions or clarifications. FrederickNoad ‘This fingering involves an ‘inside bar’ ofthe first finger which does not cover the first (open) string. If Jess familiar today the fingerings a useful one widely used by other guitarists of the Classical period anda commonplace to the present day in flamenco music. Matteo Carcassi was born in Florencein 1792. As ‘young man he established his reputation as a guitar virtuoso in his native land, and after a successfultour of Germany made his way at the age of twenty-cightto Paris. Atthe time the guitar world of the French capital ‘was dominated byhis older compatriot Ferdinando Carulli (1770-1841) who had done much to popularise theinstrument with his performances, teaching ‘method, and prolific publications, Carcassis more modern approach to melody and harmony quickly won. him favour, and in 1822 he made the first of what were to become regular concert appearancesin London. wwe rwETERBRERBEBBBBahis Z wes = Me i Ulh ave The Studies E Sor Op60 Nos. Page 7 M.Giuliani OpS1No1. Page® M. Giuliani Op50No1. Page M. Giuliani Opi Part II No. Page 10 M.Giuliani Op.50 No3. Page LL F Sor Op35 Nod. Page 12 F Sor Op31 Nol. Page 13 M.Giuliani Op.100No2. Page 14 F Sor Op.60 NoJ2. Page 16 ‘Study 10: F Sor 0p35No3. Pagel? Study 11: M.Giuliani Op139 No. Page 18 Study 12: F Sor Op35 NoJ8. Page 19 Study 13: M.Carcassi Op60No6. Page 20 E Sor 0p.35 N14. Page 22, ESor Op3iNo5. Page 23 Study 16: F Sor Op31 No. Page 24 Study 17: M.Carcassi Op.60No8. Page 25 Study 18: M. Giuliani OpS0No7. Page 26 Study 19: M,Giulinni Op50No5. Page 28 Study 20: FE Sor Op35NoJ3. Page29 Study 21: FSorOp31No2. Page 30 Study 22: FSorOp35No10. Page 31 Study 23: M.Carcassi 0p.60No.7. Page 32 1 ‘or Op31Nol7. Page 34 F Sor Op31 Not. Page 35, ‘M.Carcassi Op60Nol. Page 36 M.Carcassi 0p.60 NoIL Page 38 M.Carcassi Op.60 No16. Page 39 M Giuliani Op. Part ILNo3. Page 40 'M.Giuliani Op139No5. Page 42 M.Carcassi Op.60No3. Page 44 : M.Giuliani Op139No33. Page 46 M. Carcassi Op.60 No13. Page 48 : M.Carcassi Op.60No4. Page 50 M.Giuliani Op Part HNo7. Page 52 M Giuliani OpS1No5. Page 53 M.Carcassi Op.60 No.2. Page 54 ‘M Carcassi Op.60No.4, Page 56 M Giuliani Op.1No3. Page 58 ‘M.Careassi Op.60 No.7. Page 60 M.Carcassi Op,60No15. Page 62 ‘M.Carcassi Op.60No21. Page 64 ESor Op35No3. Page 66 + ESor Op3iNo23. Page 67 : ESor Op3iNo. Page 68 ESor 0p.35Nol5. Page 69 ESor Op60No24. Page 70 M.Carcassi 0p60No19. Page 72 M Giuliani Op1Nos. Page 74 ESor Op35No8. Page 76The Studies : ESorOp6No2. Page? F Sor 0p60No20. Page 79 M.Giuliani Op1No!. Page 80 ESor Op6No1. Page 82 ESor Op3LNo2L Page 84 F Sor 0p.35Nol9. Pages M.Carcassi Op.60No5. Page 86 M Giuliani Op139 No.6. Page 88 ESor Op6No3. Page 90 : ESor Op60No2L Pages ESor Op31No22. Page94 FSor 0p35No2L Page 95 ‘M. Giuliani Op.51Noi5. Page 96 F Sor On31No20. Page 98 Sor Op35 Nol Page 100 F Sor Op31Nol6. Page 101 ESor 0p35No20. Page 102 M, Carcassi Op.60No.0. Page 104 Sor Op60No16. Page 105 }: F Sor Op29 No.9. Page 06 Sor Op35Nod2. Page 107 ‘M, Carcassi Op.60No20. Page 108 F Sor Op35 No.6. Page 110 M, Carcassi Op.60No12. Page 112 M.Carcassi Op.60 Nod. Page 114 M.Carcassi Op.60 Nols. Page 116 M. Giuliani Op1Nod1. Page 18) M. Carcassi Op 60 No23. Page 120 M, Carcassi p60 No22. Page 122 F Sor Op31No19. Page 124 + Sor Op3iNo24. Page 126 FSor Op31Nol2. Page 228 ESor Op31Nol0. Page131 MGiuliani OpS1No.2. Page 132 M. Giuliani Op.48No23. Page134 M.Carcassi Op.60No24. Page 136 ESor Op60No22. Page 138 : ESorOp6No3. Pagel40 F Sor Op3iNo8. Page 142 F Sor p35 No23. Page 143 : Sor Op6No.. Pagel44 Sor Op6Now2. Pagel47 ‘M. Giuliani Op1Nod0. Page 150 F Sor Op29Nod3. Page 152 F Sor 0p29No23. Page 155 M.Ginliani Op-48No24. Page 158 ‘M.Giuliani Op1ULNoL. Page 160 FSor Op29 Nod: Page 163 vite M.Carcassi Op.60 No25.' Page 166 ‘Study: eaeee ee iil al i Study 1: FE Sor Op. 60 No. 4 Sor describes this simplestudyas‘anexercisesimply _ toliftafingeruntlit is needed fora lower or op for finding notes!" However; he continues,‘by almost imperceptibly one will acquire the ha following the indicated fingering, and by taking carenot _placingtheleft-hand correctly”Study 2: M. Giuliani Op. 51 No.1 Primarily in two parts, the study calls for the balancing introduced allthe note values should be carefut!y ofthe separate voices sothat eachisclearly defined In observed. ‘measures ten and eleven where a third voiceis Maestoso Oa sf - i ie il i i rl i a i a a a te i alriety ER iba LD aM ld Me Ml oe a Study 3: M. Giuliani Op.50No.1 ‘This simple study is effective because of the guitaristic beat. In the second section the chords shou! use of the repeated G when the original themeis louder than the repeated notes which shou! elaborated. In the first section the rests should be considered as accompaniment. observed by damping the strings for the silent third AndantinoStudy 4: M. Giuliani Op.1PartIIINo.1 lowinglowF At the end of the second “The fall righthand fingeringin this study has been ‘view of the fll Thefll right rand fhowtheringingermaybe _ mezsurethelow Fray besustsined ifthe final Cis parred with the first finger. The bar would belifted ‘used to avoid repetitions of the middle or index fingers, (utheendoof thefirst measuretheuseofthesecond _ whenthe open B occurs ‘in the next measure. finger on the Cis somewhat awkward, butnecessary in Gealiop ees 7 = 2 an tn F tae ret min {aie teet Pei ee teeStudy 5: M. Giuliani On 50 No.3 This study takes theformofatheme and variations, constant so te opening chords should be played with and achieves considerable variety for such a short the final section in mind. piece.Itis very important that the tempo remain, Allegretto GS regs yg — =——— {== = ate : P r uu uu UL uu WW be dle bl be lle Eee OO el Ue Ue A eeeStudy 6: ESorOp.35No.4 __ ‘Although very simpleto play.attention should bepaid sustain, asfor instance in the first two measures, and it inthisstudy tothe exactnotevalues.Sorhasindicated _ isimportantto observe this. clearly when he wants the notes of an arpegatio to "Amoderate tempo seems appropriate Mern -t ae = et ol i et ek te = 3 efor aertr rom re Tr re SStudy 7: _ESor Op. 31No. 11 Intended primarily for learning notes in the key of F this study should present little difficulty In the third measure Sor does not indicate a bar, which leaves a rather awkward leap to be made with the first finger from the high Fto the followingbass B. A better Moderato ‘would be to take the measure raised toallow the open (tobi end, The chords in thelast two lines shoul prepared, Fe ols SSF (PRE Ing wee EL Ue| Study 8: M. Giuliani Op. 100 No. 2 “This study illustrates an important aspect of arpezgio techniquerelated to the left hand Most students will quite correctly finger the complete chord atthe Beginning of the measure. However itisnotalways possible to leave allthe notes of the chord on or the entire measure because of the forthcoming chord ‘change For instance, in measuretwo after theD has played, the first finger must he réleased in preparation for placing the third position bar. Overall this sounds Grazioso ©>--- ‘esti the D is released after the following Cis played so that theD does not sound cut off. similar situation applies to measures nineand ten where the third finger tmust be released from the D in time to make a smooth transition down to the Low G. "A nice effect can be achieved ifthe top note of each groupis played witha light rest stroke by thering finger.Inn nnn Ahaha eenStudy 9 E Sor Op. 60 No. 12 In this study Sor introduces some different ways of changing position. In the second measurethe open strings serve to release thehand for a moveto thethird position, In the second measure of the second linethe slide serves to move the hand from first to second position In the final measure ofthe same line the first finger moves through from the Fnatural othe Ato establish the hand in the fifth position. Inmeasure one ofline three the move down thefirst string to the G requires careand practise.Md MyM My We Study 10: FE Sor Op. 35 No.3 This Largetto serves practiceforthedottedeighth the bottom line. Although the grace notes appear to ‘note (quaver) and introduces a form of ‘turn'- an precede the chord, the initial small E is played ornament popular in this period — at the beginning of simultaneously with the D and E. Larghetto ects F yr MITT 4| Study 11: M. Giuliani Op.139No.1 _ ‘straightforward technically lwould suggest usingit as favehicle for variety of interpretation and dynamics oudand soft). ‘This attractive study has a rather grand sound{to it, partiularly with ts orchestra styleof ending which ecupies the lat three lines Sinceitis quite Andantino pe gud | Sree 4 | en re eer : gad a Pete toe ue op tue oe Tor | i * f Oe qi 7 mm aVa ee ee ee Study 12: E Sor Op. 35 No. 18 This study makes a good practice vehicle for two-note rest-stroke. This brings out and gives qualityto th chords where the upper noteis to be played with the attractiveupper voice melody. Andantino eeStudy 13: M. Carcassi Op. 60 No.6 practised in two ways, either alternating thumb and ‘The upper notes in this piece should sing out clearly, index finger or repeating the thumb. Either techniqueis with therest stroke used where not precluded by the Chord using adjacentstrings,ie.thesecondchordin acceptable, but itis slightly harder to balance the tone the first measure. The bass scale passages may be Moderato ‘quality when alternatin ig the thumb and finger. | 1 = - & F F R a . i E F a L=n Ten Teen een ees en ene en Ter ehStudy 14: E Sor Op. 35 No. 14 “This study is fun to play duet the distinctive charac ofits dotted rhythms. Line threerequires careful preparation so that each voiceisheard distincly- measure ofthelastTine ter Notice the interesting harmony changein thesecond 1p sul Andante 3. ar Poe eee = ° ? g 1 adh wa a A, \ eee = See Pa at ia te et cccStudy 15: ESor Op. 31No.5 ‘This simple study makes occasional excursions from the first and second positions and introduces an easy bar position for the final cadence. Ofinterestis the fingering which is Sor’s own, and for him very detailed. Andantino ‘The first measure ofline three shows how an open string may be used to avoid excess movement of the lefthand, & Le ee eee at ay Ui Wal ll ah ad ct A othStudy 16: E Sor Op. 31No. 4 F This Andanteservesasastraightforward practicefor key of Bminoris partiow"arlyattractive on the guitar. theclear execution oftwo and three partchords. The Andante 402Study17: M. Carcassi Op. 60 No. 8 ‘This study affords further practice for slurs,anda position must be carefully worked out soasto avoid chanceto explore the key ofE major: The changes of _periodichelts othe flow of the music. Moderato pee ees ses Sth Pos. - 2a CPezeg- oyStudy 18: M. Giuliani Op. 50 No. 7 Much ofthis piece takes the form of dialoguebetween aspect. Thereisa' time trap 'in the first measure~after anupper and lower voice,andthe student should give playing theD be sure to wait for the full eighth noterest ‘equal value to each part to bring out this conversational beforeplayingthe B. Andantino ea DO a a a aeee ee Owe ee oe Eee Pee eeStudy 19: M. Giuliani Op. 50 No.5 This straightforward study touches brieflyon thefifth forthe following G and F Beginners tend tomakean position, The more difficult change in fact occurs in awkward stretch instead of moving the hand~an. ‘measuresixwherethehandmmustmovetothesecond important point to watch as any ambiguity in the left position for the high A, then back to thefirst position hand position will produce mistakes. Allegretto opel fF =a “a a a Fa7 Study 20: E Sor Op. 35 No. 13 ‘This piece takes the form of melody accompanied vy “Three measures need careful individual practise whatis knownas an Alberti’bass.This conventional _since most students seem to stumbleat these points. lefthand keyboard figureisnamedaftertheearly18th Theyarethesecond measure of the fourth line, the lest century composer Domenico Alberti who used it measure of the fifth line, and the second measure ofthe extensively in his Sonatas. lastline. ‘Here the guitar almostimitates the piano, and the ‘The third finger should remain on the C aim should beforaclear distinction ofparts with the __ throughout the first two measures oflinetwo. thumb and index finger taking the accompaniment. In ‘Note the composer's marking of* Andante’—many this case themelody is better played freestroke to students try to play this piece too fast. avoid arpeggiation of the two notechords. AndanteStudy 21: E Sor Op. 31 No.2 histo an early lesson rom ors collection of twenty he slightly unusual fingering ofthefourth Tri aes dedicated to beginners. [texploresthefist measuremakces sense fan A minor chord positions position notein the keys: ‘ofCand Aminor,and held throughout. Jntroduces some simple slurs. Andante es Ga DS.al Fine naRahknanem - em em me Som eo re ee ees ess ee ees 7 Se. om FSiee MU Wl) Ld) ate lt Eder) ds aod) EA SIM Study 22: E Sor Op. 35 No. 10 Flatkeys area comparativerarity in guitar music Decause the open strings all relate to sharp keys. Asa result more barringis likely to occur, particularly inthe first position. However the slight additional difficulty is ‘well worth itfor the pleasure to the ear ofa changefrom ‘the conventional keys. Inthe first measure ofline two tis importantto move the hand to the second position for thefithand sixthotes then backto the frst position for thetinal ‘two. Thisis Sor original fingering. 1 3c1—__, Ca. 3Study 23: M. Carcassi Op. 60 No. 7 This often reprinted studysounds very effective while study can be worked up toa lively speed provided that being quite easy to play Therepeated notes serveasan careful attentions given to the fingering, introduction to tremolo techniqueand the complete Allegro fami Pami F poco ritenuto 8Hb . HTT MF) eV MeN] Mec) ny eT PY FPN NT SS RI OGTR OH org ET TeStudy 24: E Sor Op. 31 No.17 Sordid not suggestatempoforthisstudybutitseems even and unhurried; and occasional reststrokes for to sound best played slowly with emphasis on the ‘emphasis willhelp shape the upper voice, as willthe rather romanticmelody. The‘Alberti’bass shouldbe _appropriateuseof vibrato.Mb Mes sb: We Ub Eb te is QM et ly al MgC) atl Tica Abst as Wl la: ill Study 25: E Sor Op. 31 No.14 Witha song tune reminiscentof German ‘Tieder’ofthe uppervoice,and the occasional use of vibrato isalso period this Andantino servesas an exerciseinlyrical _helpfultoadd to the vocal quality. playing. Rest strokes may beoften used to bring out the 4 AndantinoStudy 26: M. Carcassi Op. 60 No.1 “This study affords good practice for scales ina the righthand position for the use of thumb and fingers. practical situation. Because thethumbisused atthe Many students ignore this aspect when playing scales, beginning of most measuresitisnecessary tobalance and offset the hand to simplify finger alternation, Allegro Poteet tr cr crAe pe en tnt MUM Se sR yA RE Ten en ens en FE en ey eh En EG Min TE aStudy 34: 7 M. Carcassi Op. 60 No. 14 This Allegroaffords scale practicein thekey ofDand __caseaslightemphasis on the firstof the groups of four, explores the seventh and ninth positions. Measuresix _i.e-on each beat, allows the other notes tobe taken showshowan open stringmaybeused tofacililatez morelightly which de-emphasizes the change of tone, position change, in this case the openE.Someeffort __Thescales in the bass should be taken with thethumb mustbemadeto concealthetone changebetweenthe and practised for an even sound. open and the third string F sharp that follows it In this Allegro moderato mim f 9th Pos. ‘th Pos.—Hee ae ee eae en eo Oe te oe aoStudy 33: M. Carcassi Op. 60 No. 13 ‘This study has much charmandisfuntoplayForthe stroke on the repeated notes with theaim ofachievinga righthand thereis the chanceto practise thefree perfect balance with the preceding arpeggio. Andante grazioso 3 ture ptt Ee meas. fetes Sil: = i oo yr cS ae t —Pase3? eS RT NE eT et ee ee ee ete Be er teStudy 27: : M. Carcassi Op. 60 No. 11 ‘This pieceis like a rather urgent conversation, and scope for the use of the rest stroke in the upper voice, each voice should be clearand distinct The.arking _particularly on the last note of each group. Agitatocalls fora brisk tempo. There is considerable Agitato dy 7 Pages mmaes* Maat ~ Winkel... Sele ee oe oea ee ee Study 28: ; M. Carcassi Op.60 No. 16 Morelikearomancethan a study this charming piece quality is appropriate here, and the angle of the finger affords practice for thereststroke with theringfinger _ may beadjusted until the best sound is achieved. ‘which plays the melody notes. A full belllikesound Andante jel ka i eee tad mend ad 4] F| Study 29: M. Giuliani Op. 1 Part If] No.3 “This simple study serves to insila feeling for the “really ather easier to feel than to countonce the dotted sixteenth note. This particular note valueis characteristic skip is understood. Allegro; ini tat a mimi moiimi % G 5 = ee at ee ee ee ee ek |i fy PER BT fl iin By ip ——— a a fees sens ements ima of FT Gea ae A fea te Be ee en er ie oe oe oe 2) oeStudy 30: M. Giuliani Op.139 No.5 ‘Thisrather romanticstudy provides opportunityfor When playing the opening statement remember that simple exploration of the key of A major with. the faster notes at the end must maintain thesame frequently used chords, thirds and scale passages, tempo—sodon'tstart too fast. Andantino EF ? °F oF apc oP [ te a me + = ie Is pee lis ei i i. ee i acon an We Ten FEN TENN PN IN en PE Fn HIStudy 31: M. Carcassi Op. 60 No.3 ‘This favourite study affords a perfect vehicle for ‘measure used throughout, witha well controlled and bringing outmelodynnotesabovean arpeggio bythe round soundingrest stroke each time the'a’finger useofthereststroke Thefingering pattern ofthe first plays. Andantino Sed Pas. ane ie ee eg Eee ee ee ee te aSE RNR OE I shed Pen Renn RS Be TN TT of HT] Get Te AeA Bet Te Fe Men aeStudy 32: M. Giuliani 7 139 No.3 ‘This Allegretto has much charmand is enjoyableasa the accented first beat of the measure. The endingisa recreation. The thirds over a repeated Din the third line typical Giuliani grand finale. are very effectiveif played with vibrato, particularly on Allegretto tea= SS = Se Foo) pee yH I so Wt Wiss WET te Mates) iba tie i Bowtie reenter sae aoe eee ED Ct ili Elia) Wil i at Wt dh ll| Study 35: M. Giuliani Op.1 Part II No.7 This interesting study illustrates different ways of definition to the chords. i fingering successive thirds on the same two strings. Remember with the ornaments to sound the first of | Students tend to preferto slide the fingers onall the small notes simultaneously with therestof the ‘occasions, but achange of fingers willoftengiveclearer chord. Andante mossoMAI «ths = = = HU) fit) Dig Wh ga) aT gg) tt) TG EY A) WA Mgt ab | Study 36: M. Giuliani Op. 51 No.5 ‘Both Sorand Giulianiattachedimportancetothe should bepractised untilallthechangesaresmooth separate practise ofthirds andsixthssincetheyrecur_ anduptotime. so frequently in guitar music. This study provides a ‘The Sforzando () marking requires. strongaceent ood development exercise forthelefthand, and ontherepeated Es, best executed with therest stroke. Andantino —> > i fw) ee 7 7 7 [eageraae? iE Reel 2 of of of of of | : ® a | eT “| Es)Study 37: M. Carcassi Op. 60 No. 2 ‘Thisis an excellent study for the free stroke. The using the free stroke or both. Notice also the many repeated notes should be balanced carefully withthe expression marks which add shape and interestto the preceding arpeggio to produceaclear,roundsound ——_piece. Moderato espressivo a mt BihPos..- . - a 6WNIPom oo’ i | “aw aie Sar ce GIN REO ee ee TE Ee ee ee eer] oe |The importance of good slur techniqueis immediately Gistinedly soasto balance withthe other notes in the ‘epeated figure Practise or complete consistency. apparent in this study: The pull-ofis (for instance from B to Ain the first measure) should be executed very Allegretto sth Pos.. ~~ 7th Pos. = =, 4 2 ' Panneaa EN Fe NS FON IPT eT ee re Re onos Oe Study 39: " M. Giuliani Op.1No.3 i E This somewhat curiousarrangementofthe repeated _distinctionis understood, An interesting way to four-note figure servestoisolatethe bass melody from differentiate the partsis to take the upper stemmed theless important notes which servemoreintheroleof notes with thering and index fingers to givea contrast accompaniment. The studentshould playafewlinesof _tothesound of the thumb. the bass melody (downward stems) byitself until the Andantino mosso oeRA Tel Te Re en ee eae oa ee eee eee oei Study 40: M.Carcassi Op. 60 No. 17 This study familiarizes the student with manycommon _noteis onahigh: stringas this keeps ¢ consistency of octave positions. The thumb may alternate with the touch, jndex fnger even when, asia measure four, the first Moderato Bth Pos.Sr Mo WER Me MeN Te RM eI) Gea ee Be ean Een orSC — Study 41: M. Carcassi Op. 60 No. 15 ‘To obtain the full value ofthis study the righthand but on the whole controlled and full-sounding free should work to bring out the three highest notes ofthe __strokeseems more appropriate so that the adjacent repeated igure. Thismaybedonewith thereststroke, _stringsmay continue toring. Allegre moderato“tr Wen Fn en Ne ed oe Te Ea es) eee esStudy 42: MLCarcassiOp.60No.21__ ‘Therepeated reverse mordents providean excellent _slursshould! ‘be executed as neatlyand clearlyas work-out for thelefthand,as wellasfixingtheformof possible. this ornament indelibly in the memory. The downward 7 Andantino Lea dea a I basso marcatoa 7 3 a : 4 3 “al = a “A cP at ee ale ad Nat ‘dumin, valleStudy 43: E Sor Op. 35 No.9 Tine should be played with the thumb throughout, with sufficient emphasis to bring out the melodic quality. hus attractive stadyis bult principally around descending. A major scalein the lower ‘part Thebass AndanteStudy 44: FE Sor Op. 31 No. 23 Wihhatempo likeardligiousprayer’thechordsin this the vocal feeling, asifimitating = chorale. Thereis piece must be of bell like clarity and well sustained. ‘someattractive harmony although the chords are Eometimes vibratomaybeused,as{orinstanceatthe comparatively easy. : ‘pening of the second section. This tends toincrease ‘Mouvement de pridre religieusec.,Study 45: E Sor Op. 31 No.7 "The melody in this study should bebroughtout by ‘Consistency these may be taken with thering finger. cea thereststroke Sorhes indicated themelodicline Theaimshould befora learané ‘balanced tone. by stemming the appropriate notes upwards and forStudy 46: ‘Thisis another study reflecting Sor’s tavourite | topic Sor’s fingering was firstand, second finger on the which was that the movement of thirds and sixthsisat — C; ‘sharpand A respectively. The second and third the root of an understanding of the fingerboard. fingers suggested here involvea move of only one position instead of two. aa oo) Up ‘At the beginning of the second (complete) measure Allegretto @ WH th best) Miss) 2s Te bh Ubmwth ls aah tin Watt ath tlCC Study 47: E Sor Op. 60 No. 24 i i 1 j | This study servesto establish clearly the note values uf _intolerably slow. Notice where the bass notes of. ‘faster notes, since ifthe groups on thefirsttwo beats _arpeggio groupsarerequired to sustain. are not played up to time the following chords sound Allegro moderato3 a SR OR FE Hen TR Ee Mo HT An RT Oe Gen eae Fen eTStudy 48: M. Carcassi on 60 No. 19 ‘The notes with upward siems should be played with veryatirative.andis thusa avouriteforstudent therest stroketo bring out themelody above the recitals arpeggio. When played up to time this study sounds Allegro moderato 5 o Powe eee3 Oe eT A Re eT eT eT Pe en ee ea ayStudy 49: M. Giuliani Op.1 No.6 After an openingin dialogue form this study introduces _ ormamentare conventionally written asifbefore the somehigher positionsin the key of A major,and.also _beat, nevertheless the bass note is sounded omaments executed ta fairlyfastspeed. Remember _ simultaneously with the first of them, with these that although the small notes of the Allegretto con moto 3 aa of ‘Oe ees Study 50 tudy 50: E Sor Op. 35 No.8 This cheerful study makesan effective performance _this formin he original publication andis reprinted ‘ piece when played upto timeand with expression. The accordingly. The intention is clearly for the two thurab Emevaluesare unusually expressedinthefirstline _ notes tosoundas.aseparate voice, and! suggest equal where one would expect the first noteto sustain cemphasisforeach. through the measure. However this igure occursin ms Allegretto Pree 7hTee Oe Tp] nyne ee Study 51: E Sor Op. 6 No.2 ‘This attractive study provides a challenge for both ‘not particularly difficult, need to Le clearly established hands. The righthand should bring the melody out by in the mind, particularly in the second half with its theuse of rest strokes with the ring finger, aiming for 2 frequent changes of position. consistent round tone. The left hand movements, while. Allegreto $cq Groh,Study 52: E Sor Op. 60 No. 20 Sor’snote states:"Thislesson hasforits purpose the the first six measures, Sors purposeis thus thatthe fixity ofthe finger upon which is based the execution of student should be aware of such ‘anchor’ ingersand the passage.”In the key of B minor it willbe noticed that not liftthem until necessary. A tempo such as, the third finger remaining on the F sharp serves to ‘moderato’ seems appropriatein the absence ofan stabilise the left hand in many passages,forexample _ indication rom the composex,siete osusncasanonsibinsaaisiatndntnntnins tan heer Study 53: M. Giuliani Op.1No. 7 ‘This piece is good for xing the form of the dotted Feeling ofafast military march and shouldbe played eighth note firmly in themind. The study has the majestically. Allegro maestoso fer... clue EL rr riots Zz of 5) I paced ; = ae a = = or a) gn2 aa a cea peer meena ES te et WE eS EM TEP NN ON UE PET) ARN THe) aw rR ease asStudy 54: E Sor Op.6 No.1 Inthis piece the melody lies in the bass, the upper ‘The chord atthebeginning of measure fouris chords serving as accompaniment. To achieve difficult but responds to practice and once mastered consistency of touch the thumb plays the facilitates the whole passage, downstemmed melody notes, even when they occur on ‘he third string (asin the second halfof the frst measure). Allegretto2 dn [Tigh r por Ta el taia et "Ie OPS BON Me CH MEN GAN Tes at wen Gen FT Te TTStudy 55: E Sor Op. 31. No. 21 This otudy offers another welcome excursionintoaflat inthe second line. The scale passagesin thirds should key with extensive practice ofthirds and sixths. [tis _be practised for complete clarity: This presents some importantto start with very moderate tempo soasnot challenge. to haveto slow down when the triplets are introduced Moderato Col miei3 = 2 Beeld Memb ecti Wsel Mest afl baat Mot aR, Ul Gili Uy Glootl Gest ie Gi ctil ie Study 56: E Sor Op. 35 No. 19 This studyis oneofthe veryrareonesinwhichSor _ detached quality ofa drumbeat or castanets. The indicated righthand fingering Thetripletformations _shythmis typical of the Bolero. should be practised until they have the clarity and Moderato “Peer carer terer “terer “terer *tyrer PesStudy 57: _M.Carcassi Op. 60 No.5 Thisis a good study for the stability of the righthand. ‘The opposed movements of thumb and fingers shoul students tend to pull the hand back when playing the ld upper notes. Thisis to beavoided in the interest of be executed without changing thehand position. Many _establishinga securerighthand, ModeratoPea } HD AMOR nnHnnnan we) Whe Eee Ol EL Te a Nea enamide Rea SMEsduns aan Study 58: M. Giuliani Op. 139 No. 6 “This study affords practice for the descendingligado, andis effective when played up to tempo. However, Allegretto 7 careful study e needed for heeft hand, particularly for in the fifth lin patterns suchas those: 74aries ctbeneenecnaaiatne —asainannneneman Study 59: E Sor Op.6 No.9 ‘Although the bass Fisas printed in the first is obviously not possible to sustain it beyond ‘Therich and sonorous sounds ofthe key ofD minor with alowered 6th string make this study musically edit attractive while affording extensive practice of the first oneand a half beats. successive sixth chords. Note that theindication here and inthe ‘Thefingering suggestedhereis editorial asthere _ following three measures indicates phrasing and not was nonein any of the original Opus 6 publications. slurs, @-D Andante allegroeta ndid ad add ebrmmeangin pantieCD lag ag tat lt Ew Ul Oe ee EE aT Study 60: E Sor Op. 60No.21 ‘This apparently simple study is deceptive, sincelt follow will sometimeshaveto be played ‘FEautes considerable practicetobeabletoobservethe (unconventional) bythesame finger instead ofby Gmevalues exactly andplaythe pieceuptotime Since alternating ages the piece requires careful thenotes ofthe initial chordsoftenneedtobedamped _preparatien, (asin the first three measures) the repeated notes that ee : ; i 4 2 d on Sas Steet Pe pr PR ny phStudy 61: E Sor Op. 31 No. 22 ‘Toachieve the march feeling of this piece itis observed. The piece also provides reading practicein a important to damp the notes or chords where less familiar flat key. necessary so that therests that follow maybe strictly ‘Tempo di marcia, moderato C!----- = =~ 7 == = 2S Tee rea cl C1 asearrraeaeeaeeceeeeeaL apy Py ta PertStudy 62: E Sor Op. 35 No. 21 Sor operatic background showsin this aria-ikestudy, sing, with melody notes well sustained, vocal phrasing particularly in the second section introduced attheend and thejudicioususe of vibrato. ofline three The challenge hereis tomake the guitar Andante po ee ee ct Silo aStudy 64: E Sor Op. 31 No. 20 Asanoteto the first edition Sorwrote:‘Thislesson _ selected byboth hands before they are played. After the may be playedata slower speed than the indicated chordis sounded therighthand fingers are tempo, but sinceits purposeis the selecting of notesfor immediately replaced to damp itbecause of the rest chordsitisa good ideato workup thespeedforthe _that follows. Thisis an excellent study for theright purpose ofincreasing facility’ hand. ‘Thenotes of each chord should be carefully os Andante ae > ih ee C2 #3 3c2 $c1 : iPydudt a Bepiyy pry DEPT DeaG7 "DD 5p Held) roel) ede Lilo) Lilet) cls Lb at) Ec his AS Ue al) a EA) Meh lsrt F » oH : e = 7p jor) a t t idStudy 65: A further exercise in: theselection of strings for chords ‘study may be used as a supplement to: itorasa and the damping of chords for a clear ‘detached quality. substitute if so. desired. 1 Of virtually identical didactic purpose to No, 64, this Allegretto 1c3 2 = j a 2 3 4 a 3 a Ub We Wet le Ee Bl Atl EH okie Gia blStudy 66: E Sor Op. 31 No.16 Jnthis study simple upper melody is accompanied by In the third line have modernised the fingecing to amoving bass partin a formmore usual to the accommodate todays larger fingerboard. The final ‘keyboard than the guitar Thechallengeliesin bringing chord of the first measure of that line was fingered with outthe upper partsclearlyand sustainingthem while the first fingerreaching back o B flat and Aon the third the thumb gives a smooth flowto the moving bass string —a virtually impossible stretch ifthe upper two voice, notes areto sustain correctly, Lento 46.1 lie tut Uh te Weebl Tl 8 col tie Pesetoh Det Ue Ed ide Lem) ket beStudy 67: E Sor Op. 35 No. 20 ‘The type of left hand extension required in, for ‘Thebrisktempomarking shouldbe observed, asit § instance, the third measuremakes this study an gives this piecea different character from theone of advanced one-In Sor's time the smaller fingerboard. ‘Carcassi’s (Study No:31in this book) which has the would have made such stretches quite easy with same figure. As in that study, the ring finger uses rest practice. strokes to bring out the upstemmed melody notes. _ Tempo di minuetto itd imdin tod + age i02 a ee . Sa] ga eatMenen sn eT oe EnStudy 68: M. Carcassi Op. 60 No. 10 All the tripuets are slurred affording excellent practice for both hammer and pull-off A light neatness is Allegretto bth Pos, ae necessary to give this study a feeling of delicacy. PaootntStudy 69: i _____ESor Op. 60 No.16 : ‘This study may beused asapracticeforcorrecttime- end oflineseven serves as a slur exercise andis fun to keepingin all parts,and particularly for the sustaining play when familiar. oflower voices whereindicated. The ornament atthe Andantino al omy ae 1 x (iia) me) LAs AeA) Aim SES ACRES) Sb UD ES Te se peleesabeniets aeons,Study 70: E Sor Op. 29 No. 19 ‘This harmonious study presents some challenges to The initial descending ligados shoule be executed thelefthand.Forinstance,inthefirstmeasureofthe gently to avoid excessive snap ~ always a danger when secondlineonthesecond beat,thestretch between _pulling offtoan open string. A moderate tempo seems, third and fourth fingersis extreme. Unfortunately there appropriate. isno other way to sustain thechord underneath. q 4c2 --Study 71: E Sor Op. 35 No. 12 ‘The unusual device ofraising the sixth stringby a pieceitselfis charming, with the gentlefeeling ofa semitone opensup many possibilities inthekey of lullaby. particularly since many full bars can beavoided. The Andanting moderato 6%en Fe, @=! oe eye Te Tr Te PoP oF m— C3. C5. Cie alli Ut as de a is 4 sg eee ere te ae J yds td adel, ee Fé eee ete Be tented 2D: Malt [ibn To deli Lil) baat abs Cll) ia) wtStudy 72: M. Carcassi Op. 60 No. 20 Fuses the fal range ofthe Sngerboard to theslide, that note should be played by theright hand. aye ullant effect The eft hand fingering needs Immediately after the grace noteis played thelefthand gareful preparation and thesis in particulartake slides upto sound themain able View etree practice Whereasmellgracenoteisdravin preceding effective when the high aote'e seachen 4 Allegro brillante | | |reat! ewe ee Ui)Study 73: E Sor Op. 35 No. 16 ‘This straightforward study offers practiceintheuseof quality in contrastto the sustained chords at the the bar and half bar up to the third position. Itis, cadences. This piece serves also as an exercise in the important also to damp thechords thatarefollowedby correct selection of strings prior to the playing of ‘rest signs,as these are inserted to givea detached chords. "py ads Pesestoa] a a=) om xe sy — a| oF aa mt aay ee 2M SR I lI Oa ror wd), dy od al o F % Tid, dy dy once aT BYStudy 74: M. Carcassi Op. 66 No. 12 ‘The form of this arpeggiois very natural tv theguitar _patternis fairly easy to master, but considerable and producesan interestingeffect whenthespeedis __practiceis needed for the left hand to ensure totally broughtup to the required fastandante. Therighthand smooth movements when changing position, Andante mosso to» > cy. pereieiin se paniLSA A A ene TE eA eee ee Te ee pet omen om ono”Study 75: M. Carcassi Op. 60 No. 9 The upward slur occursfrequentlyin this study andthe key thatis perhaps the most natural to the guitar When jammer strokes shouldbe firmand distinct. Someof _ the scalepassages are well executed this becomes the higherreaches of the fingerboard are explored ina _verycharmingstudy. Allegretto grazioso 4th Pos. 6th Pos - = - - aI! aIqs Ss SS eee ee aa 7 ' es ¥ * rt = ee kt Mt ty Haddin Hb Edith Ell al Ulli - t Eh oO ht =Study 76: _M.Carcassi Op. 60 No. 18 ‘This piece covers a surprising range of keys, spanning Inmeasuretwo the firs finger is dropped into the from Cmajor to C sharp minor Itis not technically bar position after the open E has been played - easier difficult and provides. pleasant vehiclefor attaining _than jumping the first finger over to the. familiarity with the fingerboard. Allegretto we 7Ot 1 we ou a gf ine fi 7dStudy 77: M. Giuliani Op.1No. 1 “The triplets in this study require considerable Giuliani specifically requires the secondand third preparation, particulary whenslurred inunexpected POWs ofthe triplet tobe slurred, and places astaccato dotover the first note to make this absolutely lear. laces. For instance, inthe second measure oftine five Sostenuto teh ed dl aa rele ; ie ge ee ae t tear: t 7° 2 pt eof te Recetarat ff m ad "TUOMAS AApce eee —a Study 78: M. Carcassi Op. 60 No. 23 This dudyis quite sualghtforwardwithfingeringthat _achievethefast speed For additional securityitisa works well. Howeveritis marked allegro’,and ‘good idea to writein therighthand fingering atany equate preperation withbothhands ismecessaryto ambiguous points. Allegro pyty 4th Pos.- eH =I / s [oe . aes F i +r ry fy - ‘ a6 oii stole TES ‘o * t pias , 8th Pos. ppl Dp 8th Pos. -poc----=-2-- “pace” tFrty 1B io 1B / "Sa tempo Hite dia. =o 4 WB nr ET TAR“ ne HAAN HDNARARAHDAMRAHAARHARHHHHHHanHnnnneStudy 79 _ M.Carcassi Op. 60 No. 22 ‘This studyin extended arpeggios presents some challenge for the left hand. For instance, in measure six the move from fifth to first positions quite difficult to execute smoothly. In the following (seventh) measure! ‘suggest taking the Gat theend of the first group onthe second string with the second finger. This eases the Allegretto change from first to seventh position. Therighthand ‘should attempt to balance the tone quality between arpeggios using adjacent strings and those where two notes maustbe played on the same string. A slight ‘accent on first and fourth beats of the measure will help the continuity and phrasing. Ce ee ee a a oe 7 v =) te eet! ele (lab aie «Lepee ec ete ft my 2c8 = ett en a $2 jpn 2g 3g Sa o =o rStudy 80: E Sor Op. 31. No. 19 balanced clarity with the successive freestrokes. ‘One should remember also that Sor advocated using the pad of the finger rather than the nail and this may have made it easier to balance the sound alternating finger and thumb. Those who play with the nails however will find it virtually impossible to achieve | Soré note in this case was:“The purpose of this lesson ig to familiarize the student with the correct use of the right-hand thumb by making him alternate it with the index finger for the demisemiquavers (32nd notes)."In fact, modern technique has almost completely abandoned this usage of the thumb, amd amore ‘contemporary fingeringis suggested above. The purpose of therevised fingering is toachievea this balance on theupper strings. Jn vrat ad A Te RP Te ee ee ee eee ee 0 oe ee Teaa Study 81: E Sor Op. 31 No. 24 Thisis a good study for the practice of common affords practice in extended barring, for which careis positionsinthe key ofE major. tshouldbenotedthat _ needed. To avoid left hand fatigueitis important touse in spite of the number of sharps and accidentals the the minimum preseure consistent with clear notes on pieceis not physically harder to play than others in thebar simple keys. The section in the seventh position Allegretto moderato 1 702 EV 302 loon dd Taal ica frAEN Wi TA BAe le lem ibe Tt le le Htl le stlStudy 82: E Sor Op. 31 No.12 ‘The fastarpeggio should be practised firstasaright- _ recommend omitting the arpeggios at first playing the hand exercise. Then itwill bepossibletoread through _uppernotes.as thirds until the overall shapeis the piece ata reasonable tempo,and therequired * understood. phrasing will become apparent. Some teachers may3 ala. a i i h Hee Oe 4 — ow TOT rreemerecnmeremeeercrareneeay rarer emer = Sr TS Ge Te OS ET Te 2 oT Ie ON eR ea oe in 1-7CN ot eet meanaaestrmmeserieensiteearnnaretnRaA enNetnenenes ae! kam aidan is mW IRENA Pee i i roa 4 ira 24 3 fe fitie Fe ee ; 38 a oa frre aT =o Sree es §: a = = = a = i i : i i $ L x : Z I Study 83: FE Sor Op. 31No.10 ‘The purpose ofthis lesson, wrote Sorist facilitate only in these situations, Particularly for exampleat the the linking (liaison) of thirds and sixth, The double Peginning ofthe fifth line. tmay be that'liaivoee was slurs are in facta rather advanced idea, forbeginners, intended simply to mens ‘smooth transition’ rather and n their downward slide form hard to execate than slurring. The style of the piece is ‘that ofa Handel CHectively compared tothe dauble'pull-off Sore aria teachers may wish to regard the sur signaas phrasing CantabileStudy 84: M. Giuliani Op. 51 No. 12 Guitar students havea tendency to play this type of accompaniment, with the bass melody taking onan study at an Andante tempo and feel that they have agitated feeling. itis worth playing the bass melody by mastered itsince the notes areeasy Infact, Vivaceis _itself at first soas to understand its character and one ofthe very fastmarkings and at this tempo the necessary tempo. piece assumes the character of a Schubert song Vivace wi mj~ a me % | pe it f \ a F 1 - it i fs i Gt aly Fn O-8 RCN “TR Fee FER eT eHStudy 85: M. Giuliani Op. 48 No. 23 ‘Thisetylish allegroisidiomaticto the guitarand well Spanish composers. For consistency of touch] would worth theeffortnecessary obringituptotempo.It _recommend playing all downstemmed notes with the demonstrates Giulianisunderstanding ofrighthand thumb. possibilities ina form usually only associated with Allegro con moto ce. yes a) | ) ae “hut! uli! alll Gall! GI ET Ean 5 ee" a es eS 7— = == 7 € yo = ter f for... $y g To viene ge Tek RET PE GER TR Te en ie fen Pei ae Re GEN GE ST ITStudy 86: M.Carcassi Op. 60 No. 24 Frisisaveryromanticstudy.nottoohardtoplay.but accidentals. The ides and grace notes should be fairly difficult readingduetothe keyand thefrequent _ separately practised for neat and clear execution. Andantino con espressionewr AA Re Te SRE FE Eee ee ee eTStudy 87: E Sor Op. 60 No. 22 ‘Many beginners form the erroneous notion that the allow alternation on the melody by the middleand ring thumb is used only onthe lower two strings. This study fingers, The use of therest stroke with the ring finger illustrates its frequent use on the third string so as to will help to shape the melody. Allegro moderato 2g: "di td B-_2 =p = pat ee a | atest, pur Pye 5 iP eR Ra, eR a ea ae ee ee eyStudy 88: ESor Op.6No.3 _ This ciadyin descending slursachievesits technical —_—feelingtp thowever,and the exploitation of this objective but because of the repetitive nature of the ‘becomes an exercise in interpretation. Siureitis hard to express musically Ithas a marrative Allegro moderato be se to a ire i > Sabet ogee + a oe 2.Wk a 7 = Poet a 2 ewer os “reper cee eSATA RT GH Fe BER RN Fe ET Te ee A Re ee eT Gen Ge eTStudy 89: E Sor Op. 3LNo.8 ‘This Andante serves as 2 chord practice forboth difficulty The fasterrun in thirds in measure three of hands. Fully Singered by Sor the positionsand changes the third linerequires practice so that the tempo is not are clearly defined and should not present much lost. Andante 4s mae sanaiuiilied ail.ard: Nal. inate’! ecmuales. feet (uz tal ery al, lst Hild eillalill Vidlammcall sists Wilt! leased italia itll Le | | Witt) rela) ttStudy 90: E Sor Op. 35 No. 23 Thisis a curious study The notesin the first beat form in general the thumb plays the fourth fifth and dith Seloudofharmony which sounds good whenneatly stings withthetaine ‘second and frst played by im, executed. and arespectively Andante — —~ Ast Pos.Study 91: FE Sor Op. 6 No.6 "There are many possiblefingerings forastudylikethis becomesimportant for the practice of someof the but the main principleinvolves theavoidance of ‘other combinations. It makes a good concert piece excessive sliding with thelefthand firstfingerandalso when played upto time. unnecessary changes of position. Students tend to B sharp notin the original. prefer to use only the strongest fingers, so this study Allegro $02 ca ene el sik eel aid. lisa. kay) Val kal dhe vel oka aaPe OP eee eee ee ee Et I ‘th Pos.Study 92: E Sor Op.6 No. 12 ' Thisis one of Sor’smostattractive studies,and onethat —_theaccompaniment so that the effects almost that of appears frequently on concert programmes. Thebest _ two instruments. Inaddition, the use of vibrato in the 4 playersmanageto detach theupperlinemelodyfrom upper parttends to accentuate the vocal quality ofthe line. #3,iain conser | Jomisniesisaisitauasiasiiiiaaisubiis a ore ae ae ee ok, ee, Eee a aeStudy 93: M. Giuliani Op.1.No.10 This pieces fun to play and one of themost musically lines of tne second page Ittakes some workto bring cQeesfulofthe Giuliani studies Initheusesmany the piece WP to the spirited allegro tempo, but the result sacrtes which appear inhis grander concert workin certainly repays the effortinvolved. particular the broken thirds ofthe second and third Allegro spiritoso ¥ Tenor cet met ial ala rei i. & @ : ES ‘ foe ee (ig in th ai E a a ‘| i : HL Fs L i P hep A i ‘| te Yi ch, BY df oP ay ae a Er ME RECT ea RE Pe RETRY GG) REG «ACMI GEE] ORIEL AEP ce ET! emoStudy 94: E Sor Op. 29 No. 13 Besides being a most welcome addition to the slender repertoire of piecesin flat keys this studyis most valuableas an advanced exercisein barring Itis ‘Gesential to use the minimum pressure consistent with aclear bar, since otherwiseitis impossible to com the piece, cL Andante plete Tn generala stress on the second and eighth notes ofthe measure will serve to bring outthe melody. Contrary stresses are noted, and are the editors suggestion ‘Thisis an advanced study, but very rewardingboth technically and musically Proe 182 eo worsens SiS svceuhivnttnntnceacesisstendpisstcsns acts aut san oavoumistaini, —s00- aiabctssnsirn onc ana Oe ge cmuuivin tems wstumttid ¢| Shae! “AMI olagmeT iitfa = Ta oJ JE Bs | carr) eT “He alte “e S 4 <3 7 fi eet kmh ltt al lee td narcissists steGR amaninscyersnntn enaannien 08 amngueenpainsctensmisraoStudy 95; E Sor Op. 29 No. 23 ‘This excellent study for left hand extensions often betterto pausefora moment or two in order to allow |, _performedin recitals. Itrequires practiceuntil the thehand torelax particularly after continued barring. si required reaches can be achieved without lefthand A review of Study No:64 (Sor, Opus 31No. 20) is |, strain, and this may take period of days orweeks.If useful before embarking on this one as: feeare ( thelefthand tiresit should nctbeforced;itis always _ similar chord progressions. : Allegretto oe Gi sj (has Lath 7 as # EZ 7 Aug! iy are Tt DO set a A 1 3 , ha Wy DL tye rg © “Va 4 7 ix * ese eaiitieetitey — beds Eat te i alOR EEE EEE ae eee eS ae ces i the earner ‘epee Proes6Study 96: M. Giuliani Op. 48 No. 24 ‘This advanced study gives extensive practice in ‘ending thereis notas muchto learn as might appear at moving thirds and octaves,and exploreshigher notes _ first sight,andiin view of therarity of studies in the very to the upper limit ofthe guitar. high positions a careful preparation of thelasttwolines Since the final fourlines are all given toa grand of the Grst pages strongly recommended, Allegro f?P of r of of - 1F ? ‘pralass tral fartemell. urtanayal watentirel fehl. padveerrdsuualestend Maat ' a i io i i 4g i 3 i Uk at se el ld il es ted el tt eel sates — ei ae ae adeals tk enctitiinec te an einer necenn Ras ee naa ata eto BRR aw lida la! baal gels Shaadi clade; Elaadd) Cll) ult health luck} 7. soe b =3 Study 97: i M. Giuliani Op. 111 No. 11 3 Itis ear ont ee eae ‘thirds etc. The final result should bea lively. attractive 3 . Thereareitemsthatmayrequireseparate _piece useful forrecitals. practice such as slurs, quik position changes, moving - ie Allegro vivice = = sie fay Fs eens ts sits eabA es ts om omoromosoores ol oo ee ss ic lee ek=~ atria geuds eo Se ere eR gece gesee crema reeeeeetnszeee tvaee sua sever ee eee Hae 1%Study 98: E Sor Op. 29 No. 17 Inthis study Sor demonstrates his techniqueas a reason itpresents some challenge to thelefthand, ‘composer which far exceeded that of his particularly the sequences in thirds of the final three contemporaries in te guitar field. The pieceis fines. constructed with musical effect taking precedence over’ The piece is most useful for the study of phrasing convenience on the guitar fingerboard; and for this and interpretation. Moderato ae eee$ca dos 36 ad? 247 Feb ups dnl Pare eee ae ee ee ee ee ee ee he ae ee | tal eel Sree oe) alStudy 99: M. Carcassi Op. 60 No. 25 This study appeerstobeintended as somethingofa ___fingeringoithe Amajorchordisused with thefirst showpiece with dazzling fast arpeggios through thefull finger barring the third and fourth strings butlifted range of thefingerboard. When the individual passages _sufficiently to allow the open to sound. In the coda the are analyzed thereis little real difficulty, but careful descending slurs should be executed with care and not. planning is needed for the! efthand changes of too much force which tends to produce a harsh sound position. from the open strings. Inthe first measure the popular 19th century, Allegro brillante einieee acts = reas get o, w eee se aS Ore re poseeu aL ieee Cheese ee 2, pbteobsis5', ‘ath Pas, near sa a ta a at i ak kel Ul oki tei oo eee ee ee al= ae slClULaeOOeae lr lh eee le Te ee eS ee ee eS aie Hl Tih Pos EDD ap eel eee a = al Hi Cap ae af? ogre = iF er ~tF 7—L 12th Pos, [78Study 100: : M. Giuliani Op. 111 No.9 Giuliani's‘ Le Ored' Apollo’ Opus 1, consists of broader canvas for the study of phrasingand collected pieces of progressivedifficulty Theselection interpretation due to the considerable variety oftexture here serves to review the many individual techniques. and mood contained in the composition. : BR practised earlier in this book. In addition it provides a Andantino Pod md eel yl BS WG Alin Bl oR Side GE) oe.