THE EGTA SERIES

NE +

fJ

Graded Guitar Duos for Pupil and Teacher

in 3 Volumes

VOLUME 2

CHANTERELLE

 FOREWORD

For more than a century the guitar has relied on approaches to studies and generalleaming which, based as
they are almost exclusively on solo playing, often leave students with gaps in their technical and musical
understanding. Such inflexible conventions are gradually being replaced by much more creative and
progressive attitudes among amateur and professional players alike.

The EGTA Series with its parallel use of solo and accompanied pieces consolidates and develops these
changes methodically and imaginatively, and represents a major contribution to the changing needs of gtjtar
teaching.

John Williams

PREFACE

Teachers of the classical guitar are becoming increasingly aware of the importance of accompanying their
pupils in the early stages of playing. More and more guitar methods and tutor-books are based initially on the
kind of accompanied "single-line" material that makes this possible. Working in this way helps to remove many
of the excessive physical demands that the premature use of chordal and contrapuntal music imposes,
particularly on the left hand. This in turn makes it easier for the teacher to concentrate on the more qualitative
aspects of playing - those that involve the co-ordination of the hands and the right hand alone, such as rhythm,
sound, phrasing, and articulation.

Perhaps most Important of all, the two-guitar medium, by separating the melody from its harmonic and rhythmic
support, gives the elementary player much earlier access to classical music of real quality - music by the great
composers of the past that is invariably too difficult to play solo at this stage of development, but which students
of other instruments are able to playas a matter of course. The three volumes of One + One provide a
progressive and comprehensive selection of just such high quality repertoire, in which the pupil always plays
the melody - the leading role - and the teacher is always the accompanist. Arrangements of music from the
Renaissance, Baroque, Classical and Romantic periods are included along with folk-song settings and new
compositions written specially for this collection.

Each piece in Volume 2 uses the upper strings played with the right-hand fingers, and the lower strings played
with the thumb. It is hoped that this approach will help consolidate the sense of linear independence that the
thumb and fingers will have begun to develop separately in Volume 1 and so provide the pupil with further
valuable preparation for contrapuntal playing and hearing. Passages using the thumb should be played
tirando, but those that use the fingers can be played with the apoyando or tirando techniques, according to
the teacher's preference. Indeed, the range of musical options that these pieces explore may well stimulate
the teacher to experiment with both types of stroke.

Left-hand fingering has been kept to a minimum, being used primarily to indicate changes of position and to
distinguish between open-string notes and their stopped equivalents. The pieces begin by using the first,
second and third positions, while the fourth position is gradually introduced later on. Some second-position
fingerings involve the use of the fourth finger on the fifth fret. If pupils with small hands find this too difficult,
the open-string alternatives should be used, but extra care will be needed in order to damp any over-ringing
(particularly where the wound strings are concerned) that may occur as a result. Right-hand fingerings are
given in order to indicate which of the alternating index and middle fingers may best begin a phrase or section
of a piece. They also show the point at which the sequence may be reversed and where the use of the annular
finger can contribute to the fluent execution of a passage.

As a suggested aid to interpretation, phrasing, dynamics and articulation markings have been added where
appropriate to all the arrangements of pre-twentieth century music. Where the phrasing slur connects a pair
of notes it Is a purely musical instruction - it does not indicate the left-hand "technical" slur or Iigado. Dynamic
markings in the teacher's part must be judged according to how much sound the pupil is able to produce - always
remember that you are accompanying. All harmonics are to sound at the written pitch.

For their work in developing the ideas which led to the creation of the EGTA Series and their help in firOlg
and arranging the pre-twentieth century items in this book, I would like to thank Peter Batchelar, John Compton.
Nicola Culf, Luke DUrilea, Stephen Goss, Stuart McGowan, Janet Robinson and Christopher Susans. OYer
and above the efforts of any individuals, however, the EGTA Series is the result of a meeting of minds only
made possible by the existence, collective will and organisational capacity of EGTA (UK).

Richard W~
 CONTENTS

1. Michael Praetorius Ballet 4

2. Trad. French (arr. Downs) La Danse de Serrelongue 6

3. Jean-Phillippe Rameau Musette en Rondeau 8

4. Edvard Grieg Cradle Song 9

5. Robert Schumann The Merry Peasant 10

6. Stephen Dodgson Conversation Piece 11

7. Carl Reinecke A Fairy Tale 12

8. Trad. Spanish (arr. Leathwood) No te namores neniiia 13

9. Giovanni Battista Martini Gavotte 15

10. Vojislav Ivanovic Slavonic Waltz . 16

11. George Frideric Handel Minuet 17

12. Peter Tchaikovsky The Doll's Funeral 18

13. Stuart McGowan Little Breeze on the Seas 20

14. Christoph Graupner Bourn~e 21

15. Betty Roe Ready, Steady, Go! 22

16. Peter Tchaikovsky Sweet Reveries 24

17. Trad. French (arr. Downs) Marguerite, ma mie 26

18. Rex Glensy Empty Places . 27

19. Franyois Couperin Two Hurdy-Gurdy Tunes 28

20. Gilbert Biberian Grace 30

Catalogue Number ECH 2203

ISMN M-2047-0040-0

ISBN 3-89044-183-1

Distributed by:

Chanterelle Verlag, Postfach 103909

D-69029 Heidelberg, Germany

Distributed exclusively in the UK by:

The Spanish Guitar Centre, Nottingham

First published 1995 by Chanterelle Verlag

Reprinted 1999

© 1995 by Michael Macmeeken, Chanterelle Verlag (GEMA) - All rights reserved

This edition contains new and original material. No part of it may be reproduced, stored in a retrieval device,

or used in any way without the express prior written permission of the publisher.

Photocopying this edition is ILLEGAL.

Chanterelle@ is the registered trade mark of Chanterelle Verlag, Heidelberg

Cover design by Eva Maria BrandsUidter

Manufactured in the United Kingdom by Hobbs The Printer, Totton, Hampshire

 1. Ballet
(from '"Terpsichore·)
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 5. The Merry Peasant, Returning from Work
(Op. 68, No. 10)
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 II

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 7. A Fairy Tale
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 10. Slavonic Waltz
Vojislav Ivanovic
COD moto b. 1959

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 12. The Doll's Funeral
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 13. Little Breeze on the Seas

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 15. Ready, Steady, Go!

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 THE EGTA SERIES

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I SOLO NOW! I

Original Progressive Guitar Solos

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Book 3: Teacher's Score* ECH 2205
Book 3: Pupil's Part ECH 2206

PETR EBEN

33 CZECH FOLKSONGS

Arranged as Guitar Duos

for Pupil and Teacher by Peter Batchelar

Teacher's Score* ECH 2211

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* NB: Pupil's Parts are now no longer included with Teacher's Scores, they are available separately under

their own order number - see order numbers above. This new arrangement is reflected in our latest price list.

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