DSRS euch cg od i TB Supplemental Repertoire for the Best-Selling ieee vases Classical Guitarist’s Technique Handbook Early Intermediate SCOTT TENNANT Includes: Sens aL aE CeCe Poerasd Sid brstdat oa ACC hates iy SSP eae Seria developing = Bsc ee te rec ei csPumping Nylon 0 Easy to Early Intermediate Repertoire Scanned with CamScannerEE Table of Contents ‘Thio table of contents is designed to help you use this book as effectively as possible. Not only will it give you an “at-a-glance” tour of what the book contains and help you find the specific piece you seek, but it will also help you find pieces that relate to the specific areas of technique you wish to study. The pieces appear in order of difficulty. The categories of technique are shown across the top. ‘The boxes checked next to a piece tell you which techrique(s) apply to that piece. The technique categories are taken dicectly from Pumping Nylon, making this the perfect companion to that book for the beginner to carly intermediate player. We hope you enjoy it. — Nathaniel Gunod ay , “ we 6 r B z i - fe & ne 2 eye a 4, DOSOOOCO OOOO & OSROOD BOCREEROREEOOCOREE +, % a ta Gloseary of Signs and Terms Different Strokes (Ténnant/GunoB) Walking (LeananidGunc®) Opus 44, #6 (Fernando Sor). Bit o' Nostalgia (Seat Tenn Balancing Act (Sevtt Zennaat) . Saowllight (Andree York) wm Tye T ‘There is a compact cise available for this bool. It inchides performances by Scott Tennant ofall the pieces. Use it to help insure thet you are interpreting the rhythms correctly and eapturing the style of cach work. This symbel will appear to the left of cach piece. ‘The track numbers below the symbols correspond to the piece ‘you want to bear, ‘Track | will help you tune to the CD. Enjoy! Opus 60, #18 (Femande See) ‘Opus 60, #24 (ernands Sor) ‘Malagueta (are Tearant) “Brude #13 (Mattes Carceace) Erude 47 (Afatien Cart). Linle Lancller (Skee Tennant) . Etude #2 (Matica Caras). Toro Studies (Francisco Tarrepa) Inoooceococoooo OCOg“UEIE® sooo 0 CODOCO COCOCODOCCOSOUOCOS SOREOO0O CoCo 0 Cooooo Coco OCOCOCOCCOCOUL ULERY ¢, Gocoocoo COO OC OOO COOODUUBOCOOOOOSGEE ‘, OoOocoooU OOOO 0 BOOORO SEECOOCCODOOCULLLD +, ide 46 (Matteo Carzassi) Enude #12 (latteo Carcass’) Opus 6, Studio 4 (Fernando ‘Opus 36, #19 (Fernaito Sor). ‘Studio de Campanelas su un Tema della“ di M. de Fossa (Francisco Tarrega) 1B Pevans (ais Milan) Pavan #1] Pavan #2 Pavan ti Opus 44, #8 (Fernands Sir) “Exercises in 3eds and 6ths (Mauro Gitlian’) 50 nova Opus 35, #5 (Fermanch Sor) 32 no Slur Study: (Ufawre Giakian’ 54 oe Opus 31, Legon XV (Fernand Sor). 36 sone Opus 51, Legon X11 (Perraandb Ser) 60. A Bale View (etl Priteard) om BRODRES SOOO & CORDED BOSSGSISSDLisisisisDDDUU oocococoo OOOO 0 CORROO COUDCOOOCODOOOOOOCL 4 COCCOCD OSES O sROoCO COOCOODoSooooSsESCcoo O«—OOOOO OOOO O BROCCO CEOOEEEEOOUCOCCOLCU ooooooo cooo O COOOOs Vherwards Scanned with CamScannerPreface Welcome! Are you ready to play? ‘The pieces in this book are selected and designed around the various techniques addressed in Pumping Nylea. ‘They are offered as an extension of the exercises presented in that book, and to provide attractive and easy pieces in which to apply the various techniques discussed. They come from many traditional sources as well es from some exciting contemporary composers. These pieces have helped me and my saidents over the years. If practiced correctly and with the proper intent, chey will aid in developing your technical skill, Toriginally wanted to steer clear of all of those so-called “ald, boring, old-fashioned” studies that everyone (and everyone's father and grandfather) considers out-dated. We all know what they are; those nameless, numbered tudes by the previously living. But after looking around at what was available, I came to the same conclusion that other guitae teachers have repectedly in the past: the guitaris/composers of the past had some great pedagogical ideas, ‘Their studies were made to help solve certain technical problems that they and their students encountered; the same challenges we face today. Where this book is dilferent [rom the many etude books available today is that we have selected pieces that will help develop certain specific classical guitar techniques dealt with in Pumpieg Nylon. Suggestions are given to guide your practice and help you focus on the challenges at hand, Each piece is preceded by a “checklist” of specific issucs upon which to focus, such as technical and/or musical challenges, leftard right-hand fingerings and practicing tips. Although everyone's playing levels and technical boundaries are different, these studies should be of great benefit if the checklist is taken to heart. ‘As always, it is a good idea to check your progress with a teacher when problems arise, as there is no ideal substitute for the real thing, As in Pumping Nylon, I suggest you take the idess presented in each piece and expand on them by finding other pieces that will further help you in overcoming your diffeulties. nat eackyn. jade fe About the Author Scott Tennant's reputation as a performer and teacher is known worldwide, His accolades include becoming the first American ever to win the first prize in the Tokyo International Guitar Competition in 1989, and silver-medal performances in both the 1988 Concours International de Guitare of Radio France in Paris and the 1984 Toronto International Competition. So, now, I. He is recording the complete solo guitar works of Joaquin Rodrigo for GHA records, including the concertos with Leo Brouwer conducting the Cérdoba Symphony Orchestra. His debut sole recording for Delos is “Wild Mountain Thyme," a recording of Celtic music for the classical guitar. Born in Detroit in 1962, Scott began playing the guitar at six years of age. During his junior high and high school years, he studied classical guitar with Lee Dyament and Joe Fava. Also while growing up in Detroit, he began taking flamenco lessons with Juan Serrano. When Mgestro Serrano moved to California, Scott became the accom- panist For the Maria del Cermen Dance Company. He also played the bass trombone is his high school concert band and the violin in the school orchestra. Scott moved to Los Angeles in 1980 to attend the University of South- em California, where he studied with Pepe Romero and James Smith. It was during this time that the Los Angeles Guiter Quartet was formed (then the U.S.C. Guitar Quartet), and he hax been touring and recording with the group ever since*, Asa student there, he performed in the master classes of euch luminaries as Joaquin Rodrigo and Andrés Segovie. He now teaches as a member of the faculty at U.S.C. * The Quartet can be heard on their recordings for GHA, Delos and Sony Classical. Scanned with CamScanner“This lit will help you to interpret the various markings in the music. 34. hima ©0000 IN, VIL ete. aw Loft hand fingers, numbered fror wav Right hard fingers: p = thumb, ¢ lle, « = ring finger. ‘The six strings of the guitar, numbered from low E@ to high EO Roman numerals. Used to indicate frets. Here is a quick review of these symbols: <1, I! I-3, [Ve4, V-5, VI-8, VII-7, VIIT-B, TX=9, X=10, X11] and X1612. a: The B indicates a barre. The Roman numeral indicates the fret to be barred, and the small number indicates the mount of strings to be barred. So, this gymbol indicates to barre four strings at the second fret. vw A dash in front of a fingering indicates a guidk finger ubif. A vbifts a movement from one position to another, Aue ager a finger that ean be used just before and justafter a shift, For instance, the 4th finger hes been used to play G on the Ist string, Srd fret, and then maves to play Aon the Ist siring, 5th fret, it will be marked -4 . : ‘Tune the 6th stcing down to D. smunon Coda sign. Marks the ending section of a piece. vn» Segao, When playing a D. S. al Fine form, go back to this sign and play to the end. ‘Tempo marking. In this case, the metronome should be setto 60, Each click represents aquarter note, Accent. Emphasize. cevnen Staccato, Short, Detached. v-» Tenuta. To hold a note for its Full value. Return ta the original emp or speed Lively, chee-ful, fast A moderate, walking tempo. Slightly faster than andeate. Crescendo, Gradually becoming louder, ven Decrtscendo, Gradually becoming softer. vv Diminuendo. Gradually becoming softer Go back to the beginning of the piece and play to the coda indication, then skip down to the Code. Da Capo al Fine. Goto the beginning and play until the Fixe, Dal Segnoal Fine. Go back tothe sign 8 ard play until the 2x. The end. Ina moderate tempo. vow Very. Dying away. Moved. Agitated. . Immediately becoming a little held back or slower. » Rallentands, Becoming gradually slower. «Retardant, Becoming gradually slower. ” When this word appears after a pattern has been established (Fingerings, dynamics, ete), it means to continue in this manner. Bil 21, -2,34 Andante Andaatine sun sth » Subits. Suddenly. Tranquil Tranquil. calm, quiet. DYNAMIC SIGNS . Piano. Soft, . Bianéssina. Very soft. ‘Mezza piano. Moderately soft. Parte, Loud. Pirtisime. Very loud. ‘Mezza forte. Moderately loud. Forte piano. Strike a loud note and suddenly become soft, Sjorsando. & sudden strong accent, Cresoendo, Gradually becoming lovder Deereweads, Gradually becoming softer. Scanned with CamScannerDifferent Strokes ‘This is a good study for right-hand scale work and training she thumb and fingers ‘0 simultaneously Tennant/Gunod move in opposite directions (Nexing and extending p while the Fingers alternate) CHECKLIST: Practice with p rest stroke and fingers free siroke. Practice with p free stroke and fingers rest siroke. V- Male strokes strong and quick, emptying (celeasing the energy from) each finger when finished. UV) Make sure free strokes have a quick and deep follow-through toward the palm. Scanned with CamScannera Walking sal application of the right-hand walking exercises in Pumping Nye and is good For Tennant/Gunod ‘This study is a bassic teale work CHECKLIST: V Plant® fingers well during string crossings. Synchronize left- and right-hand Finger movements. Practice slowly, but make the strokes fast and strong. PLAY SLOWLY —MOVE FAST. v Practice in both rést stroke and free stroke. — ———_— ~— ——— —————————— - SS * ———___ os = <== os * Se a ee “Prepare them on the strings just beFare plucking: Scanned with CamScanner* . - E —_—— =e a a | ——— —<—<— = ; s = ws eC = + 7 Z Fe sete SBT “The language of music is understood everywhere.” * Nusrat Fateh Ali Khan © Scanned with CamScanneroo Opus 44, #6 This piece includes a wide variety of techniques for you to work on. Fernando Sor CHECKLIST: W Follow the indicated right-hand fingerings at first; later feel free to finger it comfortably for yoursell. W Practice im scale passages with both rest stroke and free stroke. Moderato += 100-120 ' —s 1 oie es : pi foe 32 5 ; A ao 5 i , Scanned with CamScannerBit O’ Nostalgia ‘This is a good exercise for chord balancing (making all the nates in a chord sound equal) through control of right-hand finger pressure. Scott Tennant CHECKLIST: W Listen for balance. Pay attention co the feel of the strings rnder-the right-hand fingers ard be totally aware of the amount of pressure you're applying. When you feel the string, be aware of its texture and thickness. Focus on the Feel of the sirings as they “give” under the prescure from the right-hand Fingers. aco ri D.C. al Fine Scanned with CamScannerBalancing Act Scott Tennant Balancing Act's another study designed to help you develop control of the right hand fingers through regulation of finger pressure on the strings. The avi via (smalles, alternate stall) shows the note that should be stressed in each chord. CHECKLIST: W. Make sure the first three and final two chords of the study are well-balanced, with all notes even ia volume and tone. Feel each string depressed equally. V Bring out the indicated note in each chord by applying more pressure to that string. Stact by applying equal pressure to al the etrings invalved —feel them displaced equally. Then, with the right-hand finger corresponding to the note to be accentuated, displace (move) that string down alittle more than the others. Release and follow through. The finger that presses down more should follow-through a litte mare than the others. ‘ry to feel it rather than thinks about it. NOTE: The tactile awareness required to focus this way is net enly important for bringing out certain notes, but for successful and secure playing in general. It's ofien the missing link hetween a "goed" player and 2 ‘great” player. ‘Suress these notes) 89s Scanned with CamScanner‘Allwoies even Scanned with CamScannerSnowflight A lovely, easy, arpeggio piece, this is one of Discerments by York. Andrew York CHECKLIST: U Be very attentive to tone production. > Take this opportunity to feel the independence of each right hand finger: Don't mave your left hand off af any chord before the right hand finishes the expezgio. VW Follow the indicated dynamics. = 80-108 4 r+ a a 7 MP mysterious, dreanelike Scanned with CamScannernly Pema © 1 Scanned with CamScannerCrispins Spin Omid Zoufonoun Aside from the obvious right hand challenges due challenges for the left hand. arpeggiated nature, this piece also offers some CHECKLIST: W. Don't move your left hand off of any chord before the right hand finishes the arpeggio. V As with Andrew York's Quadrivial Quandary in Puryping Nylon, this piece requires the Jeft-hand fingers to jump around quite « bie. “Visualize” ahead; look at the notes/frets on the finger- board to which you're going and avoid staring at the chord formation you're currently playing. W. Change chords in a relaxed but quick manner. Tranquilto (Let Vibrate} 4276-100 4) ie Scanned with CamScannerEstudto #2 Listen closely for tone! ‘The beautiful melody on the Ist string should have a warm, singing sound. Francisco Tarrega CHECKLIST: W Play the accented notes using free stroke with a. V Experiment with subile differences in the a fingertips angle to the string and the subsequent differences in tone. [Ac with Snouflight and Crispin's Spin, do not leave any chord too soon in order ta get to the next one. Move from chord to chord quickly. easily and at the last mement. Ss J : Scanned with CamScannerEtude #19 This is my personal favorite of the arpeggio pieces. The repetitive Hmn-ia is great for warming up, and playing the melody with a is ideal for adjusting your tone production, Matteo Carcassi CHECKLIST: V- Get a good, warm tone with the a finger: V Your u free strokes shauld follow-through frora the Aauckle aint (the joint that connects the fingers to the hand). The amount of follow-through should be commensurate to che amount of presaure you apply to the string: W [you have consistent tone problems, try a light rest sirolse with p. This puts the « finger ata more advantageous angle resulting in a fattor tone. Plant Zand m sequentially during the Gee exchanges. W Prepare p and a on their respective strings at the same time. This happens right alter plays the last note of each measure, 9-120 =a Scanned with CamScanner“J. S. Bach dted from 1750 to the present.” * From a grade school essay on classical music. * Scanned with CamScannerOp. 55, #18 renasis CHECKLIST: ng out the melody (stems up) [L " ee \ aly a i ff fy He, | * ts ere Le | Scanned with CamScannerSore Study Sony, Fernando! Canyou ever forgive us? An irreverent re-working of OpusSt, Lesson 19 (Segovie's #10) CHECKLIST: Scott Tennant/Fernando Sor Play the repeated sixteenth notes with rest stroke, Phrase ("mave” and crescendo) toward the downbeat alternating ¢and m. of the bar, putting a slight accent on that note. This The repeated sixteenth notes should be strong and will make the sixteenths easier and lighter, and is 2 even, but not heevy and labored. If your rest strolxes good tactic for making longer ecale runs easier as well. have a quick release from the string, end spring back UW Propare the string-croseings carefully (asin the right-hand off the adjacent string, the notes will have a more walking exercises). desirable, light and bouncy sound. VW Observe the rests. 92-152 Cote Deacon A Scanned with CamScannerOpus 60, #18 Fernando Sor CHECKLIST: U Note the chords that follow the arpeggios in measures 25 through 32. Even though the chords rapidly succeed the arpeggios, be sure p, /and a are prepared enough to produce a good tone on the chord. 8 Also in measures 25 through 32—keep the right hand still, Don't let it jump as you play the chards. Keep it stable; let the fingers do the work. Scanned with CamScanner- Hy)" ER) ~t " hl P rh i iy. AL Ir fj Oo ih kb OR “ wt “hb Te ei i * V my I _ ke kt kr Billie ee: He) Ns Scanned with CamScannerOpus 60, #24 Fernando Sor CHECKLIST: V Excellent speed burst wark for arpeggios. > Work towards evenness of the arpeggias. Allegro Moderato ” et T de jp Te ed ma e | > fr. | 7 —— —_— |g kd de e tT ett tis f io 2 * f ? $ Scanned with CamScannera jl = Se —— oe @ @) - efits HO ol us = ———— 2 ® fr . ? r ' . ef, em eS SS Sl ro oF FF “Great things can be done by greal sacrifices only.” * Swami Vivekananda © Scanned with CamScanner D.C. at FineMalaguetia arr, Scott Tennant ‘This exercise is preliminary preparation for Emilio Pujol’s El Abgjorry which is good fun: an erpeggio study imitating the flight of a big insect. HOWEVER, to insure you don't end up on the windshield, there are a few precautions to take. Study the “Checklist” carefully. CHECKLIST: Y For maximum success at an eventual quick (empo, practice slowly at first, and sequentially plant each finger (.e., plant éimmediately alter p, a immediately alter & nt immediately after a, and p immediately after mt, ete.) W Practice both right-hand fingerings. Playing p--m-tis a great study, but for performance p-i-a-m is much more effective. Finish one group of notes before changing chords. Failure to do this reoults in a sloppy: choppy-sounding piece. d= 100- 138+ =—_ Scanned with CamScannerSeer cae ee ee ee 2 2 f 1 f r 2 Tasso 4 —# a 2 o 0 2 2. Bd J = = 4 J “Ff F 7 OF = al | y eer i = at 3 * of = | aoa — a = poof FS : “‘T know what a sextet ts, but I’0 rather not say.” * From a grade school essay on classical music, « Scanned with CamScannerEtude #13 Great beginning tremolo and arpeggio practice Matteo Carcatsi CHECKLIST: Begin the piece by preparing cach triad with « full plant (plants Prepare p after / plays the last repeated note. fond m simultaneously). Progress to preparing each note of each arpeggio by planting the fingers sequentially, including p. Make sure the repeated notes played with an am-i exchange sound even in volume and tone. You may want to begin by practicing them staccato (short and disconnected) by exaggerating the planting and then progressing to legate (smooth and connected). V Meke sure both hands have completed cach harmony before moving on. In other words, don't change chords with the left hand before the right hand has finished the figure. W Play the indicated dynamics. Andante Grazioso 3280-120 Scanned with CamScannerF F Ae ii | t | B) ti | ‘BD Fi Wale Vi VO | Ve \ I I: I: Scanned with CamScannerEtude #7 Good preliminary tremolo and arpeggia work. Matteo Carcass CHECKLIST: Be sure the tremolo is even and pleasant-sounding. Don't be a speed dernon. V_ Beaware of and control the exchanges from /to and from p toa Y While learning the piece, it's good to use sequential planting in the right hand fingers (prepare the fingers, one at a time, on the sirings before playing). This includes =<. | er srcecrerrrier a ae eee erees I . reco Mtento et * nf Scanned with CamScanner~ ved Scanned with CamScannerLittle Ldnoler ‘The best way to solidify your tremolo is to begin working our the problems by playing short bursts. Then proceed to extended periods of tremolo. You may have already worked on she tremolo exercises in Pumping Nylon, including the single-string tremolo (very important). ‘The goal ofthis next piece isto help ‘you build confidence with short bursts of tremolo. Once this happens, you can string together these bursts into a more continuous, seamless tremolo while “fecling” shorter bursts with your right hand, This is the paychelogical aspect of tremolo, or any extended challenging technique. As our many indi vidual breaths become breathing, so the “short bursts of tremolo” become just “tremolo.” If you can perform two or three groups together successfully, you can just as easily do an entire piece. Skit Tennant CHECKLIST: U [ftremolo is a difficult issue with you, start by practicing each tremolo segment at the rminimam metronome setting or slawer. You don't necessarily have to play with the metronome, but at least use it to establish a tempo. WU Asin the Pumping Nylon exercises, you'll play the notes of the tremolo detached, Also, keep them even in both volume and tone. Practicing slovily and staccato results in an even, articulate and controlled tremolo when played faster. UV Be SURE to planta right after p plays, and to plant p right after / plays. Be especially aware of this during measures 17 through 24, where "long distance” string- skipping oceure, Play larly staccato at a slow tempo, but mov fast! Keep the fingers electrified; never lethargic. Release the strings as if they're hat: on Fire. Asyou speed up the tempo, the speed of the movements will not change. The gaps berween the notes will automatically get smaller. So, basically, you eam increase the tempo without speeding up your movements! UV Malee it your goal to progress toward playing the entire piece using continuous tremolo. sire Scanned with CamScanneroath 4 D.C.al Fine Scanned with CamScannerEtude #2 “Mateo Careast Good for tremolo and sepeggio improvement. Also great for working aut rhe m-a exchange CHECKEIST: Begin by preparing each chord with full plant (é,m and « plant simultaneously), and playing the repeated notes staccato and evenly with an a-a exchange x Progress to planting the fingers sequentially and playing the repeated notes legato. You're simply training the fingers not to play the strings "from the ai,” (from far away with wider movements) and to control the tone and articulation by playing “from the strings,” (close in to the strings with smaller movements). Maderats Expressive ay J- 66-100 1 ~L ‘ { so & oan Scanned with CamScannerfain Tues Fey + z I fz—— Pp Pp People usually fail when they are on the verge of success. So give as much care to the end ad to the beginning; then there will be no failure. Tao Te Ching © Scanned with CamScannerTwo Studtes ‘rancisco Tarrega Dealt aeis CHECKLIST: Listen for good tone. Producing a good tone while alternating r# anda is often difficult duc to extra rigidity (tension) that accurs in those Fingers. W Practice both rest stroke and free stroke. Produce equal tone end volume in all notes. W Prepare (plant) especially well when skipping stcings. For example, plant /on the downbeat of the second measure immediately after a has played the last note in the first measure, and plant 2 on the second sixteenth note of the second measure immediately afier é has played. Continue in this ways auch like the walking exercise. W Synchronize right-and lefichand finger movernents. Great for m-a exchange study. This kind of work is beneficial for tremolo, as well. CHECKLIST: V Be sure m and a are even both in volume and tone. Be attentive tof tone when playing p and / together, especially om adjacent strings, a3 in the fifth Scanned with CamScannerESTUDIO #3 Scanned with CamScannerEtude #6 Satteo Carcass 2 — Te rere rol : = & ‘eet Cte tie oe irette vee Pocser oe So ie eo — o i fe el a mf a (6h St we oo ° ° ° te oF T a rte Sirti yr sfz Scanned with CamScannera7 J #12 Matteo Carcass CHECKLIST: Strive for « consistently even volume and tone with » No one no:e played with p should stand out from the others, Y Be sure you completely Finish the last note of each arpeggio with the right hand before moving on to the next harmony with the left. Y Observe the indicated dynamics. Scanned with CamScanner& Opus 6, Studio 4 This is a good piece for practicing string-skipping and speed bursts. It is great for practicing the p-i-p exchange, too. Because of rae cramped quarters between p and «it can feel pinched and therefore produce a pinched, thin saund. Work on keeping the sound full. For the sake of further tone develop- ment, you skould also try the two alternate fingerings. Fernando Sor CHECKLIST: V After each chord, get the next right-hand finger down above the string it's going ta play. Don't lounge around afer the chord. V Play the three noies of each burst evenly; avoid accenting with p. ou fiecnneneeqpeneeneennn i - 4 ee te a Pe a eS SS ee bey? prep pa f RIL ye le tht 3 3] |e hpi S a ~ ye te R i 5 yeaa, ch iy 3 S| hs ltl, Le Hii. Scanned with CamScannerBIT #4 fp 5 ry ar o— 99 e Y Ley $ v te bee Pla! F e: Ti of 9 2 f =eeee "ple! ul : r up ie 7 Scanned with CamScannerOpus 55, #19 CHECKLIST: WV Make sure the chords in the first eight bars are well- balanced, Feelyour fingers digging into the strings. Sense the way the strings move under pressure from the fingertips. VW Iti musically preferable to play Alock chords: (with all of the notes sounded exactly together), Do not “roll” er arpeggiate them. As for the repeated-aote triplets, practice them with all the indicated right-hand fingerings. Determine which is Moderato Fernando Sor best for you, or make up your own, Once you've Geeided, stick with that fingering. In measure 34 and simil finger down to the Sth string for the “C” immediately after playing the preceding chord, When possible, plant the finger there; where there's a previous “C” ringing, keep the finger hovering over the string in preparation. Play the iriplet figures slightly staccato [or clarity and articulation. prin pal (sor = Dee Scanned with CamScannerStudto de Campanelas ou un Tema della “Folia” 0i M. de Fossa (Study of Campenclas on a theme from “Folia” by Mf. de Fossa) Francisco Tarrega ‘arpanelas means “litte bells” ‘This refer toa ringing, arpeggio texture. Theolia was a popular dance and chord progression torn by all 16th, 17th and 18th ceatury musicians—sort of like today’s 12+ othe Obviasly. soae (Sth srctury composers used it, too. CHECKLIST: W Plant the fingers sequentially, including p. Hold bass notes only for their written duration. Use either free lefichand fingers or ¢ to atop open bass strings. The upper notes will be taken care of by the sequential plenting, Allegreita J- 80-120 ew ions 2 fs ca gf TR: ede 8 = 5 6 P Scanned with CamScanner3 Pavans Iuis Milan 5 A pavan is @ type of dance. Milan fel that these should be played fairly quickly. These pavans are not only beautiful examples of Renaissance composition, but they olfer en opportunity to improve one’s chord balancing, As in Balancing Ast, we will control this by adjusting the pressure of various right hand fingers. CHECKLIST: V- Balance all chords, slightly favoring the upper-most note in each chord (the melody), unless another line demands attention. For example, in Pavan #2, measure 6, the first C Major chord net only contains the “E" on the open Ist string, but requires the low “C" and the following four notes to be brought out with p. VV Hold all notes for their Full durations. Pay special attention to the tied notes Be sure the short scales in measures 18 and 19 of Pavan #1 are well synchronized, relaxed and smooth. For added improvement and some eer-trainin ‘you've conquered the basics ofthe pieces, with the melody, and sing it while playing the piece, Hold the notes where required. “You'll hear the piece in an entirely different way. I your pet dog is lying on the floor listening to pore rit. ‘hold 1 down Scanned with CamScanner45 Pavan #2 5 = f ae iz 3 é she if yl ve — ae . ad 4 3 ae oF — SUF tad rp ee lip Pr ra Ff Po r i iS 1. 4 = °F | ae ae = bet T h Pee Scanned with CamScanner Bus dite — * I F BIb 160) Bib 260)Oe ied $ t et vi — | 1 —Teyy| 2 Ms z 99] 9 dah Base | |e hse TEE: eis rt im foe “a : id py — Scanned with CamScannerOpus 44, #8 Fernando Sor CHECKLIST: W Give each note its full value, but avoid excess ringing. For example, in me SL, make sure the Adberté bau Figures are clean by planting ¢ and p sequenti vice mainly with rz and a. 17 chrough zying the top * An Alberti bass is a repeated, broken-chord accompaniment pattern very common to early 19th century piano and guitar pieces. Allegretto TI: Bue += 58-92 Nt a =yW— ee Scanned with CamScannerExercises in 3rds and 6ths Mauro Giuliani ‘They look harmless, but these Giulien’ left-hand workouts are fantastic for developing left-hand finger independence, accuracy and strength. They are from Giuliani's Stadiat for Guitan Opus 1A. CHECKLIST: W Prepare left hand fingers in groups of two wherever possible. For instance, in measure one of the Bvercic in Sry, the Ist Finger will prepare itself over the B while fingers 3 and 2 play. In measure three, lingers 4 and 2 will similarly hever just above the F¥ and A while open G and B are played. Release and empry Fingers when they're nat engaged. Don't hold down fingers. There should be no more than two fingers down at any time. U- Keep the shifts light. Ler the fingers “fall” into place rather than forcefully pushing or pulling them. parapet a eRe J- 50-100 Scanned with CamScannerPo BF wes ia Ze y FA ‘ Zz a z =. Fee: — sa FF pete S a Se rd A — roe tae zo CI am ad) t a Scanned with CamScannerDonwaxe eae) a fay = tA A ee fe Ce ou ° mp ‘ LS F ar) Trek s ™) lor A, a Fie = t —! 2 2fi 4 45s Leet = Co AAAs — a a4 @. —e- be A -- Co & Gi os 4-44 Pe 2, “tI uF J & we Scanned with CamScanner“A virtuoso td a musician with really high morals.” * From a grade school essay on classical music. * Scanned with CamScanner 49Opus 55, #5 This study is good for shifts and improving your abilizy to think/visualize ahead. CHECKLIST: Fernando Sor U Prepare the right-hand Fingers appropsiately (por p-m), being careful to plant each quickly t0 void cutting off ringing notes. Don't play “from the air” but “from the string.” U Practice the left hand in the ways deseribed for the Giuliani Exereive én 3rd on page 46: first in groups of two and then ane at a timeas needed. Empty and lift off the fingers when they're finished. Think ahead. Y The shifis are small, so keep them quick and very easy. Allegreno cr Lt an Scanned with CamScannerer ‘l ; Cf - — 4 “Refrain means don't do tt. A refrain in music ts the part you better not try and ding.” + From a grade school essay on classical music. # Scanned with CamScanner52 a) Slur Study Mauro Giuliani Slurs, slurs, and then some... CHECKLIST: Don Lift left-hand fingers more than an inch above the strings. > Make sure hammer-ons (ascending slure) are quick and “snappy.” Let the speed of the finger movement do the work, net muscle, W When pulling-off (descending slurs), make a crisp sound by pulling-off down into the Engerboard, then emptying the finger. Feel exch finger “fire” individually like « sparks plug. V. Don't play the first note of a slur grouping too loudly. This will create an accent. We want everything to sound as even as possible. Moderato 4260-100 Scanned with CamScanner= —_—S— —= =— TT. Te 3a was a 4 eer yar ” eo Mas es at ’ ? 9 Kee - 2a 6 ee 7H Wg ete b M “What lies behind us Ano what lies before us Are tiny matters compared to What lies within us.” * Ralph Waldo Emerson # Scanned with CamScannerx Opus 31, Legon XV Now let’s put those masterfully executed slurs to good uset CHECKLIST: Asin the previous Giuliani slur exercise, we're going to keep the fingers an inch or less above the string. No dive-bombing. Use speed instead of brawn in your slurs. V. Notice your lefi-hand tone during pulkoffs. Sometimes calluses, a jagged nail edge or other things can produce a slightly scrapy sound as you pull across the string. You may need to experiment with the location en the Fingertip, or keep any dry skin and calluses filed away or moisturized. fra 5 100-126 Sad a Fernando Sor Normally, we pull-o!f into the fingerboard for a crisp antack. HOWEVER. in a situation such as measures 17 through 19, where the pulloffs are on inner strings, we do not want to bump into the adjacent string and interrup: the upper note. In cases such as there, we have to execute our pull-off more like a “pull-up,” missing the adjacent string during the release. ‘Although the leftchand shifts are hardly difficult, don't make them so through tension. Make a conscious effort to kkoop the shifts light and easy. Often, the left hard tenses more during the notes dicectly following slurs—if the slurs are not tense, the following notes will not be tense. sit +45 Scanned with CamScannerScanned with CamScannera Opus 31, Legon XII Don’t let all that black inle frighten you. Overall, the tempo and feel of this piece are fairly leisurely. CHECKLIST: Pleat the quick notes of the arpeggios sequentially. Don't forget the thumb. Plant it right after / Plays. Fernando Sor V Avoid the common tendency of playing the quick arpeggios and the slower notes that follow with two different dynamics. The quicker and slower notes should be of equal (or at least EXTREMELY SIMILAR) volume ard fullness. Scanned with CamScanner18 Be Scanned with CamScannerScanned with CamScannerBXL fee : eS —_ ae) ae) Scanned with CamScannerA Pale View I'm happy to be able ro include this piece. Iris beautiful and Fan ta play. Although its nature and slow, itis « culmination of many techaiques presented in this book. David Pritchard peaceful Pritchard’s work employs steady underlying arpaggios throughout. Some of these require slurs to be accurately executed. ‘The melody on top must be appropriately sustained, requiring great attention to right-hend tone as well as [efi-hand finger placement CHECKLIST: V_Acpeggios should be even, like Howing water. WV The melody must be round and voice-like. Be mindful of the hingebar (HB) in measure 17, Flatten the tip joint of your Lst finger to cover just the 6th, 4th and 3rd strings. ‘The 2nd string must ring clearly. WV Keep the melody ard arpeggios at two different dynamic levels, as if they were the right and left hands in a piano piece, or a singer and a guitarist: W When you're familiar enough with the piece to play it from memory, close your eyes and go deeper into the finer points of playing, the most important being expression. Expression is communication. Talk through your guitar as you would recite a long-loved poem. W Forget technique and enjoy... Scanned with CamScanneral nim or = = —— 7 a = a ee + t J ee =f 3 i =f eT «| imo iw - | : id im r SE 7 SF fo? oe poe Poe Bu i L No Ul + WH eB Tt v4 —F Scanned with CamScanner4 poco rit BV ~------------- far xv xl poco Fi. “While holding the Gon the 6th fret of the 4th string with 4, lightly touch directly over the 18th Fret with, Cand pluck the string with a. sprint 1 Mei Ravan a ped Coppi See Allie Rome Scanned with CamScanner DS. al CodaAfterword a ‘This book has been an investment for you. Tt comes with a price tag; but your progress is free. I's true that we all have certain physical limits on the guitar, as we all have different physiques, joints, fingernails, skin, different finger-lengths, different guitar sizes, ete. Remember to keep the word “try” out of your vocabulary and simply do your best. ‘Thinks back to a time when you were a little kid. You were probably a great a book and construction paper were your canvases, waxy crayons were your pai door was your personal art gallery. ‘The praise was thick, and there were no figures were vividly real to you. You saw no boundaries, no limits to your talent. What happened to that? ‘When you ask a class of kindergarteners, first or second graders, “Who here plays guitar?” you'll get a roomful of hands in the air. "Sure T can play guitar! Why not? What's a guitar?” We need to retrieve thet attitude and enthusiasm that we put aside as we did our toys. In that frame of mind, there really are ro boundaries and the possibilities are endless. Sodoyour best. Put aside physical limitations, and keep in mind that it's music we want to make, ‘And remember what thase kindergarteners already know: MUSIC 18 FUN. Do the work so you can enjoy yourself afierwards. Good luck! “The thing we fear the most ts not that we will shrivel up and become insignificant little people. The thing we fear the moat ts that we could become as big and grand as we are capable of becoming.” * Nelson Mandela ® Scanned with CamScanner