Mauro Giuliani: Etudes Instructives, Op. 100

MAURO GIULIANI
Etudes instructives, op. 100

for guitar solo
Edited by Brian Jeffery
TECLA EDITIONS
COPYRIGHT
This edition is copyright © by Brian Jeffery 2020.
This is a new re-engraved edition and as such it is protected by
copyright.
You are welcome to use and print this document for your own
personal use and for use in classes and performances in which you are
yourself a participant.
But no other copying for anyone else is allowed! either as
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and it is copyright and protected by the law. This edition has cost a lot
in terms of research costs and materials and engraving charges. Don’t
steal from Tecla!
Preface for Giuliani’s Etudes instructives,

faciles, et agréables op. 100
This is a modern urtext re-engraved edition of Giuliani’s op. 100 which he
published in Vienna in 1819 with the title Etudes instructives, faciles, et
agreables contenant un Recueil de Cadences, Caprices, Rondeaux, et Preludes
(Instructive, easy, and agreeable studies ... containing a collection of cadences,
caprices, rondos, and preludes).
This work contains 24 pieces. The title calls the entire collection Etudes, or
studies, but in fact the work is divided into three sections: Cadenze (cadences),
Capricci e Rondo (caprices and rondos), and Preludi (preludes). Nos. 1-9 are
cadenze, nos. 10-14 capricci, nos. 15-16 rondos, and nos. 17-24 preludi. The
cadenze have a coherent harmonic structure as a group of pieces (see below),
and so do the capricci.
However, apart from nos. 15 and 16 which are clearly rondos, there is often
not a very clear distinction between the various pieces when considered as
individual pieces. Even the preludi nos. 17-24 are also called cadenze: Preludi
ad use cadenza servendosone avanti di cominciare un pezzo di Musica
(preludes to be used as cadences, to be played before beginning a piece of
music). It is interesting and unusual in Giuliani’s music that the preludes nos.
17, 18, 20, and 21 have no barlines and are to be played a piacere. Cadenze,
capricci, and preludi are all unusual terms in Giuliani’s work.
The ambitious structure of this work, its divisions, and its unusual contents,
all show that this was intended to be a major work. The high rank of the
dedicatee, Princess Menschikoff, and the elaborate nature of the original title-
page, also show that this was regarded as an important work of Giuliani’s.
In the first section, Cadenze, nos. 1-9, it may be observed that all the pieces
except one (No. 5) move from a major key to its relative minor: No. 1, C to a;
No. 2, G to e; No. 3, D to b; No. 4, A to f sharp; No. 6, F to d; No. 7, B flat to g;
No. 8, E flat to c; and no. 9, A flat to f. No. 5 is entirely in E major. So, on the
face of it, it might seem that perhaps there has been an error of printing. Heck
suggested (The Birth..., II, 113), that it may be that the publisher “destroyed
what must have been Giuliani’s original grouping by interchanging No. 5 with
No. 9 in the first edition; that gesture has been carried through in the later and
modern editions”. So it is tempting to “restore” the original. However, to do so
would not be straightforward, for if we remove no. 5 in order to make a
coherent group of eight Cadenze, where are we then going to put it? Surely not
among the Capricci, for they also have a coherent harmonic sequence: No. 10, C
major; No. 11, A minor; No. 12, G major; No. 13, E minor; No. 14, D major. If
only the troublesome No. 5 were in B minor! Then it would fit well into place.
But it is not.
So Heck’s hypothesis that nos. 5 and 9 were interchanged by the publisher
does not work out neatly. All one can say is that No. 5 does not fit well into the
first group of Cadenze. So it is best not to make any changes when editing the
work, and none have been made in this edition. However, anyone performing
the Cadenze as a group may wish to omit No. 5.
No. 6, bars 29 and 30: the last note in each bar was F in the original and is
here changed to D.
No. 23 has no tempo indication in the original. [Allegro] is editorially
suggested.
The last piece, No. 24, has a grand final flourish to bring the work as a
whole to an end, as in opp. 1, 48, 51, and 98.
No. 24 bar 3: after the bass note, the first three notes in the original are CFA
and have here been changed to FAC. (Also in bar 4).
At the end of this file, after the music, will be found a note about Giuliani’s
fingering and his use of dynamics.
135
ÉTUDES INSTRUCTIVES, FACILES ET AGRÉABLES

INSTRUCTIVE, EASY AND PLEASANT STUDIES
Opus 100
CADENZE
1
Maestoso

I

3

6

8

Copyright © 2002 by Tecla Editions, www.tecla.com.

NO PHOTOCOPYING. For copies, go to www.hebesweb.com.
136 GIULIANI: THE COMPLETE STUDIES
2
Grazioso
6 III I
8

5

10

III
I

15

20

25

30
II I

35 II

TECLA 105
ÉTUDES, OPUS 100 137
3
Allegro
II
III

3
II

5

7

9

II
12
III

14

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4
Allegretto
3 I
4

4

8

12

II

16

20

I

24

II

28

I

II

I I II
32

II

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5
Andantino
6 I
II
8

4

I

7

10
II III

13
IV

16

19
II
I

22

25

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6
Allegro
24

I

6

11

16

21

26

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Allegretto
7
2
I
4

5 III I

10

15 II

20 III

III

25 II

30 I

35

40 II

45 III

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8
Grazioso
6 III I
III
8

I
III IV

6

11
III I III

17

22

I II III

III
I

27

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9
Allegro
2
IV
4

5 III

IV

9

III IV
13

17 I

21

25

29

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CAPRICCI
10
Vivace
24

I

5

9

II
I

13

II

19 II I

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II
24 I
I

28

II

I

32

36

40

44

TECLA 105
11
Allegro

I

3

5

7

9

I

11 II

13

IV

15

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V IV
I

17

I

19

21

23

25

27

29

31

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12
Grazioso
6 III I
III
II

I
8

4

IV

II VII V

7

10
V III I

13
II
I

16

III I

19

TECLA 105
22
II
III

I

III

25
II
I

28

II

31
I

II III

I

34

37

II

III

I

40
III
I

43
III I

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13
Affettuoso
3 I
4

5

9

III

13

17

I

II

21

25

29
I

33

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37

43

47

51
II

57

61

VII

65

70 III

I
75

VII

XII

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14
Allegro

I
III
I

3

III I

6

II
I

9

11
V

III

14 II

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III

17
I

19

22
III V
VI
I

25

II

I

27
II
I

II

30

33

V
VII

35

38 V I
II

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TWO RONDOS
15
Allegro
2 II I II I
I
4

II II I
I
6

11
II I

Minore
17

25

33

41

49
II
I
II
I

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57

Maggiore
II I
I

65 II I

II II I
I
70

75
II I

80
II

I
II

I

84

88
II
I

II

I

92
II

I

96

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16
Allegretto
24
I II

I
6

I
II

11

16

III I
20

24

II I II I II

28

32

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38

III

I

44
III

50 I

56

61

I
66
II

71 II

76

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PRELUDES
to be used as cadences, to be played before beginning a piece of music
(“Preludi ad uso cadenza servendosene avanti di cominciare un pezzo di musica”)
17

a piacere

V

tenuto

III I

IX

V

IV

18
Allegro

IV I

IV II I

VIII

I
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19
VII

Vivace

I

III

V

II I

VII

III

V
I

II

III II

I

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20

II IV

a piacere

II
I

V
IV

V
III I
I

21
Vivace

VII II
I

VII

I
II III

VII
X

II
I

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22
Allegro
I

3

5

7

III

9
I

12

15

17

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23
[Allegro]
II IV II

3

6

9
V

11

13
II I

16
II

18

20

TECLA 105
24
Allegro vivace
I

3
II

5

7
I

9

II

11

VII
IV

II

13

I

IX
IV
15

TECLA 105

II
17
I

II

I

21

23

II

26

28

30

32

34

IX

36
V

I

cresc.

TECLA 105
A note on Giuliani’s fingering and dynamics
Fingering
In this edition, no changes whatsoever have been introduced to the fingering,
and none has been added, so that if you observe exactly the fingering that is
here, you can get a good idea of what Giuliani intended, or if you wish to
change it, you can easily do so. Much of the interest lies in the detail, and you
can study that detail here if you wish because no changes have been made here.
Of the works in this edition, Giuliani gave detailed left hand fingering in the
modern sense only in op. 1 parts 1, 2, and 3. In op. 48 and op. 100 he didn't give
left hand finger numbers, but he did give position numbers, which are often
subtle and very precise indications of how a passage is to be fingered. In op. 1
part 4, and also in opp. 51 and 98, he gave no fingering at all. (Op. 139 gives
detailed fingering, but it is a late edition and I suspect that the fingering may not
be Giuliani’s but rather the publisher’s.)
It could be argued that I could have added new and modern fingering to this
edition, as some modem editions do. However, there are a number of problems
with adding new fingering. True, it makes things easier for players of modest
accomplishments in the short term. But in the longer term it doesn’t help you to
become fluent, indeed it may even stand in your way. I think it is much better to
have the actual music without having to look at it through the misty glass of
someone else’s view of how it ought to be fingered.
Also, Giuliani composed the particular works in this book with his own
brilliant technique in mind, to which fingering was central. After all, he was the
greatest guitar virtuoso of the Vienna of Beethoven and Schubert, and he wrote
most of the pieces in this book not merely with his own fingering in mind but
specifically to give exercise in his own system of fingering. It therefore seems
perverse to add new fingering, or even to replace Giuliani’s own fingering with
modern fingering.
The Roman figures I, II, etc. indicate positions, that is to say they show at
which position on the neck the left hand is to be placed; they do not necessarily
mean that a bane is to be used, as they might in a modern piece. They have been
left as in the original.
The position figures are not always placed with precision in the original
editions as we would probably expect them to be today. For example, if a
position figure refers to a group of four notes, then in the original editions
usually the figure will appear above the first of the four notes but often it will be
found above say the second or third note, where any player can immediately see
that it applies to the whole group. In such cases in this edition I have followed
modern practice and placed them usually above the first note. (Anyone
interested can compare the Tecla facsimile edition with this present edition; see
for example op. 100.)
An asterisk on a bass note means that the note is to be stopped with the left
hand thumb, a technique which today is often used by popular guitarists but
practically never by classical ones. Here it has been left as in the original.
Anyone who wishes to change it can easily do so, for example in op. 1 Part One
nos. 113 and 114, or in Part Two no. 3 bar 5 or no. 4 bar 1. Sometimes
Giuliani’s use of this can be deduced even though it is not indicated, as in op. 1
Part Four no. 9.
Dynamics
In Giuliani’s music, dynamics are important because he liked to use dynamic
contrast a lot. Often, his dynamic indications as well as his fingering are very
precise and interesting, even in the simplest pieces. For example, in op. 100 no.
13 the diminuendo signs on the last two notes of each bar at the beginning help
to show precisely how Giuliani intended them to be played; yet they are omitted
in at least one modern edition. At the same time, one should be aware that such
signs at that time might not have had precisely the same meaning as they might
today, so play with care!
A dot on a note immediately following a group of notes joined by a slur
probably does not mean that the note is to be played staccato, only that it is not
to be slurred.
Obvious errors are corrected without note. Some extra accidentals have been
added editorially (but only to make the notation clearer, never to alter the
music). The duration of the final chords of some pieces has been regularized.
Brian Jeffery

Mauro Giuliani: Etudes Instructives, Op. 100

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Mauro Giuliani: Etudes Instructives, Op. 100

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MAURO GIULIANI

Etudes instructives, op. 100

Edited by Brian Jeffery

Preface for Giuliani’s Etudes instructives,

ÉTUDES INSTRUCTIVES, FACILES ET AGRÉABLES

Copyright © 2002 by Tecla Editions, www.tecla.com.

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Mauro Giuliani: Etudes Instructives, Op. 100

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Mauro Giuliani: Etudes Instructives, Op. 100

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MAURO GIULIANI

Etudes instructives, op. 100

Edited by Brian Jeffery

Preface for Giuliani’s Etudes instructives,

ÉTUDES INSTRUCTIVES, FACILES ET AGRÉABLES

Copyright © 2002 by Tecla Editions, www.tecla.com.

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