Guitar Series Third EditionGuitar Series Third Edition The Guitar Series was originally published in 1989 to international acclaim. In 1997, a second edition was received with heightened enthusiasm. The present third edition, launched in 2004 and building on that strong foundation, has been refined to meet the changing interests and needs of teachers and students. The aims of the series are threefold: to provide students with a clear, well-paced path for their musical development; to nurture the technique necessary to successfully meet those developmental challenges; and to expose students to the full range of the instrument’s repertoire and potential. The Guitar Series guides students from the late elementary level (Introductory book, Repertoire and Studies/Etudes book 1) through to late intermediate and early advanced repertoire (Repertoire and Studies/Etudes books 7 and 8). The studies/etudes are especially suited for building technique as well as musicality relevant to the repertoire of each level. Technical and conceptual challenges are progressively introduced from one book to the next to ensure the steady development of musical skills. The well-rounded guitarist will have an understanding of the instrument's history as well as practical experience with a wide range of repertoire from all historical periods and styles. Guided by this principle, the series editors have drawn on more than 500 years’ worth of guitar and lute music for the present edition. Each book in the Guitar Series features compositions from the Renaissance to the present day; from book 2 on these are grouped according to historical period. By learning music from each period, students will gain a comprehensive overview of the evolution of musical styles and of guitar music in particular. The guitar student who works carefully through this series under the guidance of a good teacher will gain not only technical proficiency, but also artistic maturity and a broad overview of both the instrument’s repertoire and its possibilities. A Note on Editing and Performance Practice A systematic and thorough approach to fingering is fundamental to a student's success in learning to play the classical guitar. The fingerings in this series have been designed in accordance with the latest pedagogical principles and to ensure natural playability and musical integrity. The use of fingering indications throughout the nine Repertoire and Studies/Etudes books and the Guitar Technique book is intended to assist students to adapt to the increased level of complexity encountered in each successive volume and to provide a logical framework for the development of a musically fluent and flexible guitar technique. Faithfulness to the composers’ intentions, as reflected in the source materials, has guided the editors’ decisions concerning the inclusion of dynamic markings. The editors have added no dynamic markings to the scores where none are to be found in the original sources. They stress, however, that all music must be played with dynamic contrasts whether or not specific indications are given in the score. Metronome markings for the repertoire and studies suggest tempi within the bounds of stylistic dictates and technical considerations. Frequently, a tempo range is given to accommodate individual interpretations. In the interest of personal creativity, teachers and students may wish to alter the given dynamic indications and metronome markings, or to employ alternate fingering systems. This edition follows the policy that the bar line cancels accidentals. In accordance with current practice, cautionary accidentals are added only in cases of possible ambiguity. For examination requirements of The Royal Conservatory of Music, please refer to the current Guitar Syllabus. Dr. Trish Sauerbrei Editor-in-ChiefSymbols and Abbreviations Pima right-hand | fingering 1,2,3,4 left-hand fingering ® _ String number -3 guide finger i in left- hand shifting c f slur: a left-hand articulation of the second note of a pair — either a “hammer-on” (ascending pair) or “pull-off” (descending pair) partial barre: the top number of the fraction indicates the lowest string ao 4 2 by the barre; the bottom number indicates the number of strings (including the _lowest) he are covered; the Roman numeral indicates the fret number $n full barre (cejillay: cabin that all six strings are eee Piv. pivot barre: prepare barre by stopping the string with a segment of the barre finger or place barre while continuing to hold the previous note with finger 1 i arpeggiando: play notes one at a time from lowest to highest (or in 1 direction of the arrow head) sul ponticello: play with the right hand near r the bridge to produce a brighter sound sul tasto: play with the right hand near the fretboard to > produce a cone: fuller. sound nat. “natural: follows pont. or tasto sand indicates a return to > playing i in the usual manner rasg. rasgueado: strum the strings using the back surface of the right-hand nails tambora: sound the notes by tapping on or near the saddle in the rhythm indicated using the right-hand fingers or thumb tamb. J golpe: a percussive knock created by hitting the guitar ba with the right- hand fingers o or thumbContents Repertoire Tourdion ; Anon, arr Paul Gerrits tate Alleman Branle englese _ Lullaby 7 Callen costars me dn ; ie Cancién del limpiabotas Cees Hartog- 8 (Song of the Shoe-shiner) eee eee = ee _ What If a Day, a Month, Anon. 9 ora Year sua aa a eee pees Chanson vieillotte Claude Gagnon 9 __(Old-fashioned Song) _ EEreeanae eeuenededeaet Pes marionneties te ___Rémi Bouchard, arr. Claude Gagnon 30 niglaise UEHELH Ei SIE Teese MOU poe atic ene u Ecossaise, op. 33, no. 2 ee ___ Mauro Giuliani_ na __ ll Waltz, op. 121, no. 1 Ferdinando Carulli__ eeu 12 Allegretto, op. 60, no. 8 ee Fernando Sor oe __Ferdinando Carulli__ ie 13 Country Dance Moderato, op. 31, no. 1 Farewell to Nova Scotia Canadian Folk song, omar Moderato, op. 35,no.2 0 Fernando Sor Se eaeenO: Andante, op. 241, no. 5 Ferdinando Carulli 16 Anglaise, op. 121, no. 6 ee Ferdinando Carulli _ See eeeaeeeCed 17 Andantino, op. 39, n0.2 Vial : ae 17 Waltz, op. 241, no. 4 Ferdinando Carulli eee eee 18 see Ferdinando Carulli : 18 eee aera eee Michael Coghlan __20 Ninna-Nanna (Lullaby) fate Carlo Domeniconi ee 21 Minvetto Carlo Domeniconi Sees saceceaneaceceaeeeceg ode Klangbild 24 (Sound Picture 24) ___ Carlo Domeniconi a 22 Travelin Michael Coghlan __ se 2 Waltz i rtolo a 24 Ancient Drums ec ____Norbert Kraft Saasaeseenen i 26 Bi ys ee eter eet te mes BPO Heed et ed tet tet tet tetetete2 eae eet Shins Bel enn eeStudies/Etudes C1 Smdy Claude Gagnon _2, Exercises 19 and 20 3. Lesson 7 ee 4 Andante : tui Dlonisto Aguado ii icici see 5. Lesson 6 _ 6. Moderato 7. Study, TI iA 8. Moderato, op. 39, no. 15 Dionisio Aguado "Francisco Térrega 32 Anton Diabelli_ ; Hoe 33) See Nore ke . nes _10. Ostinato : Norbert Kraft : 34 11. Sagra (Festival) ome: 12. High Mountains and Old Trees Shawn Bell a 13. Via Brazil William Beauvais 37 15. Study _ Bee 16. First Exercise in 6ths Fernando Peter McAllisterAnonymous arr. Paul Gerrits J 248-58 (1935- ) Pp - fy Peep: P r * Tourdion (or tordion): a lively 16th-century dance that often followed a basse danse Source: Pierre Attaignant: Trés breve et familiére introduction (Paris, 1529); Guitar and Lute Method II, ed. Paul Gerrits. Arrangement © copyright 1968 Méseler Verlag Wolfenbiittel. Reprinted by permission. Alle de Guillaume Morlaye (fl. ca 1510 - 1558) arr. Jeffrey McFadden (1963- ) im m ma i ‘ =1, wd-al g Source: Le premier livre de guiterne (Paris, 1552) Arrangement © copyright 1997 The Frederick Harris Music Co., Limited, Mississauga, Ontario, Canada. 0-88797.860-6/06Branl9€nglese Emanuel Andriaesen (1554 - 1604) arr. Paul Gerrits d=52-69 — ma 7 ‘ (1935- ) i ? Source: Musique pour guitare seule Arrangement © copyright 1976 Méseler Verlag Wolfenbiittel. Reprinted by permission. Luby Isaias Savio (1902 - 1977) Quasi adagio J = 58-69 m a Piste \ oF -F or + I zy He ae Ill Source: Ten Brazilian Folk Tunes © Copyright 1972 Columbia Music. Reprinted by permission of Theodore Presser Company, King of Prussia, PA. sero 2406/07Calleno re me Anonymous J = 120-138 i a ae 3 3 Et Cancién mpiabotas Song of fe Mpe-shiner J.= 48-56 (1949-) a Cees Hartog Source: Toca Guitarra © Copyright 1981 Alsbach Educa, Flevolaan 41, 1411 KC, Naarden, Holland. Reprinted by permission. 088797-8606/08What If a Day, dns or a Year Anonymous J =84-96 16th century m a m i 7 r ae od r ar ke Old-faslforisd Song d =76-84 ' Claude Gagnon i ieee “WI a F 1. 2. Source: La guitare enchantée © Copyright 1982 Les Editions Doberman-Y ppan. Saint-Nicolas, Québec, Canada. Reprinted by permission. 088797-8606/09Rémi Bouchard Les mapeGnettes (1936- ) arr. Claude Gagnon J = 80-88 fe a m inl a - a nm m Source: Petit livre de guitare, ed. Francine Dery and Claude Gagnon Arrangement © copyright 1977 Claude Gagnon. Reprinted by permission. 0-88797-860-6/1011 Ang€ise I Francesco Molino (1775 - 1847) 13, a 7 m i Da capo tutto Q——_—_ Source: La terpsichore de société, no. 11 0) , 2 Mauro Giuliani Allegretto J = 80 - 96 (1781 - 1829) a miom ee . D.C. al Fine i) oe a feels 2. c it Source: Douze écossaises pour la guitare, op. 33 (Vienna, 1811) 0-88797-860-6/1112 op. gl, m1 Ferdinando Carulli (1770 - 1841) Allegro J = 100-120 i a i a i HE m a m a a m 4 es 28 D.C. al Fine m ft f Source: Vingt-quatre morceaux trés faciles, op. 121 0-88797-860-6/12Allegyétto op. GF nos Fernando Sor (1778 — 1839) J = 116 - 132 dim. ie P f Source: Introduction a I’étude de la guitare, op. 60 (ca 1836 — 1837) Poco retto Ferdinando Carulli J (1770 - 1841) am i ma. Fine 17 ma i D.C. al Fine 88797-8606 /13 13cd Source: Vingt-quatre lecons progressives, op. 31 (1828) Coun ce Ferdinando Carulli (1770 - 1841) Allegretto J = 92-100 mn i mf P f v D.C. al Fine a 30 7) escent P Pp ——————————— er Fernando Sor (1778 - 1839) d. = 48-56 0-88797-8606/14Farewell to¥ova Scotia Canadian Folk song arr. Michael Connor (1960- ) Moderato 4 = 80-88 i m [asa i i See mrcciay eceeeemree eee de 2 % a —f Arrangement © copyright 1996 Michael Connor. Reprinted by permission. 0-88797-860-6/1516 Fernando Sor + =112-126 - (1778 — 1839) m am; : ma i ana wel ——— ff rit. Source: Vingt-quatre exercices trés faciles, op. 35 (1828) Ang@nte Opf441, 5 Ferdinando Carulli =92-104 aera (1770 - 1841) m mii Source: Méthode complete pour parvenir a pincer de la guitare, op. 241 (ca 1825) (0-88797-860-6/1617 An e PFN Ferdinando Carulli Moderato J = 88-104 : (1770 - 1841) if 3 17 30 ~3 3m ~3 r amam | D.C. al Fine Anton Diabelli (1781 — 1858) 3 mp ee He Source: Vortragsstiicke fiir Anflinger, op. 39 (1814) (0-88797-86046/1718 1, 4 Ferdinando Carulli Allegretto J.= 54-63 oF (1770 ~ 1841) m mii aii mii ‘i i mi m P a — _ 25 D.C. al Fine pp ————— ———— Source: Méthode complete pour parvenir a pincer de la guitare, op. 241 (ca 1825) Z é 9 1, %g. 24 Ferdinando Carulli Andante grazioso é = 88 - 108 (1770 - 1841) a m om 4 m ema ie m i 3; 4 o —_=—=_ af ] p —= == nf —————_ P 18 ma 7 D.C. al Fine Source: Méthode complete pour parvenir a pincer de la guitare, op. 241 (ca 1825) (0-88797-860-6/1819 Sofiando Dreaming Jaime Mirtenbaum Zenamon (1953- ) 16 a m i —_ —_—_—_—_—_—_—_ — molto rall. ali Source: Epigramme 1 © Copyright 1989 Edition Margaux, Hans-Gerhard Fey and Peter Strack, Berlin. Reprinted by permission. —_0.885797-860.6/1920 Quasars Michael Coghlan (1955- ) (a) Drag a, m, or i across strings starting at string@ . © Copyright 1989 Michael Coghlan. Reprinted by permission of the composer. 0-88797-860-6/20Ninna-Nanna Lullaby Carlo Domeniconi Molto lento e cantato J = 46-52 arlo tc a : ea el Oat eeit - os gO m 2, 7 ead z n A ine 1.6 Selle SS re z Ee 7 ==* v ? af pitt aperto ol ad lt D.C. al Fine S quasi f fe Source: 24 Priiludien, Nr. 1 © Copyright 1985 Gitarren-Studio Musikverlag, Berlin. Reprinted by permission. Minuetto Carlo Domeniconi J (1947- ) = 76-96 ; ee m m ro - 0 f A ecceese sees a Oo — ————————— a ~All 3 view = mf. sotto voce a P [2. D.C. al Coda oo : Source: 24 Priiludien, Nr. 3 © Copyright 1985 Gitarren-Studio Musikverlag, Berlin. Reprinted by permission. (0-88797-8606/2122 Klangbild 24 Sound Picture 24 Carlo Domeniconi (1947- ) Pipe P poi PP == —S psubito ia P am p —[=$_—— Pp subito a . . 7 , . @ 25 ‘ a D.C. al Coda P Source: Klangbilder: 24 Leichte Stiicke fiir Gitarre © Copyright 1989 Edition Margaux, Berlin. Reprinted by permission. 0-88797-860-6/2223 Michael Coghlan (1955- ) Easy J = 96-104 i, all cil vo P ——== so-< P a —_=__—_ pipe > _ 7 —_—_—? rit. —_—_—— © Copyright 1989 Michael Coghlan. Reprinted by permission of the composer. 0-88797-860-6/2324 Waltz Bartolomé Calatuyud (1882 - 1973) J =132-152 a 4 m i SB “fee & a . wl HI wilh allie +" ale a ee Te tl TR sw TRL Source: Cuatro piezas faciles para guitarra © Copyright 1961 (Renewed) by Union Musical Ediciones, S.L. Madrid (Espafia). All rights for the U.S.A. and Canada controlled by Associated Music Publishers, Inc. (BMI). International Copyright Secured. All Rights Reserved. Reprinted by permission. 98797 960-6/2425 rall. * Natural harmonics sounding an octave higher than written (0-88797-860-6/25Ancient Drums Norbert Kraft 1950 - Deliberately J = 63-69 ( ) 3a Pp golpe tamb.___3 16 = i ££ mp S mp ees tamb.._4 P (a) “Bend” the string, raising and lowering the pitch. © Copyright 1980 Norbert Kraft. Reprinted by permission of the composer. 0-88797-860-6/26(b) Play all six strings at the tuning machines. Big City Blues James Brown (1967- ) d. = 56-63 a o eo, & SS > tel | 7m i Sure Walle i | é IPL ‘I 5 a a i : D.C. al Coda Coda 7 a mpm es a (tk eS eee — oe . © Copyright 1995 James Brown. Reprinted by permission of the composer. 0 8797-8606 /27 2728 Reverie Shawn Bell (1958- ) a Tenderly (Tempo rubato) d=72-84 m m i 3 m ; om 4 i i i Gs mf sostenuto p (echo) a tempo aa dim. mp rit. e cresc. P w rit. P rall. e dim. * Natural harmonics sounding an octave higher than written Source: Elementary Studies for Guitar © Copyright 1989 Shawn Bell. Reprinted by permission of the composer. 0-88797-860-6/28Study /Etude no. 1 Study Claude Gagnon P Source: Petit livre de guitare, ed. Francine Dery and Claude Gagnon © Copyright 1977 Claude Gagnon. Reprinted by permission. Study /Etude no. 2 . a Exercise 19 Elias Barriero @ = 96-108 (1930- ) n i horror er re 7 a7 Torr r Pte For examinations, Exercise 19 and Exercise 20 are to be played as one selection. Source: Classical Guitar Method, book 1 © Copyright 1982 Willis Music Company. Reprinted by permission. 188797 360-6/29 2930 Study /Etude no. 2 : Exercise 20 Elias Barriero J =56-69 (1930 ~w fo Csr ’r F For examinations, Exercise 19 and Exercise 20 are to be played as one selection. Source: Classical Guitar Method, book 1 © Copyright 1982 Willis Music Company. Reprinted by permission. Study/Etude no. 3 Lesson 7 Dionisio Aguado Allegretto J = 104-112 (1784 - 1849) m ll a tempo ~2 ———__ _-¥ rit. Source: Nuevo metodo para guitarra (Madrid, 1843) (0-88797-860-6/30Study /Etude no. 4 Andante Dionisio Aguado (1784 - 1849) J =66-72 i [6] Fine 7 Source: Nuevo metodo para guitarra (Madrid, 1843) r mp ee Study/Etude no. 5 Lesson 6 Dionisio Aguado Andante J = 56-63 (1784 - 1849) m i 30 3m ee —— —__—_—— mf =— Source: Nuevo metodo para guitarra (Madrid, 1843) (088797-860-6/31 3132, Study /Etude no. 6 Moderato Dionisio Aguado J = 120-138 (1784 - 1849) m i m i m i mf P Pp Pp r OF 7 P ———$_—_———_ f ee Source: Nuevo metodo para guitarra (Madrid, 1843) Study /Etude no. 7 d Francisco Tarrega = 76-92 (1852 - 1909) m im i 4 4 mi (0-88797-860-6/32Study /Etude no. 8 Moderato op. 39, no. 15 Anton Diabelli J =96-104 (1781 - 1858) im im ie t le — Source: Vortragsstiicke fiir Anfinger, op. 39 (1814) Study/Etude no. 9 Study Norbert Kraft Grazioso J = 56 - 63 (1950- ) mam i © Copyright 1980 Norbert Kraft. Reprinted by permission of the composer. 0-88797-860.6/33 3334 Study /Etude no. 10 i Ostinato Norbert Kraft (1950- ) Andantino J = 100-116 mii m ——— ee ee ee B , DC. al Fine 2. “ : | i = = = ae erercretr crercrér crerre ahh ad rer oe © Copyright 1980 Norbert Kraft. Reprinted by permission of the composer. 0-88797-860-6/34Study/Etude no. 11 Sagra Festival Source: 24 Priiludien © Copyright 1985 Gitarren-Studio Musikverlag, Berlin. Reprinted by permission. Carlo Domeniconi (1947- ) 0-88797-860-6/25 3536 Study /Etude no. 12 : High Mountains and Old Trees Shawn Bell Allegretto J = 100-112 (1958- ) imibctete Faeae- tm etal m nf 7 * vv Source: Elementary Studies for Guitar © Copyright 1989 Shawn Bell. Reprinted by permission of the composer. (0-88797-860-6/36> ft rall. eval! Study/Etude no. 13 : : Via Brazil William Beauvais (1956- ) J =63-72 © Fine 12 D.C. al Fine © Copyright 1989 William Beauvais. Reprinted by permission of the composer. sur 860-6/37 3738 Study /Etude no. 14 Dance Carlo Domeniconi (1947- ) Energico d. = 69-88 mae Source: 24 Priiludien © Copyright 1985 Gitarren-Studio Musikverlag, Berlin. Reprinted by permission. 098797-00-6/3839 * Natural harmonic at the 12th fret y Study/Etude no. 15 Study Peter McAllister Slowly J = 100-108 yes! (1954- ) i i 3 >I 7 Pp P mp © Copyright 1989 Peter McAllister. Reprinted by permission of the composer. 0-88797.860-6/3940 Study /Etude no. 16 First Exercise in 6ths Fernando Sor (1778 - 1839) simile Source: “Exercises in 6ths” from Méthode pour la guitare, 1830 0-88797-860-6/40