First Repertoirefor SoloGuttar BOOK 1 Erstes Repertoire fir Sologitarre BAND 1 editedby SIMON-WYNBERG @ 1984 by FaberM
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First Repertoirefor SoloGuttar BOOK 1
Erstes Repertoire fir Sologitarre BAND 1 editedby
SIMON-WYNBERG @ 1984 by FaberMusir Ltd Firstpublishedin 1984 by FaberMusic Ltd 3 QueenSquareLondonWCIN 3AU Music drawn by SheilaStanton Couerdesignby S A M Tucker Printed in Englandby Hal*an & Co Ltd AII rightsreserued
rsBN0 57150709 3
Explanation of Signs : ; CII I L
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Barrl: The horizontal linc shows thc duration of the barrl. The vertical linc indicatcs how many of thc strings should bc covered. The Roman numeral indicates thc frct. Barrt: Die waagrcchtc Linic zcigt die Daucr des Barr6griffs an. Die senkrechtc Linie gibt an, wievielc Saitenerf;rsstwerdcn miisscn. Die romische Ziffer bezeichnetdcn Bund. Harmonics are indicatedat thcir actualpitch with a diarnond notc-hcad.
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Dic Obcrtone sind an dcr Stcllc ihrcr tatslchlichenTonhohc durch cinc Rautc bczeichnct. The lcft-hand fingcr should rcmain on thc string, touching it vcry lightly whcn shifting to thc ncxt note. The notcs in bcwveenshould rrot sound. I
Dcr Fingcr dcr linkcn Hand solltc auf der Saitcblcibcn r,rndsic schr leicht beriihrcn, wenn cr auf die nichste note iiberwechselt.Die dazwischenliegenden Noten solltcn nicht anklingcn.
FABURffMI]SIC
Preface Guitar teachershavc long complained about thc dcarth of a varied and musically stimulating diet for studentsin their first years of study; this book aims to provide an alternative to the usual old chestnuts and ubiquitous arrangements. All of the pieccs are original guitar compositions, many of which have not been issued since their first appearance in the eighteenth and nineteenth centuries. Others, including works by Jos6 Ferrer, are presentedhere for the very first time. The well-known problem of adapting Baroque guitar music for the modern instrument, with all the attendant difficulties of tuning and ornamentation, accounts for the nineteenth-century bias of the present collection. However, in an effort to provide a broader selectionof works we have commissionedpiecesfrom two contemporary composers, Nicholas Maw and Stanley Glasser,and these have expandedthe technical
and musicalrangeof the book considerably. In preparing this edition, I have used the earliestand most reliable sources.Only in the transcriptionsof the Baroque works have a few minor changesbeen made. Most left hand and all right hand fingering is editorial (both are intentionally rather sparseat times, as students should be encouragedto add their own), and notation has been modernised whcre necessary.All editorial additionshave been placedin squarebrackets,and notes on performance have been added after each piece. The compositionshave been arrangedin approximate order of diffrculty. I am particularly grateful to Robert Spencer, who allowed me to delve into his remarkable music collection, gave encouragementand made suggestions,and by whose kind permission much of the following is published. S r m o NW v N n p n c
Einleitwng Lange Zeit haben Gitarrenlehrer das Fehlen einer und musikalischanregendenKost abwechslungsreichen ftir Schiiler in den Anfangsjahren beklagt. Dieser Band will eine Alternative zu den tiblichen "alten Kamellen" und tiberall zu findenden Arrangements bictcn. Alle diese Stricke sind Originalkompositionen fiir die Gitarre, von denen viele seit ihrer Erstverciffentlichung im achtzehnten und neunzehnten Jahrhundert nicht mehr wurden. Andere wiederum, wie z. B. die herausgegeben 'V/erkeJose Ferrers, erscheinenhier zum allererstenMal. Das wohlbekannte Problem der Bearbeitung von Gitarrenmusik des Barock ftir das moderne Instrument mit all den damit verbundenen Schwierigkciten des Stimmens und der Ornamentierung, erkldrt das Vorherrschen von Musik des neunzehntenJahrhunderts in wir uns der vorliegenden Sammlung. Dennoch haben 'Werken zu darum bemtiht, eine gro8ere Auswahl an bieten, und zu diesemZweck Strickebei zu'ei zeitgenossischen Komponisten in Auftrag gegeben, Nicholas Maw und Stanley Glasser,wobei diese die technische und musikalische Spannweitc des Bandes betrdchtlich
erweitert haben. Bei der Vorbereitung dieser Ausgabe habe ich die fnihesten und zuverlissigsten Quellen verwendet. Ledielich in den Transkriptionen der Barocksttickewurcle"neinige geringfiigigl Anderungen vorgenommen. Der groBte Teil des Fingersatzesftir die linke Hand und der gesamte Fingersatz ftir die rechte Hand sind editorisch (beide sind manchmal absichtlich recht spirlich gehalten, da die Schriler dazu angeregt werden sollen, ihre eigenen Fingersitze hinzuzufiigen), und die Notation wurde, wenn ncitig, modernisiert. Alle editorischen Hinzufiigungen wurden in eckige Klammern gesetzt, und das Spiel betreffende Anmerkungen nach jedem Sttick beigeftigt. Die Kompositionen wurden nach ungefihr fortschreitendem Schwierigkeitsgrad angeordnet. lnsbesondere bin ich Robert Spencer dankbar, der mir erlaubte, mich in seiner bemerkenswerten Notensammlung umzusehen, der ermutigte und Vorschllge machte, und mit dessen freundlicher Erlaubnis ein groBer Teil der folgenden Stricke vcroffentlicht wird. SrnoN WvNsrnc Deutsche Libersetzuns: Dorothee Eberhardt
Contents :
Inhalt
Guillaume Morlaye (c.1510-c.1559)
Bransle Buffons Gaillarde
Robert de Vis6e (c.1660-c.1720)
Gavotte
15
Santiagode Murcia (fl.1710)
La Dessine Menuet
17 t2
Ignaz Pleyel (17s7-1831)
Unjour me demandoit Hortence
3
Pierre Porro (c.1759-1831)
Allegretto & Allegro Allegro Moderato
6 9
FerdinandoCarulli (1770-1841)
SicilienneOp.34 No.2 YalzeOp.50 No.7
16 6
FernandoSor (1778-183e)
E t u d eO p . 3 5 N o . 2 E t u d eO p . 6 0 N o . 3 E t u d eO p . 6 0 N o . 4 E t u d eO p . 6 0 N o . 1 3
5 2 4 10
Mauro Giuliani (1781-182e)
Allegro Op.50 No.1 Andantino Op.51 No.10 M a e s t o s oO p . 5 1N o . 1
5 12 8
Dionisio Aguado (1784-184e)
PastoralOp.10 No.17 Y a l t z O p . 1 0N o . 1 9
1,1, 4
Matteo Carcassi 07ez-r8fi)
Galop Op.39 No.1 G a l o pO p . 3 9 N o . 8 G a l o pO p . 3 9 N o . 1 0
10 13 1,1.
Felix Horetzky (1800-1871)
AmusementOp.18 No. 8 AmusementOp.18No.9 AmusementOp.18 No.10
Page
15 19 14
7 8 a
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JoseFerrer 083s-1e16)
Ejercicio: Allegro Moderato Ejercicio: Andantino Ejercicio: Vals
2 18 16
Guillermo FloresM6ndez (b.1e20)
Miniatura Obsesi6n
23 22
StanleyGlasser (b.1e26)
Donkey Ride Mlengana Rock Pig in a Rain Puddle Striding
26 24 25 24
Nicholas Maw (b.1e3s)
Reflection Song
20 21
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Fernando Sor was one of the most important composersfor the :uitar in the ninetecnthcentury. This melody should bc played very . nroothly using a tirandostrokc for the thumb I From € Coletcionde Ejercicios.The accompaniment is best played i'erv quietly, the bass more strongly. Avoid resting the thumb on rhe string beforeplaying thc note. -l In this piece, both voiccs are equally important and neither bass nor treble should predominate. The small crossednotc, called an :ttiarcdtura,must be playedon the beat with the G in the bass. -l From 6 Fauourite Songsand 6 Fauourite Rondos.This melody was inrended for the English guitar, an instrument with wire strings iuncd to a C major chord. The small note, called an appoglatura, takeshalf the value of the one that follows. It should be plaved with a rc-ntlcpush: fi
16 The Galop was a quick, lively dance popular during the nineteenthcentury. The semi-quavcrsshould not draq. Repcatscan be playedpiano. -the 1,7 mood of this Pastoral should be relaxed, with a gentle swinging motion. The ornament in bar 2 should be played quickly 'soeak' and on the beat. Do not be too concerned if it does not immediately;it is not at all easy. 18 The quaver bass notes should be stopped with thc right hand thumb immediately as they are played. They are not as effbctive if allowed to ring on. A strict two-in-the-bar should be maintained. 19 Th'e Spaniard Santiago dc Murcia published hts Resumende Arcmpaiar, from which thts Menuet is taken, for the five course guitar. As in most Baroque guitar music, there are many ornaments. It may be best to omit thcm at first, adding them once the piece is fluent. The ornamentation should not affect the grace or the rhythm of the melody. 5 Dionisio Aguado was a fricnd and colleague of Fernando Sor. 20 The thumb should glide over the first two notes in the bass Unlikc Sor, however, he used nails on his right hand. For this pattern.The accompanimentshould be discreetthroughout. charming little waltz, maintain a steady three-in-a-bar rhythm, -[he auiaccaturarmust be 21 All the harmonics (diamond-headednotes) are natural, played by cnrphasising the first beat very slightly. lightly touching the strings at the twelfth. or, in the caseof the high played very quickly. Do not be reluctant to throw down the left hand D, the seventh frct. Set the tempo by the speed at which you can tlnsers hard. r, this C minor melody is a little more awkward than it seems.The play the harmonics comfortably. rnusicalsensemay be madc clearerif eachphraseis sung a few timcs, 22 From Le SecondLiure of 1553 (22v). Very littlc is known about the sixteenth century lutenist and guitarist Guillaume Morlaye, as well as played. The first bcat of the bar should not be including the dates of his birth and death. The compositions for the i.r'er-emphasised; doing so will ruin the musical flow. The open notes, particularly the Gs, must not ring on longer than their actual four-course guitar, transcribcd here from the original tablature, are the earliest in this collection. The four-course instrument had four Juration. pairs of strings tuned D G B E, like the top four strings of the This piece sounds most effective if the melody notes do ring over one another. Chords played on the bass strings should not sound modern guitar. This Caillarde (or Calliard) a popuiar dance of the day, should be played with a sprightly and pointed rhythm. muddy but be as wcll defined as those in thc higher register. t While Sor and Aguado were Spanish, Mauro Giuliani was a 23 Frorn Le SecondLiure of 1553 (24v). While the Caillarde (no.22) has Italian roots, the Bransle(or Branle)was originally a rustic French briliiant Italian virtuoso who wrote a vast amount for the instrudance. It was also popular in England, where it was known as the mcnt. This work is one of the best-known of his easierpieces.It still ^[he Brawl. semi-quavers should be practiced very slowly, with sounds effective even at a moderate tempo - clarity is most careful attention to the right hand fingering. lmportant here. Every semi-quaver of the accompaniment pattern is 24 Robert de Vis6e's Cauotte is taken from a manuscriot in the cquallyimportant. ,J Ferdinando Carulli was born in Naplcs, but lived much of his iife Biblioth6que Nationale in Paris (Res F. 844, p.200) and dates from rn Paris, the centre of the guitar world in the early nineteenth around the end of the seventeenth century. As in the piece by Santiago de Murcia, there are many ornaments and again it may be ccntury. It is essentialto hold the melody notes for their full duration and to avoid stressingthe notes in the accompanimentwhich are worthwhile, initially, to omit the ornamentation in order to develop a secure rhythm. It is most effective to use the index finger for olavedwith the thumb. Op.21. The French guitarist Pierrc Porro wrote strumming the strings top-to-bottom. 10.' F.o- Exercises 25 P\ay this with a steady, rocking rhythm, like a lullaby. The rests this piece for the guitar in use at the end of the eighteenth century; should be strictly observed and none added between chords! The last this instrument had paired strings, called courses, and no low E four bars can be played very softly, gradually fading away. string. The first sectionshould be played briskly and strongly. 11 The middle notes of the three and four part chords ought to be as 26 No. 9 of Collecion 10" de Ejercicios.Jose Ferrer, a native of Barcelona, wrote a large number of exercisesand studies, most of clear as the outer parts. The full barrd on the last line is rather -fhis Vals,like so many difficult. The G may be omitted to avoid playing it. In the which appear never to have been published. penultimate bar, the bassGs should be held for a full crotchet. of his compositions, evokes a strongly Spanish atmosphere. In the descendingpassageofbars 5-7, the top note ofeach group may be iZ 1^llthe bass notes should be held (and be heard to be held). The held until the beginning ofthe next bar. The bassnotes in the second right hand fingering is supplied in full, but it is worth experimenting sbction should be played strongly, with an apoyandoattack. rvith other patterns. There are often many solutions to right hand 27 From Resumende Acompaiiar of 1714 (p.84). Play this simply, fingering problems. 13 Do not be tempted to play this too quickly. Maestosomeens ensuring the clarity of both parts. Trills for music of this period 'rvith dignity' and implies a stately tempo. There should be no generally begin on the note above the written one, indicated here by audible gaps between the notes. Those marked srfmust be accented acciaccaturas. 28 No. 2 of Collection12" de Ejercicios.This lively piece should be but not harshly. played with charm and humour, making sure that the chords in bar 1,1 From Exerdses Op.24. The significant word in the tempo irrdication ts Moderato.If the opening is too fast, the semi-quavers three are played clearly and in time. The grace notes are mosr effectively played quickly and strongly, on the beat. rvill be unmanageable.In the opening section, ensure that the sound the bassnotesshould be 29 From Le Premier Liure of 1552 (23v). The runs in BufJons for the rests.In the arpeggiopassages, ceases (Clowns) should be practiced slowly, with the minimum of finger olaved 'In firmlv. this piece, it may be helpful to think of the strings as being red movement in both hands; gradually bring them up to a quicker i5 speed. When well-played, this makes an impressive and exuberant hot; the right hand fingers can touch them, but only for a short time. concert plece. The note is played as the finger comcs into contact with the string; rhis will help to obtain a smooth, joined line. Once again,both parts 30 & 31 These two pieces have been specially composed for this collectionby the English composerNicholas Maw. In no.30, the ] rnust be clearly distinguishable.
time signature may scem a little strange at first, but it is often found in modern compositions.It should not poseany problems if counted carefully. The thumb arpeggios ought not be played too aggressively. To play them slower, sweep the thumb down diagonally, starting on the bassE string at thc soundholeand moving towards the bridge for the trebic strings. In no.31, thc open basseshavc been cleverly used by the composer to make an interesting rhythmic accompaniment;this should not sound laboured or intrude on the rnelody. 32 e 33 Guillermo Fiores M6ndez is a contemDorarv Mcxican 'Obsesidr composer who has written much music for the guitar. is best played at a very slow and measuredtempo; nJte the composer's metronome indication. The same speed must be maintained for the s\,rlcopatedmiddle section. and the D$ and E kept clear and rcsular. No.33, from CuatroMiniaturas,is reallv a relaxed waltz. i-1"-37 Stanley Glasserhas written this suire incorporating various African musical elements. In the last two bars of Striding,the side of rhe thumb can be uscd to bang on the bridge. This effect is known as r.tnburo.In the last bar, the second finger should slide up the neck to rhe A, without being lifted off the fingerboard, in a rather swift nrorion. Notice tn MlenganaRorft that the commas (brief pauses,and
not as long as zi')are placed in between the musical statements, making this movement much less difficuit than would otherwise be the case. Note also the sudden dynamic changcs, especially at the end. These pieces are quite different in their sound-world from anything else in this collection. Each musical sentenceought to be treated as a little piece in its own right; this will assistin appreciating the composition as a whole. Pig in a Rain Puddleattempts to illustrate, in musical terms, a pig struggling to free itself. The boxes and arrows might seem very curious at first; their purpose is to provide the player with the opportunity of deciding on the end result of rhe piece: start with I and follow the arrows; repcat in a different order but end with p . The chance element that the player's choice introduces is known as aleatoricism. The downward slide (glissando)in box @ is the same as that found in Striding. The signs and H mean one + quarter-tone sharp and three-quarters of a tone shaip respectively. (Raiseby bending the string.) The accents in Donkey Ride are rather important; the ) sign demands a sharper attack than the - sign, which is more of a weighted accent. There is a donkey bray hidden in the piece.
einen groBen Teil seines Lebens in Paris, das zu Anfang des neunzehnten Jahrhunderts das Zentrum des Gitarrenspiels war. In diesem Stiick ist es iuBersr wichtig, daB die Noten dei Melodie in ihrer ganzen Linge ausgehalten,und die Noten der Begleitung, die mit dem Daumen gespielt werden, nicht betont werden. 10 Aus ExercicesOp.24. Der franzosische Gitarrist Pierre Porro schrieb dieses Strick ftir die am Ende des achtzehntenJahrhunderts verwendete Gitarre. Dieses Instrument hatte Saitenpaarc,die Ch