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 ofthe series are threefold: to provide students witha 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 @ 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 forthe 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 thatthe 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 Sauerbrel Editorin-ChiefSymbols and Abbreviations 8 guide finger i in left-hand shifting slur: a left-hand articulation of the second note of a pair — either a ef “hammer-on” (ascending pair) or “pull-oft” (descending pair) i: partial barre: the top number of the fraction indicates the lowest string stopped 2 by the barre; the bottom number indicates the number of strings (including the lowest that are covered; the Roman numeral indicates the fret number 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 j arpeggiando: play notes one at a time from lowest to highest (or in direction of the arrow head) sul ponticello: play with the right hand near the bridge to produce a brighter sound - ssul tasto: play with the right hand near the fretboard to produce a softer, fuller sound nat. natural: follows pont, or tasto and indicates a return to playing in the usual manner .._.__i_eses.és«ées rythm indicated using the right-hand fingers or thumb J golpe: a percussive knock created by hitting the guitar body with the right- hand fingers or thumbContents Repertoire ‘Tourdion Anon, arr, Paul Gerrits 6 Guillaume Morlaye, arr. Jeffrey McFadden 6 Emanuel Andriaesen, art. Paul Gerrits Calleno costure me Cancién del limpiabotas __ Gong of the Shoe-shiner) ‘What Ifa Day, a Month, oraYear Chanson vieillotte (Old-fashioned Song) Les marionnettes Anglaise I feos, 0.33, 00.2 Fernando Sor B Ferdinando Carulli 3 Moderato, op. 31, no. 1 Farewell to Nova Scotia 15 Moder a 16 Andante, op. 241, no. $ Ferdinando Carulli - 16 Anglaise, op.121,n0.6 _ Ferdinando Carulli "7 Waltz, op. 241, no. 24 Sofisndo (Dreaming) _ Quasars Minuetto Bartolomé Calatuyud _ Norbert KraftStudies/Etudes Dionisio Aguado Francisco Térrega 11, Sagra (Festival) _ 12. High Mountains and Old Trees Shawn BellTourdion* ‘Anonymous arr. Paul Gerrits (1935- ) aa + 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 Il, ed. Paul Gerrits ‘Arrangement © copyright 1968 Méseler Verlag Wolfenbittel. Reprinted by permission. Allemande Guillaume Morlaye (fica 1510 - 1558) arr. Jeffrey McFadden (1963~ ) d= 58-69 a ie] tedhed asad 9) Source: Le premier ioe de guiterne (Pari, 1552) Arrangement © copyright 1997 The Frederick Harris Music Co, Limited, Mississauga, Ontario, Canada. wearsBranle englese Emanuel Andriaesen (1554 - 1604) arr. Paul Gerrits (1935~ ) Source: Musique pour guitare seule ‘Arrangement © copyright 1976 Méseler Verlag Wolfenbiittel. Reprinted by permission. Lullaby Isaias Savio ) (1902 - 1977) Quasi adagio 4 = 58-69 ie Source: Ten Brazilian Folk Tunes © Copyright 1972 Columbia Music. Reprinted by permission of Theodore Presser Company, King of Prussia, PA.Calleno costure me ‘Anonymous Cancién del limpiabotas Song of the Shoe-shiner Cees Hartog J.=48-56 (1949-3) ; g Source: Toca Guitarra ©Copyright 1981 Alsbach Educa, Flevolaan 41, 1411 KC, Naarden, Holland. Reprinted by permission. aw 0408What If a Day, a Month, or a Year ‘Anonymous J = 84-96 16th century ae rrr ; Chanson vieillotte Old-fashioned Song 1576-84 Claude Gagnon P ? if Source: La guitare enhaée © Copyright 1982 Le Eltions Doberman-Yppan. Saint Nicolas, Québec, Canada. Reprinted by permission, sary10 Les marionnettes Rémi Bouchard 1936-) Jns0-s8 arr. Claude Gagnon. @ ooo D.C.al Fine Source: Petit livre de guitare, ed. Francine Dery and Claude Gagnon Arrangement © copyright 1977 Claude Gagnon. Reprinted by permission. oarmrass0st Anglaise I Francesco Molino (1775 - 1847) Source: La terpsichore de socité, no. 11 Ecossaise op. 33, no. 2 ‘Mauro Giuliani Allegretto J = 80-96 (1781 - 1829) Source: Douze écossaises pour la guitare, op. 33 (Vienna, 1811) seyret12 Waltz . 1 op. 121 no Ferdinando Carulli (170-1841) Allegro @ = 100-120 Source: Vingt-quatre morceaux tris faciles, op. 121 osonswesisAllegretto . 60, no. 8 oe Fernando Sor (178 - 1839) d= 116-132 Source: Introduction a l'étude de Ia guitare, op. 60 (ca 1836 ~ 1837) Poco Allegretto Ferdinando Carulli 170 - 1841 J = 80-96 : 2 2 Fine 13if Country Dance Ferdinando Carulli (170 - 1841) Allegretto J = 92-100 Moderato op. 31, no. 1 Fernando Sor (178 - 1839) Source: Vingt-quatre lecons progressives, op. 31 (1828)Farewell to Nova Scotia Canadian Folk song, arr. Michael Connor (4960-) ‘Arrangement © copyright 1996 Michael Connor. Reprinted by permission. omornsisModerato op. 35, no. 2 ee od 2112-126 - (1778 — 1839) Source: Vingt-quatre exercices tis faciles, op. 35 (1828) Andante op. 241, no. 5 Ferdinando Carulli (170 = 1841) np . 6 Source: Méthode compléte pour parvenir a pincer de la guitare, op. 241 (ca 1825) oov Anglaise op. 121, no. 6 Pn Moderato J = 88-104 (1770 - 1841) 4, Source: Vingt-quatre morceau tres facile, op. 121 a Andantino op. 39, no. 2 Anton Diabelli J = 69-80 (1781 - 1858) 3 Be 7? + ‘Source: Vortragsstiicke fur Anfinger, op. 39 (1814) mousseSl Waltz . 241, no. 4 Ferdinando Carulli Allegretto J.= 54-63 ae (0770 - 1841) D.C. al Fine Source: Méthode complete pour parvenir a pincer de la guitare, op. 241 (ca 1825) Waltz op. 241, no. 24 Ferdinando Carulli Andante grazioso 4 = 88-108 (1770 - 1841) Source: Méthode complete pour parvenir a pincer dela guitare, op. 241 (ca 1825)19 Sofiando Dreaming Jaime Mirtenbaum Zenamon J =92-104 (1953-) ae Pt str ‘molto ral. WA Source: Epigramme 1 © Copyright 1989 Edition Margaux, Hans-Gerhard Fey and Peter Strack, Berlin. Reprinted by permission. oaovrssoai)Quasars Michael Coghlan (1955- ) (@) Drag a, m, ori across strings starting at string@ © Copyright 1989 Michael Coghlan. Reprinted by permission ofthe composer. overranNinna-Nanna Lullaby Carlo Domeniconi Malto lento e cantato d = 46-52 (i947-) 2 =; — 2 "ad =i = = mp o Source: 24 Prilludien, Nr. 1 © Copyright 1985 Gitarren-Studio Musikverlag, Berlin. Reprinted by permission. Minuetto Carlo Domeniconi | Dap ¢ | m Fake TOF LF 1 2. D.C. al Coda @ Coda II avi ror rf PP Source: 24 Priiludien, Nr.3 © Copyright 1985 Gitarren-Studio Musikverlag, Berlin. Reprinted by permission. oases ohKlangbild 24 Sound Picture 24 Carlo Domeniconi «947—) > onal pesubito P Snduo D.C. al Coda Source: Klangbilder: 24 Leichte Sticke fiir Gitarre ‘© Copyright 1989 Edition Margaux, Berlin. Reprinted by permission. oserswsinTravellin’ Michael Coghlan ' (1955- ) Easy J =96-104 roo o 2 rit. ———— ‘© Copyright 1989 Michael Coghlan. Reprinted by permission of the composer. 2324 Waltz Bartolomé Calatuyud (1882 - 1973) ¢ =132-152 3 r ; ’ ; i Pr F ite Source: Cuatro piezas faciles para guitarra © Copyright 1961 (Renewed) by Union Musical Ediciones, S.L. Madrid (Espafta). All rights for the U.S.A. and Canada controlled by Associated Music Publishers, Inc. (BMD. International Copyright Secured. All Rights Reserved. Reprinted by permission.* Natural harmonics sounding an octave higher than written26 Ancient Drums Norbert Kraft (1950 — Deliberately J = 63 - 69 ¢ ) anf pont. P (a) “Bend” the string, raising and lowering the pitch. © Copyright 1980 Norbert Kraft. Reprinted by permission of the composer. ows() Play all six strings at the tuning machines. Big City Blues James Brown (1967- ) EA ‘ A D.C. al Coda © Copyright 1995 James Brown. Reprinted by permission of the composer. 27Reverie Shawn Bell (1958- ‘Tenderly (Tempo rubato) ¢ = 72-84 eS mf sostenuto P (echo) mp rit, nf mp rit, dim. mp rit. ecrese: rit > rall. e dim. * Natural harmonics sounding an octave higher than written Source: Elementary Studies for Guitar ee ——LStudy/Btude no. 1 Study Claude Gagnon ‘Source: Petit liore de guitare, ed. Francine Dery and Claude Gagnon © Copyright 1977 Claude Gagnon. Reprinted by permission. Study /Etude no. 2 A .. Exercise 19 Elias Barriero J = 96-108 (930) i rrpp rere: rrr ft rrr, tt ‘Source: Classical Guitar Method, book 1 © Copyright 1982 Willis Music Company. Reprinted by permission. omnes 29.30 Study /Etude no. 2 Exercise 20 of ror 7. For examinations, Exercise 19 and Exercise 20 are tobe played as one selection. Source: Classical Guitar Method, book 1 (© Copyright 1982 Willis Music Company. Reprinted by permission. Study /Btude no. 3 Lesson 7 Dionisio Aguado Allegretto J = 104— 112 (1784 - 1849) mf oe iT] a tempo =— rit. Source: Nuevo metodo para guitarra (Madrid, 1843)Study /Etude no. 4 Andante Dionisio Aguado (1784 ~ 1849) @ Fine Source: Nuevo metodo para guitarra (Madrid, 1843) Study /Etude no. 5 Dionisio Aguado Andante J = 56-63 (1784 1849) f => Source: Nuevo metodo para guitarra (Madrid, 1843) oso 3132, Study /Etude no. 6 Moderato Dionisio Aguado J =120-138 (1784 -'1849) —— f Source: Nuevo metodo para guitarra (Madrid, 1843) Study /Etude no. 7 Study TIii-40 Francisco Térrega (1852 - 1909) ‘pew seoe/s233 Study /Etude no. 8 Moderato op. 39, no. 15 Anton Diabelli J = 96-104 (1781 - 1858) 1m im 2, Source: Vorlragssticke fiir Anfiinger, op. 39 (1814) Study /Etude no. 9 Study Norbert Kraft Grazioso J = 56-63 (a950- © Copyright 1980 Norbert Kraft. Reprinted by permission of the composer. osor806is34 Study /Etude no. 10 . Ostinato Norbert Kraft (a950-) Andantino d = 100-116 mi Be (5) et - cra + = = ra = = Otiraerocrorogo oree BI a _ DC. al Fine 7 L ‘ i = Tertr £ = 7 —"s a crererer crercrér crerr Chr 3 Chr © Copyright 1980 Norbert Kraft. Reprinted by permission of the composer. a)35 Study /Btude no. 11 Festival Carlo Domeniconi ees te (a7—) _ . ‘ —> ns — as P pid p DS. al Coda Q Coda Source: 24 Priludien ‘© Copyright 1985 Gitarren-Studio Musikverlag, Berlin. Reprinted by permission. ommr4iasStudy /Btude no. 12 ees High Mountains and Old Trees Shawn Bell Allegretto 4 = 100-112 (1958- ) mt mi m f , > 2 a P (echo) Source: Elementary Studies for Guitar © Copyright 1989 Shawn Bell. Reprinted by permission of the composer. or 4/6Study /Etude no. 13 7 Via Brazil William Beauvais (1956- ) Fine © Copyright 1989 William Beauvais. Reprinted by permission of the composer. carracer 3738 Study /Etude no. 14 Dance Carlo Domeniconi «a9a7—) ert 28 Source: 24 Priludien © Copyright 1985 Gitarren-Studio Musikverlag, Berlin. Reprinted by permission. osm 04839 * Natural harmonic at the 12th fret 7 Study /Btude no. 15 Study Peter McAllister (1954~ (© Copyright 1989 Peter McAllister. Reprinted by permission of the composer. oserr0.6/98Study /Etude no. 16 First Exercise in 6ths Fernando Sor (178 - 1839) Source: “Exercises in 6ths” from Méthode pour la guitare, 1830 oer saoare