Play full-length songs from Suite Antiga: I. Preludio by Guido Santorsola on your phone, computer and home audio system with Napster. Antonio Amodeo Chitarra c Guitar Ensamble, Guido Santorsola Sonata n.3 ( ) amabile,scherzo, lento, finale Eduardo Flores Abad. Guido Antonio Santórsola di Bari Bruno (18 November in Canosa di Puglia, Italy – 24 . 1 de la Suíte Antiga (); original for guitar solo; Introducción, tema y variaciones (); also for wind quintet; Canción de cuna (Lullaby) ( ).

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Figure 13 Diii begins more brightly than the other two fingerings. Scales All scales in the intermediate and advanced grades of most examination requirements for classical guitar can be considered as mobile fingering forms that can be performed at any position on the neck, thereby changing in key without altering in mechanical presentation.

Tonally, the fingerings become progressively darker sooner from El to E3. Each of which represents one of the nine scale forms I have utilised a reference system of letters alphabetically indicating the scale forms as ordered in this work and numbers indicating the shift string to give the student easy reference to the various forms.

Vicenti Escudero, The Eternal Gypsy. This article deals with Chapters D, E and F. These articles are designed to be used in conjunction with the accepted classical guitar scale fingerings used for the examination requirements of most North American and European music schools, and to further the guitarist’s understanding of the guitar fingerboard and the immense number of fingering permutations available for a given idiom.

To demonstrate them for oneself in this way is probably the best way to absorb them.

The desirability of this arpeggio effect is to some extent dependant on the function of the G at the start of the measure. D4iii would mean that although the main shift is on String 4, there is another less significant shift on String 3 iii.

The evidence suggests either El or E2 as the most feasible alternatives.

They appear quite complicated at first antgia become easy to understand when attempted once or twice. With the grid system used here, the student should be constantly referring to the scored scale above and, as a result, must absorb the notation AND the note’s position on the fingerboard simultaneously.


Siute scale in bar 1 of Diii uses strings 2 and 3 and nicely accentuates the commencement of string 3, with the coincidence of it falling at beat 2 of this bar, on the note D natural. E2 works well with the slurs in these positions, as does E3.

By this in-depth analysis of the interpretational effect of each fingering, at least the evidence supporting their uses, is now clear. Chapter D 2 Octave Harmonic Minor Scale commencing on String 6 At this point I suggest that you attempt to learn, practise and memorize the following scale fingerings.

In D4a the G is magnified in importance by its location at the end of a four note sequence on string 4, followed by the abrupt punctuation of a left hand shift.

Letters to the Editor. In cases such as this there is no correct way, only a number of alternatives. Figure 15 There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here. This excerpt from the Fugue from the Second Violin Sonata Bach provides us with a vehicle to play this two octave harmonic minor form at the fifth position in A minor.

Developing Scales on the Guitar: Part 2 Guitar Practice Performance & Technique

Here again, the “correct” fingering is a matter of preference. Choice of fingering will be seen to have a profound effect upon the interpretive presentation of a musical idea through the alteration of timbre caused by string selection and phrasing by means of shift selection.

The E major arpeggio at bar 2 beat 1, is more obvious in Diii than in D3iii or D4a, because of the feature of each note having a separate string and the tendency angiga harmonic accumulation.

Next time we will examine three 3 Octave scale forms. D3iii however, takes the scale all on santlrsola 3, apart from the A note at the bar’s end. Aantorsola even to try to put some of santoorsola principles samtorsola and explained above, to use in your own repertoire. The high scale at beat 2 bar 2 is common to all our fingerings, yet this scale effect is perpetuated in Diii by its adherence to String 1 as much as possible. Figure 12 This excerpt from the Fugue from the Second Violin Sonata Bach provides us with a vehicle to play this two octave harmonic minor form at the fifth position in A minor.


This suggests a great purity in this line, while D4a transfers to string 4 after four scale notes have elapsed, leaving another four notes onto the G. In the Courante from J. With these articles I hope to equip the classical player with some of the tools of the jazz guitarist, which can help bridge the unfortunate gap between styles and allow anyone studying this work to guiddo better understanding of their instrument and the music played upon it. In Diii the G blends in with the E arpeggio and apart from stressing the beginning of the new measure, has little other effect.

Preludio (Suite Antiga) by Guido Santorsola – Classclef

This causes symmetrical sequences previously not apparent, while creating a more cello – like timbre, especially on String 4.

Here is an opportunity for you to try to use some of the advice given throughout these articles. The previous article dealt with Chapters A, B and C. In El, however the string crossings interfere with the slurs.

For the following articles these forms are best understood as follows; 2 Octave Major Scale commencing on String 5 or String 6. El is more suited to the slurs being located between notes two and three of the triplets, but even then this breaks down in bar two, triplet two, of our example.

The shift is then systematically transplanted to develop the scale form. To keep constant voicing, I would finger the D natural note that is in the chord, on the second string here, and on the third in D3iii and D4a.

More by Guido Santorsola

The tone becomes darker also, which is in context with the nature of the overall timbre, of these fingerings. This sort of practise will slowly build a neuro-muscular memory matrix of the whole tonality of each one of the Chapters. There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here.