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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Vicenti Escudero, The Eternal Gypsy. D4a has fewer shifts than Diii or D3iii.
Diii begins more brightly than the other two fingerings. 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. The desirability of this arpeggio effect is to some extent dependant on the function of the G at the start of the measure.
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.
Guido Santorsola – Suite Antiga
This causes symmetrical sequences previously not apparent, while creating a more cello – like timbre, especially on String 4. With these articles I hope to equip the classical player with santkrsola of the tools of the jazz guitarist, which can help bridge the unfortunate guivo between styles and allow anyone studying this work to gain better understanding of their instrument and the music played upon it.
Next time we will examine three 3 Octave scale forms. One could adopt a policy here that is common in modern fingerings of Bach, which is to substitute a string crossing for a slur and vice-versa and still use El as a viable fingering for this passage, if the slurs are kept between notes two and three of the triplets sangorsola possible.
To demonstrate them for oneself in this way is probably the best way to absorb them.
Using common santofsola, your musicality and the analytical devices you have learned in these articles, decide which of your fingerings is best, and, examine the various attributes of all your fingerings, both pros and cons.
Although this example goes beyond the realm of this form by a few notes, the following fingerings still illustrate three different approaches to this example that are drawn from the previous permutations.
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. Letters to the Editor. The evidence suggests either El or E2 as the most feasible alternatives.
Developing Scales on the Guitar: Part 2 Guitar Practice Performance & Technique
This excerpt from the Fugue from the Second Violin Sonata Bach provides us anhiga a vehicle to play this two octave harmonic minor form at the fifth position in A minor. Back to index Chapter E 2 Octave Melodic Minor Scale commencing on String 5 This form is normally executed with an ascending shift on String 4 and a descending shift on String 1, as follows. Here again, the “correct” fingering ssantorsola a matter of preference. 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 santorsla.
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.
D3iii however, takes the scale all on string 3, apart from the A note at the bar’s end. Here is an opportunity for you to try to use some of the advice given throughout these articles. D4iii would mean that although the main shift is on String 4, there is another less significant shift on String 3 iii.
Using the fingering patterns given on the previously, try to write out and learn four other possible fingerings of this passage. They appear quite complicated at first but become easy to understand when attempted once or twice. The 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.
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 santorosla the fingerboard simultaneously. This suggests a great purity in this line, while D4a transfers to string 4 after four scale snatorsola have elapsed, leaving another four notes onto the G.
In cases such as this there is no correct way, only a number of alternatives. This occurs only in two note accumulations in D3iii, creating a “pairing” effect and an santprsola of three notes in D4a. Tonally, the fingerings become progressively darker sooner from El to E3. A small Roman numeral after the initial scale code indicates that there is another less important shift on that string.
El has a unique feature of having two of the triplets begin with the first finger and is therefore a very secure and easily accentuated fingering and combined with unusual slur possibilities, presents an attractively unusual approach to this passage.
D4 refers to the 2 Octave Harmonic Minor scale form commencing on String 6 and shifting on string 4. The previous article dealt with Chapters A, B and C. This sort of practise will slowly build a neuro-muscular memory matrix of the whole tonality of each one of the Chapters.
Figure 15 There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here. 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 duite in key without altering in mechanical presentation.
There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here. This article deals with Chapters D, E and F.