fundamental harmony exercises - daniel nistico
TRANSCRIPT
Preface The practice of basic harmony is very often neglected on the classical guitar. Many reasons could be the cause for this, but the biggest is probably a general lack of resources within the guitar pedagogy that’s aimed at acquiring skill and knowledge of harmony. Instead, guitar pedagogy of today tends to focus on purely mechanical aspects of technique, such as shifting and playing rapidly. This type of pedagogy, being almost completely devoid of music-making, can result in a lack of enjoyment in learning and a lack of understanding about basic musical elements.
Having a solid foundation in harmony is essential for playing an instrument whose music is so fundamentally constructed from harmony. Any tonal piece will see patterns and shapes derived from the basic harmonies found in this book. Dionisio Aguado said himself that “(T)he Guitar is essentially an instrument for harmony, and guitar-music is founded on chords...” 1
Each key/chord has its own peculiar shading of mood and color. Transpose a piece into a new key and it will reveal new moods and inflections. Theorists and composers from the 18th & 19th centuries were acutely aware of this phenomenon and wrote detailed descriptions of the affects that they thought each key conveyed. Quotes have been taken from their sources and placed with each respective key . I have accompanied these with paintings that I personally feel reflect both 2
the quotes and the key itself.
Obviously there is some subjectiveness to this process and you will inevitably find pieces/passages in specific keys whose moods totally contradict those presented in this book.
I have selected keys that are commonly found in the guitar literature. It is better to have a solid foundation in these than to struggle learning all 24 keys, several of which you don’t encounter often in the literature.
The fingerings are my own personal preference, I recommend changing them and making them your own as you see fit. Roman numerals indicate the fret to barre and small numbers to the right indicate the number of strings to barre. The ‘h’ indicates a hinge bar.
Each key is provided with three different exercises. The first is the triad in closed position (notes stacked as close together as possible) in all of its rotations (a.k.a. inversions). The second is the triad in open position (notes stacked far apart) also in all rotations. The third exercise is the Rule of the Octave; it is a way to harmonize the scale so that no voice-leading errors occur and was a popular compositional tool in the 18th and 19th centuries. The Rule of the Octave was included in a 19th century guitar method, suggesting its value and importance in guitar pedagogy during that century . 3
While these exercises are presented in basic fashion, my hope is that you will find your own methods and benefits for practicing them. I recommend practicing them with figures/arpeggios that match the given mood, or by taking figures/arpeggios from pieces and applying them to the chords.
My ultimate aim in writing this book is for you to capture a feeling for each key and to embody that into your sound while you practice harmony. Music-making shouldn’t be a mere physical workout, instead it should stir the soul and manifest all the nuances of the human spirit.
This book is dedicated to my father, who was my first guitar teacher.
Copyright © 2016 Daniel Nistico. All Rights Reserved
For more about Aguado’s conception of harmony see ‘The Guitar Taught by a Simple Method’, (R.Cocks & Co, London, c.1836). 1
Quote taken from page 1.
The three sources that the quotes are taken from are Christian Shubart’s ‘Ideen zu einer Aesthetik der Tonkunst’ (Ruchdrucker und 2
Buchhändler, Vienna, 1806. Trans. Ted Alan Dubois, University of Southern California, 1983), Ernst Pauer’s ‘The Elements of the Beautiful in Music’ (Novello & Co., London, 1877) and Hugo Riemann’s ‘Analysis of J.S. Bach’s Wohltemperirtes Clavier’ Vol. 1 (trans. Shedlock, Augener & Co., London, 1893).
The Rule of the Octave can be found in Joseph Kirkman’s ‘Improved Method for the Guitar’ (published by the author, London c. 3
1842) from pages 25-30. The author calls it an “Exercise on the Accompaniment of the Scale” and recommends to practice a certain portion of them daily. Kirkman gives the Rule of the Octave in all 24 keys.
C Major
“A pure, certain and decisive manner, full of innocence, earnestness, deepest religious feeling.”
“Completely pure. Its character is innocence, simplicity, naïvety and children's talk.”
“State of nature, virginal chastity and purity, lovely innocence of youth.”
L’Innocence - William-Adolphe Bouguereau (1825-1905)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
Harmonized Scale (Rule of the Octave)
III
6
43
1
0
00 0
201 3
III4
4
23
4312
3
4
21
VIII23
3
VIII2
3
3 4213
VII4
2 43
12
III4
2
4102
100
0 0
01
3
0
21
0
4
1
2
0 0123 2
100 0
0
12
4312
3
412
V3
3
V
3
3
4
2
31
4321
3
421
00
01
0123
4
1
2
0 01
0
2
III
6
23
4
4132
II
0002
40
21 4
12
3 4301
3
124
III3
23
III3
23
213
42
2310
3
41
2 3
001
41
23
0002
0
002
3
1
2
0 2
0
10 4
3
21 1
0
34
0013 3
1
40 0
002
0002
4301
0231
4321
0132
0012
3
210 0
0
0
2
2
1
C Major “A pure, certain and decisive manner, full of innocence,
earnestness, deepest religious feeling.”
“Completely pure. Its character is innocence, simplicity, naïvety and children's talk.”
“State of nature, virginal chastity and purity, lovely innocence of youth.”
Etude no. 3, op. 40 by Leonard Schulz
2
A Minor
”Pious womanhood and tenderness of character”
“Expressive of tender, womanly feeling. Most effective for exhibiting the quiet melancholy sentiment of Northern nations. A minor also expresses sentiments of devotion mingled with pious resignation.”
The Mourning Virgin - Hans Memling (c. 1433-194)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
Harmonized Scale (Rule of the Octave)
III
6
43
1
0
00 0
201 3
III4
4
23
4312
3
4
21
VIII23
3
VIII2
3
3 4213
VII4
2 43
12
III4
2
4102
100
0 0
01
3
0
21
0
4
1
2
0 0123 2
100 0
0
12
4312
3
412
V3
3
V
3
3
4
2
31
4321
3
421
00
01
0123
4
1
2
0 01
0
2
III
6
23
4
4132
II
0002
40
21 4
12
3 4301
3
124
III3
23
III3
23
213
42
2310
3
41
2 3
001
41
23
0002
0
002
3
1
2
0 2
0
10 4
3
21 1
0
34
0013 3
1
40 0
002
0002
4301
0231
4321
0132
0012
3
210 0
0
0
2
2
3
A Minor ”Pious womanhood and tenderness of character”
“Expressive of tender, womanly feeling. Most effective for exhibiting the quiet melancholy sentiment of Northern nations. A minor also expresses sentiments of devotion mingled with pious resignation.”
Melody Nocturne, op. 51 (A Section) by Ernest Shand
4
G Major
”Everything rustic, moderately idyllic and lyrical, each quiet and satisfied passion, each tender recompense for sincere friendship and true love; in a word, each gentle and serene motion of the heart can be expressed splendidly in this key.”
“Favourite key of youth, expresses sincerity of faith, quiet love, calm meditation, simple grace, pastoral life and a certain humour and brightness.”
The rustic dinner - Samuel Palmer (1805-1881)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
Harmonized Scale (Rule of the Octave)
III
6
43
1
0
00 0
201 3
III4
4
23
4312
3
4
21
VIII23
3
VIII2
3
3 4213
VII4
2 43
12
III4
2
4102
100
0 0
01
3
0
21
0
4
1
2
0 0123 2
100 0
0
12
4312
3
412
V3
3
V
3
3
4
2
31
4321
3
421
00
01
0123
4
1
2
0 01
0
2
III
6
23
4
4132
II
0002
40
21 4
12
3 4301
3
124
III3
23
III3
23
213
42
2310
3
41
2 3
001
41
23
0002
0
002
3
1
2
0 2
0
10 4
3
21 1
0
34
0013 3
1
40 0
002
0002
4301
0231
4321
0132
0012
3
210 0
0
0
2
2
5
G Major ”Everything rustic, moderately idyllic and lyrical, each quiet and
satisfied passion, each tender recompense for sincere friendship and true love; in a word, each gentle and serene motion of the
heart can be expressed splendidly in this key.”
“Favourite key of youth, expresses sincerity of faith, quiet love, calm meditation, simple grace, pastoral life and a certain humour and
brightness.”
Lesson no. 5 from 24 Progressive lessons, op. 31 by Fernando Sor
6
E Minor
“Effeminate, amorous, grief, mournfulness, restlessness”
“Grief, mournfulness and restlessness of spirit.”
“Full of passion, painful palpitation and impetuousness. Contemplative character, autumn. Falling leaf and the bare-coming branches.”
Amorous Couple in a Landscape - Peter Lely
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
Harmonized Scale (Rule of the Octave)
III
6
43
1
0
00 0
201 3
III4
4
23
4312
3
4
21
VIII23
3
VIII2
3
3 4213
VII4
2 43
12
III4
2
4102
100
0 0
01
3
0
21
0
4
1
2
0 0123 2
100 0
0
12
4312
3
412
V3
3
V
3
3
4
2
31
4321
3
421
00
01
0123
4
1
2
0 01
0
2
III
6
23
4
4132
II
0002
40
21 4
12
3 4301
3
124
III3
23
III3
23
213
42
2310
3
41
2 3
001
41
23
0002
0
002
3
1
2
0 2
0
10 4
3
21 1
0
34
0013 3
1
40 0
002
0002
4301
0231
4321
0132
0012
3
210 0
0
0
2
2
7
E Minor “Effeminate, amorous, grief, mournfulness, restlessness”
“Grief, mournfulness and restlessness of spirit.”
“Full of passion, painful palpitation and impetuousness. Contemplative character, autumn. Falling leaf and the bare-
coming branches.”
Vekselsang from ‘Albumsblade’ by Frederik Rung
8
D Major
“The key of triumph, of Hallelujahs, of war-cries, of triumphant rejoicing. Thus inviting symphonies, marches, festive songs and heaven-rejoicing choruses”
“Majesty, grandeur, and pomp, and adapts itself well to triumphal processions, festival marches and pieces in which stateliness is the prevailing feature.”
Triumph of the name of Jesus - Giovanni Battista Gaulli (1639-1709)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
4
3
0
1II4
2
42
IX
23
2
34
V4
3V
23
43
21
32
41
X623
X62
3
13
4 4
21
4
2
4
312
II422310
II 6
23
4 123
1230
3
II 2
4 23
4312
3
412
VII3
3
VII
3
3
43
21
234
1
3
421
II4 2
130
2 4
II 6
123
23
430
0 4132
II4
3 3400 0
0
21
4
13
23
4
21
V323
V32
3
4213
IV4
2
42
0010
II4
43
41
23
4
23
0
II6
4
2
3 II3
30
43
21 2
1
43
4
13
23 412
II33
II33
V44
2 4231
4321
4
3
2
1
II3
30
4
II6
2
3
1
3
3
9
D Major “The key of triumph, of Hallelujahs, of war-cries, of triumphant rejoicing.
Thus inviting symphonies, marches, festive songs and heaven-rejoicing choruses”
“Majesty, grandeur, and pomp, and adapts itself well to triumphal processions, festival marches and pieces in which stateliness is the
La Marseillaise arranged by Felix Horetzky
10
B Minor
“B minor, is, as it were, the key of patience, of the silent expectation of fate, and of the submission to the divine decree. Therefore, its complaint is so gentle, without ever breaking out in offending murmurs or whimpers.”
“Very melancholy, tells of a quiet expectation and patient hope. It has been observed that nervous persons will sooner be affected by that key than by any other”
Malinconia - Francesco Hayez
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
4
3
0
1II4
2
42
IX
23
2
34
V4
3V
23
43
21
32
41
X623
X62
3
13
4 4
21
4
2
4
312
II422310
II 6
23
4 123
1230
3
II 2
4 23
4312
3
412
VII3
3
VII
3
3
43
21
234
1
3
421
II4 2
130
2 4
II 6
123
23
430
0 4132
II4
3 3400 0
0
21
4
13
23
4
21
V323
V32
3
4213
IV4
2
42
0010
II4
43
41
23
4
23
0
II6
4
2
3 II3
30
43
21 2
1
43
4
13
23 412
II33
II33
V44
2 4231
4321
4
3
2
1
II3
30
4
II6
2
3
1
3
3
11
B Minor “B minor, is, as it were, the key of patience, of the silent expectation of fate, and
of the submission to the divine decree. Therefore, its complaint is so gentle, without ever breaking out in offending murmurs or whimpers.”
“Very melancholy, tells of a quiet expectation and patient hope. It has been observed that nervous persons will sooner be affected by that key than by any
other”
Etude 18, op. 31 by Fernando Sor
12
A Major
“This key includes declarations of innocent love, satisfaction with one's state of affairs, hope of seeing one's beloved again when parting, youthful cheerfulness and trust in God.”
“Full of confidence and hope, radiant with love and redolent of simple genuine cheerfulness, excels all the other keys in portraying sincerity of feeling. Almost every composer of note has breathed his sincerest and sweetest thoughts in that favourite key.”
Idleness - John William Godward (1861-1922)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
4
3
0
1II4
2
42
IX
23
2
34
V4
3V
23
43
21
32
41
X623
X62
3
13
4 4
21
4
2
4
312
II422310
II 6
23
4 123
1230
3
II 2
4 23
4312
3
412
VII3
3
VII
3
3
43
21
234
1
3
421
II4 2
130
2 4
II 6
123
23
430
0 4132
II4
3 3400 0
0
21
4
13
23
4
21
V323
V32
3
4213
IV4
2
42
0010
II4
43
41
23
4
23
0
II6
4
2
3 II3
30
43
21 2
1
43
4
13
23 412
II33
II33
V44
2 4231
4321
4
3
2
1
II3
30
4
II6
2
3
1
3
3
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
31
0
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
130
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
13
A Major “This key includes declarations of innocent love, satisfaction with one's state of affairs, hope of seeing one's beloved again when parting, youthful cheerfulness
and trust in God.”
“Full of confidence and hope, radiant with love and redolent of simple genuine cheerfulness, excels all the other keys in portraying sincerity of feeling. Almost
Etude 23 from ‘Introduction to the Guitar’, op. 60 by Fernando Sor
14
F# Minor
“F-sharp minor, a gloomy key. It pulls at passion as the biting dog at one's pants leg. Anger and discontent are its language. Ordinarily, it does not seem to be well in its position; therefore, it always languishes for the repose of A major or for the conquering bliss of D major.”
“Dark, mysterious and spectral key. Full of passion.”
The limpid water. Gloomy Day. Crimea - Arkhip Kuindzhi (1842-1910)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
4
3
0
1II4
2
42
IX
23
2
34
V4
3V
23
43
21
32
41
X623
X62
3
13
4 4
21
4
2
4
312
II422310
II 6
23
4 123
1230
3
II 2
4 23
4312
3
412
VII3
3
VII
3
3
43
21
234
1
3
421
II4 2
130
2 4
II 6
123
23
430
0 4132
II4
3 3400 0
0
21
4
13
23
4
21
V323
V32
3
4213
IV4
2
42
0010
II4
43
41
23
4
23
0
II6
4
2
3 II3
30
43
21 2
1
43
4
13
23 412
II33
II33
V44
2 4231
4321
4
3
2
1
II3
30
4
II6
2
3
1
3
3
15
F# Minor “F-sharp minor, a gloomy key. It pulls at passion as the biting dog at one's pants leg. Anger and discontent are its language. Ordinarily, it does not seem to be well in its
position; therefore, it always languishes for the repose of A major or for the conquering bliss of D major.”
“Dark, mysterious and spectral key. Full of passion.”
Largo from Divertimento II by Joseph Haydn (arr. Fossa)
16
E Major
“Loud shouts for joy, laughing pleasure, and still not altogether full gratification lies in E major.”
“The brightest and most powerful key, expresses joy, magnificence, splendour and the highest brilliancy.”
A Merry Party - Jan Steen (1625-1679)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5
0
0
13
4
231 1
3
42
43
21 0
431
0013 3
1
40 0
012
0
210
IV
443
0
31
2 4321
IV
6
32
II6
4
3 4132
1320
IV62
34
12
3
12
43 3
2 23
4
12
3 3
4
21
IX6
3
IX6
3
4
13
2
43
12
43
21
IV6 2 4
23
4 23
23
IV
6
43
4132
IV
4
33
4II 4
23
43
21
3
2
41
VII3
23
VII
3
32
4
12
3
VI42
34
12
II42 IV
443
4132
4321
VI6
43
III4
2 4
23
3
VI4
423
43
21 3
2
41
XI6
2
XI6
2
4213
X 2 43
21
VI4
2
4213
III4
2
42
4
17
E Major “Loud shouts for joy, laughing pleasure, and still not altogether
full gratification lies in E major.”
“The brightest and most powerful key, expresses joy, magnificence, splendour and the highest brilliancy.”
Lesson no. 7 From ’24 Progressive Lessons’, op. 31
by Fernando Sor
18
C# Minor
“Laments or repentance, intimate conversations with God, the friend and the playmate of life, sighs of unsatisfied friendship and love lie in its circle.”
“So full of dignity and of inspiration. Serious and sad. Noble feeling, full of depth and energy.”
Jeremiah lamenting the destruction of Jerusalem - Rembrandt (1606-1669)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5
0
0
13
4
231 1
3
42
43
21 0
431
0013 3
1
40 0
012
0
210
IV
443
0
31
2 4321
IV
6
32
II6
4
3 4132
1320
IV62
34
12
3
12
43 3
2 23
4
12
3 3
4
21
IX6
3
IX6
3
4
13
2
43
12
43
21
IV6 2 4
23
4 23
23
IV
6
43
4132
IV
4
33
4II 4
23
43
21
3
2
41
VII3
23
VII
3
32
4
12
3
VI42
34
12
II42 IV
443
4132
4321
VI6
43
III4
2 4
23
3
VI4
423
43
21 3
2
41
XI6
2
XI6
2
4213
X 2 43
21
VI4
2
4213
III4
2
42
4
19
C# Minor “Laments or repentance, intimate conversations with God, the
friend and the playmate of life, sighs of unsatisfied friendship and love lie in its circle.”
“So full of dignity and of inspiration. Serious and sad. Noble feeling, full of depth and energy.”
Prelude no. 20, op. 28 by Frederic Chopin (arr. Tarrega)
20
B Major
“Transcendental, more removed from plain everyday life, an ideal sphere of existence and feeling. Happiness of a soul gazing with rapture on the harmony of the world.”
”Expresses in fortissimo boldness and pride, pianissimo purity and the most perfect clearness.”
Looking from the Shade on Clay Hill - Albert Bierstadt (1830-1902)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5 0
0
13
4
231 1
3
42
43
21 0
431
0013 3
1
40 0
012
0
210
IV
443
0
31
2 4321
IV
6
32
II6
4
3 4132
1320
IV62
34
12
3
12
43 3
2 23
4
12
3 3
4
21
IX6
3
IX6
3
4
13
2
43
12
43
21
IV6 2 4
23
4 23
23
II
6
43
4132
IV
4
33
4II 4
23
43
21
3
2
41
VII3
23
VII
3
32
4
12
3
VI42
34
12
II42 IV
443
4132
4321
VI6
43
III4
2 4
23
3
VI4
423
43
21 3
2
41
XI6
2
XI6
2
4213
X 2 43
21
VI4
2
4213
III4
2
42
4
21
B Major “Transcendental, more removed from plain everyday life, an ideal sphere of existence and feeling. Happiness of a soul gazing with
rapture on the harmony of the world.”
”Expresses in fortissimo boldness and pride, pianissimo purity and the most perfect clearness.”
Danza Mora by Francisco Tarrega
22
23
Eb Major
“Boasts the greatest variety of expression. At once serious and solemn, it is the exponent of courage and determination and gives the piece a brilliant, firm and dignified character.”
“The key of love, of devotion, of intimate conversation with God.”
The courage of the women of Sparta - Jean-Jacques-François Le Barbier (1738-1826)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5
0
0
13
4
231 1
3
42
43
21 0
431
0013 3
1
40 0
012
0
210
IV
443
0
31
2 4321
IV
6
32
II6
4
3 4132
1320
IV62
34
12
3
12
43 3
2 23
4
12
3 3
4
21
IX6
3
IX6
3
4
13
2
43
12
43
21
IV6 2 4
23
4 23
23
IV
6
43
4132
IV
4
33
4II 4
23
43
21
3
2
41
VII3
23
VII
3
32
4
12
3
VI42
34
12
II42 IV
443
4132
4321
VI6
43
III4
2 4
23
3
VI4
423
43
21 3
2
41
XI6
2
XI6
2
4213
X 2 43
21
VI4
2
4213
III4
2
42
4
24
Estudio en Mi bemol
This edition Copyright © 2000 by Fred Nachbaur. Items in parentheses () are editorialAll Rights Reserved. Free circulation allowed and encouraged.
Guitar
Andante espressivo
3
4
1 0
1
31
CI
2
31
CIII
2
1
3
CIV
4 1
3
CIII
2
1
CV
1
2
3 4
0
3 4 2
01
24
41
12
CIII
11
14
CI
1
4
0 3
Fernando Sor
4
1 0
4
31
CI
1 2
31
CIII
10
02
(G orig. Bb)
( )
31
11
CI
23
41
)( 31
41 ( )
--4 CVI
1
21
4 1
1
40
43
41
½CI
43
43
43
11
½CI
1 (
4 )
40
1
43
( )
4 4 4
0 1
43
143
½CI
4
2 4 4
31
1
2 0
3
CIII
1
1
4 3 1
4 3 1
121
CI 2
0 2 3
3
0
312
4
CVI
3
0
42
1 12
123
312
312
112
½CVI
132
143
12
12
1
CIII
34
34
23
1
43
CI
1
2
2 1 (
4 )
4 131
2
CVIII
243
1
CX
141
1
CV
1214
( )
CIII
1312
CI
( )
0103
( ) 321 0
4321
CI
43
1
14
3
211
CI
401
401
111
CI
43
40
12
CI
43
4 1 4 301
CI CI
0
432
( ) 130
431
CI
( ) 143
( )0
3
1 CIII
1
43 1
11
23
12
11
CI
4
10
1 4 4
Eb Major “Boasts the greatest variety of expression. At once serious and solemn, it is the exponent of courage and determination and
gives the piece a brilliant, firm and dignified character.”
“The key of love, of devotion, of intimate conversation with God.”
Etude 22, op. 29 by Fernando Sor
25
4 0
( 4
)1 42
1 43
1
½CI
12
4
1
CI
( )( )
1
4 23
4
CIII
1
4 14
1 21
3 0 3 (
4 )
4 1
CIII
4 1 4
3
1 1 0 1
3
1 1 3
1
2
4
0 32
4 2
)( 3 1
0
42
½CIII
12
4
21
121
4
1
1
CI
43
1 1 0
( )
134
p i p i
3 2 )(
3 1
CI
4
2 1 (
--1 )
4 4
10
4
2 1 --1 4
4
31
2
31
1
31
½CIII
1
32
1
32
2 1 --1 --1 2
1
43
2 1 --1 --1 3
1
12
3 ( )
CI CIII(G orig. Bb)
CI
( )( )4
1
CI
41
4
01
32
14
1
CI
1 p i p i 2
10 1
4 0
210 1
4
( ) ( )
201
401 1
0 401
413
413
213
213
123
CIV
4 123
4 4
01
32
111
CI
4( )3
4
01
31 1 1 1 1
( )
34
1
4213
CIII
4231
1312
CIV
1213
CIII
1312
CI
0103
( )
0201
111
4
CI
411
1
( )
121
4
CIII
141
1
CI
4
01
111
CI
4
13
123
CIV
12
1
CVI
43
1
43
1 4 4
01
111
CI
4
13
123
CIV
12
1
CVI
43
1
43
1 4 3
1
4 12
1
CVIII
41
2
11
4
143
CVI
32
( 1.
143
1
CVI
431
CI
401
) 2.
143
1
CVI
4131
CI
401
1 ( 4 ) --4
312
0
26
C Minor
“Expressive of softness, longing, sadness. Also of earnestness and a passionate intensity. C minor lends itself most effectively to the portraiture of the supernatural. Soft longing, solemnity and dignified earnestness.”
“So full of restrained power, of passionate throbbing. Sober-mindedness rather than energetic will.”
Suadade (Longing) - José Ferraz de Almeida Júnior (1850-1899)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5
III6
23
4 32
2
43 3
2 23
43
21 3
4 21
VIII3
3
VIII3
3 43
21
4321
42
3
1
III6
2 423
4 32
32
I6
4
3 4132
III
4
33 4I4
23
43
21
3
2
41
VI3
23
VI3
32
4
12
3
V42
24
3
41
2
III
443
4132
4
23
1
III
6
34
2
343 4
3
21 2
34
1 4301
34 1
2
III3
3
III3
3
4312
34
21
32
01
3
41
2 III
6
43
4
2
3 3
I6
23
4
31
24
1
23 3
4
10 1
320
4213 3
412
I323
I323
4
02
1 0
1
00
0
01
3 2
30
1 III
6
4
3 4
1
23
42
13
5
27
8 DDD ��
6
¡
Adagio
¡ ¡4 ¡3 ¡2 ¡ �¡1
¡O1
¡ ¡4 ¡3 ¡4 ¡ �¡ ¡¡¡4 ¡O ¡1 ¡ �¡ ¡
1
¡¡4 ¡3 ¡2 ¡�¡ ¡3
6
¡¡4 ¡2 ¡1 ¡ �¡
8 DDD6
¡O ¡� 3¡1 ¡4 ¡1 ¡ �¡ ¡
2
¡E��III¡3 ¡4 ¡ ¡�¡ ¡ ¡3
¡2 ¡4 ¡ ¡�¡ ¡ ¡¡2 ¡4 ¡ ¡ ¡ ¡
¡ ¡O 3 ¡ ¡¡ ¡8 DDD10
¡ ¡4¡ ¡3 ¡2 ¡ �¡ ¡
1
¡0 ¡4 ¡2 ¡3 ¡�¡ ¡3
¡4 ¡2 ¡E��I¡ ¡ �¡ ¡
3
¡O 2 ¡1 ¡ ¡ ¡�¡ ¡1
¡ ¡4 ¡ ¡O ¡ �
¡
8 DDD15
¡O ¡ ¡4 ¡3 ¡D 2 ¡ ¡
¡3 ¡4 ¡2 ¡4 ¡3¡ ¡ ¡
E��I¡ ¡4 ¡ ¡ ¡�¡ ¡
E��I¡ ¡4 ¡ ¡ ¡ �¡ ¡
0
¡33
¡4 ¡2 ¡1 ¡�¡
8 DDD19
¡E��VI
¡2 ¡D 4 ¡3 ¡ ¡¡¡2¡4 ¡3 ¡ ¡3¡ ¡ ¡O
2
¡D ¡D 4 ¡3 ¡ ¡�¡ ¡1
5
¡2 ¡4 ¡3 ¡2 ¡�4¡ ¡0
¡13 ¡4 ¡2 ¡1 ¡�2¡ ¡
0 ¡O 0 ¡O 4 ¡3 ¡1 ¡�¡
8 DDD24 ¡3
E��VIII
¡4 ¡ ¡¡¡ �¡ ¡¡4¡ ¡ ¡2 ¡ �¡ ¡
E��III¡ ¡4 ¡ ¡2 ¡ �¡ ¡
35
¡E��III¡4 ¡2 ¡¡�¡ ¡
3
¡1 ¡4 ¡D 2 ¡1 ¡2 ¡
E��I¡ ¡4 ¡2 ¡ ¡¡ ¡
8 DDD29
¡1
¡0 ¡2 ¡4 ¡3 ¡�¡ ¡1
¡0 ¡4 ¡O 3 ¡2 ¡�¡ ¡3
¡1 ¡4 ¡0 ¡2 ¡ ¡ ¡ ¡4 ¡ ¡2 ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
7¡ ¡
Agustín BARRIOS MANGORÉ : PRELUDIO EN DO MENOR-1-
www.delcamp.net
Agustín BARRIOS MANGORÉ (1885-1944)
PRELUDIO EN DO MENORRévision pour guitare de Jean François Delcamp
C Minor “Expressive of softness, longing, sadness. Also of earnestness and a passionate intensity. C minor lends itself most effectively to the portraiture of the supernatural. Soft longing, solemnity
and dignified earnestness.”
“So full of restrained power, of passionate throbbing. Sober-mindedness rather than energetic will.”
Preludio in Do Minuer by Agustin Barrios
28
Bb Major
“Cheerful love, clear conscience, hope, a longing for a better world.”
“Fresh, healthy without subtleties or mystification.”
“The favourite key of our classical composers. Open, frank, clear and bright. Also the expression of quiet contemplation.”
Le Printemps (Spring) - Pierre Auguste Cot (1850-1899)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5
III6
23
4 32
2
43 3
2 23
43
21 3
4 21
VIII3
3
VIII3
3 43
21
4321
42
3
1
III6
2 423
4 32
32
I6
4
3 4132
III
4
33 4I4
23
43
21
3
2
41
VI3
23
VI3
32
4
12
3
V42
24
3
41
2
III
443
4132
4
23
1
III
6
34
2
343 4
3
21 2
34
1 4301
34 1
2
III3
3
III3
3
4312
34
21
32
01
3
41
2 III
6
43
4
2
3 3
I6
23
4
31
24
1
23 3
4
10 1
320
4213 3
412
I323
I323
4
02
1 0
1
00
0
01
3 2
30
1 III
6
4
3 4
1
23
42
13
5
29
Bb Major “Cheerful love, clear conscience, hope, a longing for a better
world.”
“Fresh, healthy without subtleties or mystification.”
“The favourite key of our classical composers. Open, frank, clear and bright. Also the expression of quiet contemplation.”
Lesson 22, op. 31 by Fernando Sor
30
G Minor
“Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word, resentment and dislike.”
“Sometimes sadness, sometimes quiet and sedate joy, a gentle grace with a slight touch of dreamy melancholy. Occasionally it rises to a romantic elevation.”
Resentment - Belmiro de Almeida (1858-1935)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5
III6
23
4 32
2
43 3
2 23
43
21 3
4 21
VIII3
3
VIII3
3 43
21
4321
42
3
1
III6
2 423
4 32
32
I6
4
3 4132
III
4
33 4I4
23
43
21
3
2
41
VI3
23
VI3
32
4
12
3
V42
24
3
41
2
III
443
4132
4
23
1
III
6
34
2
343 4
3
21 2
34
1 4301
34 1
2
III3
3
III3
3
4312
34
21
32
01
3
41
2 III
6
43
4
2
3 3
I6
23
4
31
24
1
23 3
4
10 1
320
4213 3
412
I323
I323
4
02
1 0
1
00
0
01
3 2
30
1 III
6
4
3 4
1
23
42
13
5
31
G Minor “Discontent, uneasiness, worry about a failed scheme; bad-
tempered gnashing of teeth; in a word, resentment and dislike.”
“Sometimes sadness, sometimes quiet and sedate joy, a gentle grace with a slight touch of dreamy melancholy. Occasionally it
rises to a romantic elevation.”
Minuet no. 2, op. 11 by Fernando Sor
5 = G 6 = D
32
F Major
“Full of peace and joy, but also expresses effectively a light, passing regret — a mournful, but not a deeply sorrowful feeling. Available for the expression of religious sentiment.”
“Clear and simple. Free from all bitterness and melancholy.”
On the Shores of the Sea - Hans Knöchi (1850-1927)
3III
6
423 241I2
2 3
42 3
41 33
42 2
I2
2241 423 3III
6
001 143 142 1
2
3 231 3
21 4
32 3
21
231 123 1
42 143 010
3
31
2
041
321
34
1
214
4
X4
214
34
1
321
041
132
1
20
430
1
02
III
4
4
134
214
134
III
4
4
1
02
430
120
6
III6
23
4 32
2
43 3
2 23
43
21 3
4 21
VIII3
3
VIII3
3 43
21
4321
42
3
1
III6
2 423
4 32
32
I6
4
3 4132
III
4
33 4I4
23
43
21
3
2
41
VI3
23
VI3
32
4
12
3
V42
24
3
41
2
III
443
4132
4
23
1
III
6
34
2
343 4
3
21 2
34
1 4301
34 1
2
III3
3
III3
3
4312
34
21
32
01
3
41
2 III
6
43
4
2
3 3
I6
23
4
31
24
1
23 3
4
10 1
320
4213 3
412
I323
I323
4
02
1 0
1
00
0
01
3 2
30
1 III
6
4
3 4
1
23
42
13
5
33
F Major
“Full of peace and joy, but also expresses a light, passing regret - a mournful, but not a deeply sorrowful feeling. Available for the expression of religious sentiment.”
“Clear and simple. Free from all bitterness and melancholy.”
Lesson 21, op. 31 by Fernando Sor
34
D Minor
“Expresses a subdued feeling of melancholy, grief, anxiety, and solemnity.”
“A pensive key full of nobility and refined feeling.”
Pensive - Wladysław Czachórski (1850-1927)
3III
6
423 241I2
2 3
42 3
41 33
42 2
I2
2241 423 3III
6
001 143 142 1
2
3 231 3
21 4
32 3
21
231 123 1
42 143 010
3
31
2
041
321
34
1
214
4
X4
214
34
1
321
041
132
1
20
430
1
02
III
4
4
134
214
134
III
4
4
1
02
430
120
6
V6
23
4 23
4
23 3
2 2
3
4
213 3
2
41
X6
X6
4
2
31
4
123
43
21
V6 2 3
4
2 4 23
23
6
35
D Minor “Expresses a subdued feeling of melancholy, grief,
anxiety, and solemnity.”
“A pensive key full of nobility and refined feeling.”
Tango by Julian Arcas
36
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Wouldn't it be amazing to read music by ‘seeing’ chord structures rather than having to read each individual note?
- Guides your practice so that you can bring pieces to life with vivid emotion
- A practical method that ensures things stick and are relevant
https://www.danielnistico.net/fundamental-harmony
Discover new ways to practice this gorgeous piece to enhance your understanding and technical mastery of Tarrega's gorgeous piece.
This book aims to simplify the learning process by breaking the piece down into its constituent parts. There’s also detailed information on practicing the tremolo technique.
https://www.danielnistico.net/dream-piece-recuerdos
What kind of arpeggios were the great 19th century virtuosos such as Mertz, Sor, Carcassi, and Pratten practicing?
These more obscure arpeggio patterns are fun, challenging, and relevant to music-making. Open up new doorways towards composing and improvising by practicing like the great 19th c. masters!
https://www.danielnistico.net/arpeggio-bible
If you're looking for a refreshing alternative to Segovia's Diatonic Major and Minor Scales, then these scales provide the answer.
Mertz's scales do not traverse as many octaves as Segovia's, so they are great material for beginner level, as well as advanced level guitarists.
- Includes appendix and videos
https://www.danielnistico.net/mertz-scales
You've been practicing the tremolo for a long time... but progress is slow and your fingers don't seem to easily glide over the strings.
This book contains six highly focused exercises and takes you through a regime of progressive difficult practice methods.
1. Six Tremolo Exercises 2. Application to Scales 3. Using with Giuliani's op. 01 4. How to Apply to Pieces
https://www.danielnistico.net/tremolo-exercises-ebook
No more feelings of disappointment after you play for a crowd!
Develop an unshakeable technique. Prevent injuries. Perform at your best level. Every time.
What does this course include? • Exercises that will improve the foundations of your technique
• 33 HD videos that show you the exact way to practice • Includes 2 eBooks
https://www.danielnistico.net/warm-up-exercises-online-course
An antidote to a clunky and uneven tremolo!
Stop being fed up and frustrated with your tremolo. Learn to enjoy and conquer every aspect of it.
What's included? • Very specific exercises that target crucial aspects of the tremolo
• A progressive and customized curriculum that will give you structure • Over 20 HD videos that show you exactly what to do
https://www.danielnistico.net/tremolo-exercises-online-course
Compose your own beautiful piece in 1 month
Picture how would it feel to play your own piece... This is your chance to really make it happen!
Learn to compose using a simple 4 step method, based on how the old masters learned to write music.
https://www.danielnistico.net/a-piece-to-call-your-own
About the AuthorDaniel Nistico is quickly establishing himself as one of the leading guitarists of his generation. Daniel is a passionate performer, teacher, and pedagogue, and specializes in the performance practice of 18th and 19th century guitar music. His teaching and research aims to revitalize the concept of being a well-rounded musician, with emphasis on musical ideas that can lead to deeper interpretive understanding, and tools for composing and improvising.
“Daniel is one of the most gifted guitarists of his generation”--- Nicholas Goluses: Professor of Guitar, Eastman School of Music
Daniel constantly strives to promote guitar music that has not had the fortune of being widely performed, and his debut solo album Un Viaje Mistico... A Mystical Journey contains some hidden gems of the guitar's repertoire. Speaking on the inspiration for the album, Daniel says that “it is a testament to my experience learning under [teachers] Tonié Field and Dr. Donna Coleman at the Melbourne Conservatorium of Music.”
“Daniel’s interpretation [of Sevilla] brings a quality that I’ve not heard in many recordings. It’s rather laid-back, unhurried, unfussy and the lines, voices and phrasing within the music are so very clear... I may even be so bold as to say this is currently my favourite recorded version of Sevilla.”--- Nicole Neal: Classical Guitar n Stuff CD Review
Daniel has performed around the world, both as a soloist, and with his wife and flute partner as Duo Vela. Daniel's goal through performance is to spread greater awareness of the scope and expressive power that the guitar and its repertoire is capable of.
"Nistico gave an outstanding performance of Nikita Koshkin’s Poe-indebted Usher Waltz ... a demonstration of technical virtuosity harnessed to a real interpretation."--- Clive O'Connel: The Age Reviewer