guitar music from the student repertoire

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Adelita FRANCISCO TÁRREGA 61

A Toy ANON, 22

Allegretto MAURO GIULIANI 20

Allegro M A U R O G I U L I A N I 13

Allemande A N O N . 25

Allemande A N O N . 28

Andante Grazioso FERDINANDO CARULLI 19

Andante inC MAURO GIULIANI 15

Andantino FERDINANDO CARULLI 11

Andantino F E R D I N A N D O C A R U L L I 13

Andantino MAURO GIULIANI 22

Aria (from Partita in Aminor) JOH. ANTON LOGY 35

Balletto A N O N . 31

Bourree A N O N . 32

Entrée A N O N . 21

Estudio No. 1 FRANCISCO TÁRREGA 26

Galliarde A N O N . 34

Greensleeves A N O N . 17

Lagrima FRANCISCO TÁRREGA 55

Lesson DIONISIO AGUADO 12




Maestoso MAURO GIULIANI 17

Minuet M A T T E O C A R C A S S I 18

Minuet (from Sonata No . 1 inC) A N T O N D I A B E L L I 42

Minuet (from Suite in Dm i n o r ) R O B E R T DE V I S É E 37

Minuet inG F E R N A N D O SOR 24

Orlando Sleepeth J O H N D O W L A N D 29

Passamezzo A N O N . 33

Pavane A N O N . 28

Pavane Luis M I L A N 51




Pavana Muy

Llana Para Tañer D I E G O P I S A D O R 62

Prelude FRANCISCO TÁRREGA 53

Prelude FRANCISCO TÁRREGA 57

Prelude JOHANN KUHNAU 63

Prelude ROBERT DEVISÉE 43

Prelude (Endecha) FRANCISCO TÁRREGA 64

Prelude in D minor F R A N C E S C O M O L I N O 54

SarabandeROBERT DEVISÉE 41

Sonatine MAURO GIULIANI 56

Study in A(Opus 35,No.21) FERNANDO SO R 46

Study in A(Opus 60, No. 3) MATTE O CARCASSI 52

Study in A minor (Opus 60, No.7)

MAT TEO CARCASSI 30

Study in B minor (Opus 35, No.22)

FERNANDO SOR 50

Study in C(O pus 31, No. l ) FERNANDO SOR11

Study in C(O pus 35, No. 1) FERNANDO SOR14

Study in C( O p u s 35, N o . 1 3 ) FERNANDO SOR36

Study in D( O p u s 35, No. 17) FERNANDO SOR38

Study in D( O p u s 6, No.l) F E R N A N D O S O R 44

Study in D major (Opus 60, N0.10)

MATTEO CARCASSI 45

Study inE F E R N A N D O SOR 34

Study in E( O p u s 31, No.7) F E R N A N D O S O R 4 8

Study inEminor FRANCISCO TÁRREGA 32

Study in E minor (Opus 31, No.6)

FERNAN DO SOR 26

Study in F(O pus 60 , N o. 16) M A T T E O C A R CA S S I 49

Study in G(O pus 35, No.4) FERNANDO SOR 23

GUITAR MUSICfrom

The Student RepertoireJOHN MILLS



Study Notes / Track Listing1 Study in C —SorThis is a beautiful example of Sor's easier music for the guitar,and is a popular and widely- taught s tudy. I t has two voices orpar ts most ly, and i t i s important to susta in the bass- l ine . Bepar t icular ly careful wh ere th ere are dot ted-half -notes (minims,)as i t i s a l l too easy to le t these go ear ly. At the beginning of l ine two, and again in l ine four , there are f ive repeated G's .

The first four of these form a sor t of middle voice , but the las tone i s t he be ginning of the ne xt phra se , a nd be ing the m e lodyshould be brought out a l i t t le more s t rongly than the others .

2 Andan tino — CarulliA very simple but effective little piece, it is a study for ther ight hand. There is no problem for the lef t hand i f the f in-ger ings are c losely observed. Use the 4th f inger for the top Gin bar s ix, the 3rd f inger being kept ready to drop on to thebass C. Sl ight accentuat ion of cer ta in notes is a lso suggested,e .g. 2nd note in bars 7 and 10.

3 Lesson in A M inor — AguadoThis is usual ly given to s tudents very ear ly on, as a r ight-hands tudy, wha t me lody the re i s be ing in the ba s s . A good c l e a nat tack is of course essent ia l , but care should be taken with thelef t -hand f inger ing to make cer ta in that only the t ips of thef ingers are used to s top the notes , (e .g. bar 3) .

4 Allegro in A M inor — GiulianiTo br ing this up to a reasonable length, I have introduced arepeat into this little right-hand study. For the first two bars,ke e p the 2nd f inge r of the l e f t -ha nd down on A. Whe n e x-amined careful ly, the movement f rom the las t note of bar 2onto the 1s t note of bar 3 may seem r isky, but in fact works

qui t e smoothly whe n pra c t i s e d . The re a r e a c ouple of o the rpla c e s whe re a s imi l a r t h ing ha ppe ns , a nd the pupi l mus talways listen to make sure he is not lifting the l.h. fingers tooear ly. In addi t ion, there are several bass notes to be cut , (e .g.the last note in bars , 1, 3, and 5) .

5 A ndantino — C arulliHe re we ha ve one of the mos t wide ly use d t e a c hing pie c e s .The average beginner is usual ly confronted with this l i t t les tudy af ter perhaps a couple of months , and i t i s very of ten hisf i rs t encounter with legados. Indeed, the opening couple of notes can create qui te a problem, and i t i s amazing thenumber of t imes the pupi l f inal ly takes heed of the words of

the long suffer ing teacher , about cut t ing one 's f ingernai ls onthe left hand, really short. With this kind of legado, it is essen-tial that the l.h. 1st finger is pulled across and downwards , sothat i t comes to res t against the next s t r ing. The f inger muston no account f ly off into mid-air . In bar 2, another legadoproblem ar ises when the l .h. 4th f inger has to 'hammer ' down

onto the D (2nd string 3rd fret). At this stage, the little finger isusual ly pre t ty weak, and there is a temptat ion to rush,resul t ing in a jerky rhythm. The f i rs t two notes of the secondhalf are a lso played as a legado, but this t ime the 1s t f ingerdoes not have an adjacent s t r ing to come to res t against . Thisin some ways makes i t a more dif f icul t legado than the f i rs t ,and the s tudent must see to i t that the f inger does not movetoo far away from the edge of the f ingerboard.

6 Study in C —So rThe wri t ing here is s imilar to the f i rs t piece in the book, thispar t icular s tudy being a s l ight ly la ter composi t ion. Again themusic is in two par ts most ly, and careful use of the res t-s t rokewil l be found benef ic ia l a t t imes to give more "focus" orweight to par t icular notes , e .g. the D in bar three l ine two.There are several lef t -hand legados (s lurs) f rom a G to open E(1st s t r ing) , the 4th f inger being used. No turn of the handshould be a l lowe d, jus t ma ke the f inge r do the work, a ndre me mbe r to hold on to the ba s s note e a c h t ime . Try to a voidspl i t t ing t reble and bass notes , e .g. l ine three , and take care

with the lef t hand f inger ing in the 2nd bar f rom the end of thepiece where a separat ion of third and four th f ingers is ca l ledfor.

7 Andante in C — G iulianiThis l i t t le piece seems in the past to have been neglected bygui tar is ts , which I think is a pi ty, as i t i s a most charmingwork. In my arrangement , I have lef t out the ra ther long-winded repeat of the second half , and a lso omit ted thesome wha t we a k e nding whic h or ig ina l ly fo l lowe d the shor tcadenza in bars 38-41. I t seems logical for the opening themeto reappear af ter this , and so I have introduced thewhich I think sa t is factor i ly rounds off the work. One or twote c hnic a l points ma y be wor th me nt ioning. In ba r s 5 a nd 6 , t hethird bass note (G) is to be played with the r .h. index f inger .Bar 7 looks harmless , but get t ing the bass to sound smoothrequires careful practice. Also, the r.h. fingering given, must beused in this bar . The f inger ing in bars 36 and 37 may seem al i t t le unusual , but when pract ised becomes very easy.

8 G reensleeves — Ano nThe vers ion of Greensleeves which I have used, is taken f romWill iam Bal le t ' s Lute Book of 1580. Here we are presentedwith more or less the 'bare bones ' of this beaut i ful and verypopular tune. There is nothing to real ly worry beginners in

terms of technique—usual ly this piece is learnt dur ing the f i rs t3-6 months , but the lef t -hand f inger ing must be careful lyfol lowed, (e .g. i t i s tempting for learners to use a dif ferentf inger ing in the G major chord which opens the second half ) . Ihave a lso found this a useful piece in which to introducepupi ls to the technique of cut t ing off unwanted bass noteswi th the thumb of the r ight ha nd.

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9 M aestoso — GiulianiUsually given to a student very early on, Maestoso is anexcellent study in clear separation of voices. Bar 11 is a goodexample of the sort of difficulties to be encountered. Thepupil invariably cuts off the D in the top line when changingto the second chord of the bar. If taught and studied correctly,this is a very good exercise in left-hand finger movement, andshould be practised with great attention to detail, eg. do not

snatch at the final chord of bar 3; in bar 6 first beat, the 2ndand 4th fingers must go down together; bar 8 see that the 3rdfinger is poised ready to drop straight down onto the bass C,bar 10 check the positioning of the half-barré for if it is notcollapsed enough the 3rd finger will have difficulty inreaching over for the bass G.

10 M inuet in C — CarcassiFor a minuet, Carcassi's piece takes a slightly unusual form. Itis in three sections, the first being the normal subject, thesecond a trio in the key of A minor, and the third a restate-ment of the minuet but this time in the form of a variation.

There are no pitfalls to catch the unwary, but a slight contrastin tone and volume is advisable when moving from the 1st tothe 2nd sections. Also, be careful to bring out the dottedrhythm in bars 11 and 15. The closing section is quite easy,but in passages such as this where the music moves along ina flowing movement of quavers, the phrasing must be clearlydefined.

11 A ndante Grazioso — CandiiHere, a flowing style should be used to bring out the melody-line. Do not let the tempo become too slow. Make sure thechange of fingers at the note D are not discernible when

moving from bars 3 to 4. The fingering at the end of the firsthalf where the melody moves to the second string, is donepurely for tone quality and control.

12 M egre tto — GiulianiThere are several difficult spots which are frequently found tobe stumbling-blocks for pupils. The first problem comes at theend of bar 5 immediately after the semi-quaver run. The runends on a C 1st finger second string. The finger then has tomove straight to the 6th string, and as there is no other way of playing this passage, the pupil must simply work at thismovement until it becomes smooth. Another problem is the

positioning of the chord which comes at the beginning of bar 7. Obviously, 2nd, 3rd, and 4th fingers must go down atprecisely the same time which may require careful practice.Bar 14 has another technical 'hang-up'. Here the full bar isheld down until the open E occurs. At this point release thebar, positioning the 1st finger so that it may drop onto thenext note (F).

13 E ntrée — AnonThis is a very good piece for the relative beginner, as itrequires perfect control in both hands to bring out the trebleand bass parts. The last bass note in bar 1 must not be cutshort, and to ensure that the bass G in the next bar soundslegato, the third finger must be positioned ready to drop on tothe note. In bar 6, check that the left hand remains in thecorrect position in relationship to the strings.

14 Lesson in G Major — AguadoAlthough sounding straightforward, this little piece requiresgood left-hand control, to ensure that the treble and bass linesemerge clearly. The dotted rhythm must be articulated well,and it is suggested that free-strokes are used throughout.

15 A Toy—Ano nThis little piece which comes from Jane Pickering's Lute Book,should be played at a brisk tempo, with very much a feelingof two dotted-crochet beats to the bar. Try to introduce asmuch dynamic variation as possible, as well as tonal contrast.

You will notice that bars 5-8 are basically a repeat of the firstfour bars, and a nice 'echo' effect can be achieved here.However, do not overlook the last note in bar 8 which marksthe beginning of a new phrase. Also take care to hold thebass notes for their correct duration, particularly the bass G'sin bars 1 and 3.

16 A ndantino — GiulianiThis is basically an easy study for the left hand using thirds,sixths and short chromatic runs. However, benefit for the righthand can be gained if concentration is directed towards asmooth relaxed plucking action. Keep the left-hand fingers

over the notes as much as possible, and avoid any 'rocking' of the hand positions, e.g. in bar 1, it would be preferable if wecould keep the 1st finger positioned over the E, but to do thiswould mean tilting the hand far too much.

17 Study in G Major — SorIn this piece, a good control of the right hand is imperative, if the very beautiful two-part writing is to be brought out. Thelast three notes of bar 4 mark the beginning of a new phrasein the bass, and in the next two bars, the quaver figure mustbe nicely balanced with the treble part. In bar 8, I wouldsuggest that the G followed by the F sharp mark the end of

one phrase, and the quavers D, E, and F sharp, the lead in tothe next. This also occurs in bar 32. Also, do not forget to cutoff any bass notes—watch out particularly for the open D atthe end of bar 6, and both the A and D in bar 22.

18 M inuet in G Major — SorIn Fernando Sor's total output of minuets, there are several

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examples , including this piece , which are cur ious in that they

begin on the 1s t beat of the bar . I t i s , in fact , the baroque

minuet which does this , the minuet of the 18th and 19th

centuries always starts on the 3rd or up-beat. This is often

over looked by gui tar is ts , and is of course vi ta l i f the piece is

to be phrased correct ly. Each half should be divided into three

phra se s—2, 2 a nd 4 ba r s . Ma ke sure the ope n D in ba r 1 i s

s topped before the next bass note is sounded, (see a lso bars

13 and 15). In the repeat of the second half, a nice effect can

be achieved by playing the G seventh chord, (2nd beat , 3rd

bar f rom the end) , very sof t ly. This can then be fol lowed by a

s l ight crescendo in the next bar , with the c l imax coming on

the 1st beat of the final bar. The last pair of notes are played

sl ight ly sof ter , as the harmony here is resolving onto the tonic

h a r m o n y .

19 Allemande — An onIn bar three make sure the chords are c lear ly played with

good ba la nc e be twe e n voic e s . The phra s ing a nd s t ruc ture of

the p ie c e i s s l ight ly unusua l—phra se one be gins on a down-

be a t , but t he a nswe r ing pa s sa ge c omme nc e s on the 4 th be a t(bar 4) . Phrase three begins on the las t crotchet of bar e ight ,

and this can be divided into two shor ter phrase- lengths , the

se c ond be ginning on the f inal c hord of ba r t e n . H e re we h a ve

a kind of ove r l a p whe re one mus ic a l s e nte nc e e nds a nd

a nothe r c omm e nc e s , a nd th i s i s r e pe a ted in ba r twe lve whe re

the ne w phra se a l so impl i e s some thing a pproa c hing a

se que nc e . On our r e c ording of the se p ie c e s , t he r e pe a t ha s

be e n omi t t e d .

20 Estudio No. 1 — TárregaIn this l i t t le r ight hand s tudy, the 4th, 7th, and 10th notes in

the bar should be played using res t-s t rokes . At bar 3, the bassnotes must be held for the ful l dot ted-minim value—do not

fall into the trap of releasing this too early in the effort to

reach the F. From bars 4 to 5 use the f i rs t f inger as a guide .

The half-bar in bar 6 is quite easy, but see that the little finger

presses only with the t ip on the high C. In bar 10 the half -bar

covers only the 1s t and 2nd s t r ings , and is posi t ioned by

simply collapsing the 1st finger after it has played the C.

21 Study in E m ino r — SorThe emphasis here is very much on the r ight hand, for c lear

ar t icula t ion of the thumb, and index and middle f ingers . On the

couple of occasions when the thumb is required to s t r ike two

note s , tr y to m a ke the m sound a s one .

22 Pavane — Ano nSmoothness and c lar i ty are the secre ts of playing this Pavane.

The s tudent should not ice the f requent use of guide f ingers e .g.

in bars 2 and 7. In bar seven, t ry to make the change to the

ful l bar as smooth as possible . The par t wri t ing in bars 10-14

should be very careful ly pract ised taking note of the quaver

movements where a t reble l ine is answering an octave lower ,

e .g. bar thir teen. In bar four teen be cer ta in to hold the dot ted

crotchet D as i t i s easy to re lease the 4th f inger when taking

away the third.

23 Allemande — Ano n

This is a re la t ively s t ra ightforward dance, consis t ing of four4-bar phrases , the f i rs t two phrases beginning on the f i rs t beat ,

the other two on the four th beat of the bar . Do not cut off the

bass G in bar 2 in the effor t to reach the B which fol lows.

Also, make sure the f inal chord in bar 9 is not cut shor t . The

first finger has to jump from the first to fourth string, but with

pra c ti s e th i s c a n be m a de to sou nd ve ry sm ooth .

24 Orlando Sleepeth — DowlandA very beaut i ful piece , Orlando Sleepeth shows that music

need not be difficult to be effective. A calm serenity pervades

the whole work, e ve n dur ing the c ha nge of rhythm in the

second half . The performer must see to i t that a l l the chordsare perfect ly balanced, and that any unwanted bass notes are

cut off, (in fact the first four bars are well-worth careful study-

in this respect) . Rest-s t rokes may be employed for jus t about

all the single me lody note s , e .g . the E a nd F in ba r 1 , a s long

a s the volume c a n be ma tc he d to tha t of the c hords . Al so

not ice that bars 9 and 10 are not exact ly ident ical . In bars 21

and 23, hold the las t note (C) for a ful l crotchet , and in the

change to the f i rs t chord of bar 24, t ry to posi t ion the 2nd and

3rd f ingers over the required notes beforehand.

25 Study in A M inor — CarcassiThis , the celebrated t remolo s tudy, is one of the most widelyuse d t e a c hing pie c e s . The t r e molo he re i s some wha t s lowe r

than the f inished ar t ic le as used in a piece such as Recuerdos

de la Alhambra by Tárrega, but for the s tudent this new tech-

nique c a n be the sourc e of one or two proble ms . Tre molo i s

qui te easy on the 1s t s t r ing, but once i t moves to one of the

inside s t r ings , a l l sor ts of s t range things can happen, usual ly

caused by an uncontrol led third f inger on the r ight hand.

Also, there are several tricky sections for the left hand. Bars 13

a nd 14 should be pra c t i s e d s lowly a nd a ny unne c e s sa ry

movement of the lef t -hand e l iminated. Bars 16-19 are of

course excel lent pract ice for lef t -hand legados.and a great deal

of a t tent ion should be directed towards this sect ion. Beginners

frequent ly make a desperate grab for the half -bar s ix bars

from home. There is absolute ly no need for this , for i f the 3rd

f inger is placed on the D, the barré wil l fol low a f ract ion la ter .

The barré should cover s t rings 2, 3 and 4, so that the f inger can

easi ly move down the four th s t r ing af terwards .

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26 Balletto —A no nThis is a charming l i t t le dance which can best be descr ibed as

br isk. Notice that the f i rs t two notes are to be played on the

second s t r ing. Leave the 3rd f inger down on the F sharp ready

for the c hord . The pa s sa ge c omme nc ing on the l a s t c hord of

bar e ight is t r icky and must be pract ised very s lowly to make

the phrases legato. Also not ice that the las t phrase consis ts of

s ix ba r s , two ba r s longe r tha n the o the r s . E ve n though the

piece lands f i rmly on the tonic chord in bar s ixteen, there isnothing f inal about the effect and two more bars are required

to br ing the p ie c e ba ck in to the hom e ke y.

27 Bourrée — A nonThe main problem here is the lef t -hand f inger ing in bars 4 and

5. Although i t may seem extravagant , on c loser examinat ion

any other f inger ing usual ly resul ts in loss of c lar i ty in one or

both par ts . Use the 1s t f inger as a guide in bar 4, being careful

not to l e ave the G sha rp sounding on the 3rd be a t . In the ne xt

bar the 4th f inger is the guide . Cut any open-s tr ing bass notes

whic h ma y r ing on be y ond the i r c or re c t va lue , e .g . A a nd E in

b a r i .

28 Study in E M inor — TáffegaA study for the r ight hand, this piece makes an ideal warm-up

for the celebrated 'Spanish Romance ' which uses the same r .h.

f inger ing. Use res t-s t rokes for the f i rs t note in each group of

t r i p l e t s , b u t r e m e m b e r t h a t t h i s t e c h n i q u e i s e m p l o y e d

p ri m ari ly for tone qual i ty, and not volume. Be careful not to

cut the las t note of bar 2, in changing to the next chord. Bar

12 is not easy, because the l .h. posi t ion has to be s l ight ly

' s ideways on' , so making the s t re tch f rom bass G to B more

diff icul t . I t wi l l help i f af ter the second beat , you make a

conscious effor t to get the hand back to a normal posi t ion.

29 Passamezzo — Ano nThis is a dance form thought probably to have or iginated in

Ita ly, and should be played with a def ini te feel ing of two

beats to the bar . There is some t r icky f inger ing in both hands

for the beginner , even though the piece is played most ly in

the 1s t and 2nd posi t ions , and some dif f icul ty may be exper i-

enced in the ra ther nimble movements required of the r ight-

ha nd thumb (e .g . ba r 13) . Pa s sa me z z o i s one of those p ie c e s

w h i c h I h a v e f o u n d t o b e v e r y p o p u l a r w i t h p u p i l s , a n d

wou ld r e c omm e nd i t t o o the r t e ac he r s .

30 G alliarde — An onApart f rom the semi-quaver run in the second half , there is

n o t h i n g w h i c h s h o u l d r e a l l y p r e s e n t a n y p r o b l e m s t o t h e

s tude nt . Ca re ful note mus t be ma de of the phra se - l e ngths

howe ve r . I would th ink of the p ie c e in the fo l lowing wa y,

phra se one -4 ba r s; phra se two-4 ba r s ; phra se one (2nd ha l f )- 2

ba r s ; phra se two-2 ba r s ; phra se thre e -4 ba r s . In ba r s s ix a nd

s e v e n n o t i c e t h e h e m i o l a - t y p e r h y t h m . H e r e w e l o s e t h e

strong three- in-a-bar accent , the eas ies t way to play these two

bars being to imagine them without the bar l ine . This makes a

bar of s ix crotchets in which we must accentuate the 1s t , 3rd,

and 5th beats .

31 Study in E Major — SorThe f i rs t considerat ion in this piece , is to mainta in a s teady

te mpo. In the t r ip l e t s e mi -qua ve r s in ba r s 1 a nd 2 , a nd the

r is ing semi-quavers in bars 9 and 13, i t i s qui te easy to speed

u p , a n d p r a c t i s e w i t h t h e a s s i s t a n c e o f a m e t r o n o m e i s

r e c omme nde d in the e a r ly s t a ge s . (A good pra c t i c e t e mpo i s

a pprox = 92. ) The l as t group of note s in ba r 6 c a n be

tr icky rhythmical ly. I t i s in fact the grace no te (G sharp) , w hich

comes on the 3rd beat of the bar . In the 1s t bar of the second

half , the lef t -hand legados, i f played correct ly, (see note for

Andant ino by Carul l i ) , wi l l obviously cut off the melody notes .

The l .h. f ingers must therefore be pul led across and upwards ,

so as to c lear the top s t r ing.

32 A ria — LogyIn th i s ope ning move me nt f rom the Pa r t i t a in A minor , t he

performer must be aware of the two-par t wri t ing, par t icular lyin ba rs 3 , 4 , 9 , a nd 13. The c ha ng e from ba r s 1 to 2 c a n sound

c l u m s y , a n d g o o d c o n t r o l o f b o t h h a n d s i s e s s e n t i a l . T h e

m e l o d y i n t h e f i n a l t w o b a r s h a s b e e n p u t u p a n o c t a v e ,whic h I be l ie ve m a ke s the c onc lus ion m ore pos i t ive .

33 Study in C Major — SorIn bar 3, remember to re ta in the 3rd f inger on C, and s l ide the

2nd f inge r up to the F . At ba r s 18 a nd 22 the ba s s C mus t be

kept r inging for i ts correct durat ion. When moving f rom bars

19 to 20, make cer ta in that the 1s t and 4th f ingers are down,

one or o the r inva r i a bly wa nt s to l i f t of f . At ba r 24 whe n

playing the las t note , t ry to posi t ion the 3rd f inger over the

ne xt ba s s note (C) , t h i s wi l l r e duc e the l ike l ihood of a n

a wkwa rd ga p. In the s e c t ion f rom ba r s 27-29, hold the 3rd

f inge r down a s a guide whe n moving f rom c hord to c hord .

F ina l ly , r e me mbe r to l e t t he ba s s note sound throughout the

penul t imate bar .

34 M inuet — de ViséeComing f rom the Ba roque pe r iod, t h i s move me nt be gins on

the 1s t be a t of the ba r , ( c ompa re th i s wi th the minue t s by

Ca rc a s s i a nd Dia be l l i ) . The 1s t note in ba r 2 mus t not be

c l ippe d, t he c ha nge of pos i t ion be ing ma de only a t t he l a s t

moment . Bar 1 in the second half can be qui te t r icky. The f i rs t

chord is played with a half barré on s t r ings 2, 3, and 4, plus

6



the 2nd f inger on C sharp. This is a very useful technique, as

i t a llows the to p E s t ring to vibra te f reely. Th e chang e onto the

f inal chord in this bar , can be made smoother i f the 4th f inger

is posi t ioned beforehand over the required note (E) . The 1st

f inger is a l ready on the correct s t r ing, and has only to be

pushed up 1 f re t , so leaving the 2nd f inger to f ind i ts own

wa y onto the ba s s C sha rp . I t h ink I should me nt ion tha t my

use of the low D in the de Visée pieces (by tuning the 6th

str ing down 1 tone) , is purely a personal thing, and the pieces

can be played with normal tuning s imply by e i ther cut t ing out

the low D ' s, or put t ing the m up a n oc ta ve .

35 Study in D Major — SorIn this s tudy for the r ight hand, i t i s important to br ing out a l l

the melody notes (upr ight ta i ls ) . The barré in bars 4 and 5,

covers the top four s t r ings , ( this a lso appl ies to the barré in

bars 28 and 29) . Take specia l not ice of the l .h. f inger ing on

the las t note of bars 8 and 16. Both are f ingered on the

second s t r ing, purely f rom the point of view of tone qual i ty.

F ina l ly , a word a bout phra s ing. The pie c e should be thought

of in four 8 bar sect ions . Sect ion 1 is divided into threephrases of 2, 2, and 4 bars . Sect ion 2 begins on the las t note

of bar 8, and again consis ts of three phrases of 2, 2, and 4

bars . Sect ion 3 s tar ts a t the end of bar 16, and has two four-

bar phrases . The f inal sect ion begins on the las t note of bar

24, and consis ts of four 4 bar phrases . If due considerat ion is

not given to this aspect , the music becomes metronomic, and

bor ing.

36 Lesson in A Major — AguadoThis lesson can be used to introduce the s tudent to the higher

positions. The left-hand fingering is in fact very straight for-

wa rd, but use of l e ga dos should ha ve be e n t a ught be foreembarking on this piece . Rest-s t rokes should be employed for

ma ny of the m e lody-notes .

37 Lesson in E M inor — AguadoThe performer should a im at producing a very ' ful l ' sound,

avoiding any jerkiness in the rhythm. For the second half the

harmony changes to the major , and here a more s inging tone

with a li tt le vibra to can be employ ed. Rest-s trokes should be

used for some melody-notes in the second half , which

culminates in a run-down in demi-semi-quavers , played as

legados. Care must be taken to ensure that in this run, the 3rd

and 4th fingers do not 'drift ' too far away from the top strings.

38 S arabande — de ViséeThis is a f ine piece . Accents tend to l ie on the second beat of

the ba r for muc h of the t ime a nd he re the s tude nt mus t be

careful not to le t the tempo drag. You wil l not ice that some of

the c hords a r e a rpe ggia t e d f rom the top note downwa rds .

This was a commonly used device in De Visée 's t ime, which I

be l i eve should be inc orpora te d a s muc h a s poss ib le toda y.

39 M inuet — DiabelliThis is very much the s tandard form of 18th and 19th century

minue t a nd t r io . The pie c e be gins wi th a powe r ful upwa rd

r is ing f igure in the bass . In bar 5, the t reble takes over , and in

the two shor t qua ve r runs , t he pe r forme r should ma ke sure

tha t no spe e ding up oc c ur s . In the s e c ond pa r t of t he minue t ,

the grace note F sharp fol lowed by the G (hammered with the

4th finger), might cause difficulties, but it is worth persevering

with the f inger ing. A more del ica te character is assumed in the

Tr io , a nd he re the c hords mus t be p la ye d ge nt ly a nd wi th

great c lar i ty. Much a t tent ion should be given to the dynamic

markings , par t icular ly in the t r io, for without these the music

can easi ly become dul l and l i fe less .

40 Prelude — de ViséeThe thre e p ie c e s by de Visé e whic h a ppe a r in th i s book a re

taken f rom his ce lebrated Sui te in D minor which dates f rom1682. The Prelude is best thought of as being in two sect ions ,

the halfway point coming on the 1s t beat of bar 5. In bar 3,

the C sharp which fa l ls on the 4th beat must be given i ts

correct value . This appl ies a lso to the half -notes F sharp and E

in bars 5 and 6 respect ively. Also not ice the beaut i ful echo

effect under these susta ined notes . If a l l three are performed

a s a group, the orde r should be P re lude , Sa ra ba nde , a nd

finally the Minuet.

41 Study in D Major — SorThe re a r e no big t e c hnic a l proble ms , but t he s tude nt should

look careful ly a t the passage f rom bars 18-31, to make surethat the f inger ing is complete ly unders tood. At bar 19 watch

out for the E on the second s t r ing which can easi ly be

over looked. The s t re tch in bar 28 is made easy i f you a l low

the hand to ' rock' s l ight ly on the third f inger , so enabl ing the

four th f inger to press down on the t ip. Do not press with the

pad of the f inger as you wil l probably block out a t leas t one

of the adjacent strings.

42 Study in D major — CarcassiA beaut i ful and s t rangely ra ther neglected s tudy, the purpose

of which is to s t rengthen the 3rd and 4th f ingers by use of

legados. To begin with the s tudent may wel l f ind the rapidposi t ion changes a bi t of a handful . To give more bi te here

a nd the re , I s top the ba s s -note s , a nd w he n the p ie c e ha s be e n

thoroughly learnt the pupi l may l ike to t ry this . The notes to

be cut off are in bars 10, 12, 37 an d 38.



43 Study in A —So rSor's study in A is a real ly beaut i ful piece, and wi th correct

handl ing can soun d most effective. At bar 14, 2nd beat , the

fingering may cause di fficul t ies for people wi th smal l hands,

and i f found to be impossible can be re-fingered using 1st ,

3rd, and 4th fingers. The top notes (B and A) in bars 20 and

21 are very effect ive i f held on as crotchets. Remember that

most of the wri t ing is in three parts and this cal ls for superb

clari ty, an d the utmost in control .

44 Study in E —S orHere is another lovely study by Sor, in a flowing styleincorporat ing 16th notes (semi-quavers). Several left hand

slurs appear using 3rd and 4th fingers, and the change to the

chord a t t he beg i nn i ng of bar 2 l i ne 4 shoul d be worked ou t

careful ly. Not ice also the F double sharps in the last bar of

that l ine, these being played at fret 5 on the fourth st ring.

45 Study in F Major — CarcassiBasical ly a right -hand study, the double notes which form the

accompaniment must not be spl i t . Try to make the melodicl ine 'sing' by very smooth posi t ion changes, e.g. bars 7 and 8 ,

and 15-18. The phrasing of this piece i s very simple, each

phrase being two bars in length, but unless these are

observed , i t w i l l sound very du l l .

46 Study in B M inor — SorThis study may be pract ised using rest -st rokes for al l the

m el ody no t es . These com e on t he 1s t and 3rd bea t s i n each

bar. Keep the l .h. 3rd finger down on F sharp for the fi rst 6

bars, also from bars 9-11, 17-25, and 33-38. Bars 42-44 can

presen t som e prob l em s, and i t m ay he l p i f we go t h rough t he

passage no t e by no t e . When p l ay i ng bar 4 2 , j us t p ress downthe ful l barré at posi t ion four, and then add the E sharp (3rd

finger) afterwards. Cont inue along the same l ines in the next

bar—put the 1st f inger on F sharp, and 4th finger on A sharp,

then add fingers 2 and 3, (E natural , and C sharp,

respect ively). At bar 44, sl ide the 1st and 4th fingers up one

fret . The next note i s an open B, so this leaves plenty of t ime

to get the 3rd finger on to D, The thi rd st ring is now

produci ng a h i gher no t e t han t he second , whi ch m eans a

possible balance problem. Pract ise this bar very thoroughly.

47 Pavane — M ilanHere occasional ly in order to carry voices through, sl ight ly

unusual fingerings are int roduced, e.g. in bar 8 , I l ike to carry

the A through to the next bar, so that the second finger i s

playing behind the fi rst . In bar 10, the hal f-barré has to be

posi t ioned on the last beat to give a smooth t ransi t ion to the

nex t chord . The f i na l no t e i n bar 21 can be p l ayed us i ng a

pivot , (see note on Sonat ine by Giul iani ), and the passage in

thi rds (bars 30-33) i s plucked wi th index and middle fingers

for bet ter balancing,

48 Study in A Major — CarcassiCertainly the most beaut i ful , this i s probably the best known

example from the col lect ion of 25 Melodious and Progressive

Studies Op.60. Al though intended primari ly as a right -hand

exercise, the left -hand fingering can cause qui te a fewproblems for pupi ls, an example of this being the move from

bars 1 to 2. In this instance, keep the 2nd finger on the

B st ring, sl ide i t up to D, at the same t ime dropping the 3rd

f i nger on t o t he bass G sharp . The 4 t h f i nger can t hen com e

down on the B a fract ion of a second later, and final ly, the 1st

f i nger d rops on t o F sharp . The bar ré used i n bars 10 and 11

should cover the top four st rings only. Another thing which

must be avoided, i s losing the final notes of a bar when there

is a part icularly di fficul t chord change to negot iate. The

danger area for this i s in the last f ive bars of the piece. As for

t he r i gh t hand , a l t hough t h i s m ay appear very easy , we m ust

not forget that in addi t ion to providing a smooth flow of t r iplets, the bass melody must be clearly defined, and most

i m por t an t o f a l l , t he m el ody produced by us i ng res t -s t rokes

on t he 4 t h and 7 t h no t es o f each bar shou l d no t be a l l owed t o

sound i n any w ay c l um sy .

49 Prelude — TárregaIn t he o r i g i na l ed i t i on t he com poser uses a num ber o f l e f t -

hand legados. I fel t that the piece had a bet ter f low wi thout

these, and I have cut them completely. In the 1st and 2nd

bars, I have brought the t reble l ine onto the second st ring,

wi th the object of enabl ing the notes to 's ing' a l i t t le more.

The openi ng four bars a re s i m pl y an i n t roduc t i on , and t hestudent should al low the fourth bar to slow a l i t t le so that the

phrase whi ch beg i ns a t bar 5 m akes m ore sense m usi ca l l y .

The same appl ies to the short l ink passage at bars 18 and 19.

In bars 13-15, let the lower notes of the chords sound for

thei r ful l durat ion. The art i f icial harmonics at the end are in

themselves qui te easy, the only improvement I would suggest

being to pluck the fi rst four notes wi th the thumb instead of

the thi rd finger, as on the covered st rings this gives a cleaner

at tack.

50 Prelude in D M inor — MolinoThe works fo r gu i t a r by Francesco Mol i no , seem t o have beenalmost total ly discarded by both performers and teachers, but

as in the case of this l i t t le Prelude, i f one takes the t rouble to

look, there i s always the chance of coming across something

which may turn out to be useful . This piece begins wi th a

short int roduct ion of five bars, wh ich then leads into a flowing

8



semi-quaver passage where there appears to be no realmelody. In fact, the 3rd, 5th, and 7th notes of each bar,provide the melody, which continues for three bars untiltaken over by the thumb entering on the B flat (bar 9). Frombars 11-14 there are in reality two tunes, culminating in adominant-seventh chord at the beginning of bar 15. There is abrief passage reminiscent of the opening introduction,followed by a short cadenza, and the piece then ends quite

quietly, but firmly, in the tonic key. No extravagant techniqueis required for this work, but the performer should be quitesecure in the use of both full, and half barres. It is in fact, of most benefit, when used as a study in position changing.

51 Lagrima — T árregaThe most famous of Tárrega's Preludes, this lovely piece, (thetitle incidentally means 'tear-drop'), is a favourite with bothteachers and pupils. Each half is split into three phrases of 2,2, and 4 bars, and whenever possible, rest-strokes should beemployed for the melody. For example, in bars 1 and 2, userest-strokes on the crotchets G sharp, A, and B, and the dotted

minim F sharp, but keep to free-strokes for the other notes.The fingering for the last 4 notes of bar 6, allows all thesenotes to be held on, a typical piece of Tárrega fingering.However, in the next bar, the G sharp has been placed on thesecond string, which enables it to speak more freely.(Originally, this note was played on the 3rd string, which isinclined to be rather 'dead' above the 12th fret.) One otherpoint, see that you get the full barré on the 2nd beat of thisparticular bar. In bar 11, whilst playing the A and C natural,position the l.h. fingers over the next two notes, as this willresult in a smoother flow. It is impossible to hold the bass Bin bar 12 for a full three beats, but at least keep it down until

you have played the open B.

52 Sonatin e — GiulianiThe two groups of octaves at the beginning of the piece aredifficult to play well. They must be strong, with if possiblerest-strokes on the top no tes, and any ope n strings should becut after their correct duration. A slight change in tone colouris recomm ended in bars 13-16. In the movem ent from bars22-23, do not carry the full-barré up to the fifthposition—instead simply using a pivot, (the first finger is heldas for a full-barré, but in fact only presses down the firststring, it being held clear of the other strings). The passagefrom bars 45-52 is worth close study as it is more difficultthan at first appears. The major problem is that the left hand isnot held at the same angle throughout, and if the fingeringgiven does not prove to be satisfactory, bars 46, 47 can beplayed with full-barrés at the 1st, 3rd, and 1st positionsrespectively.

53 Prelude — TárregaIn the recording of this piece the tempo I set may seem onthe quick side, but I feel that this adds to the flow, avoiding arather ponderous, drawn-out style which can so easilyhappen. Up to the chords at bar 9, play all the melody-notesusing rest-strokes. The half-barré in bar 8 must cover the 2nd,3rd, and 4th strings, as this makes the movement to the bassG sharp much simpler.

54 Pavane — M ilanAt bar 11 you will see that in the middle voice the secondfinger has to be carried up to the C. This is the only way inwhich the treble and bass lines can be held for their correctvalue, and although initially quite hard does work withpractice. At bar 34 hold the bass B for the whole bar. Thebeautiful entry of the middle voice in bar 40 must be broughtout, and students should also observe the 'echo' effectscommencing the second half of bars 46 and 56.

55 Pavane — M ilanProbably the best known of the Six Pavanes from Luis Milan'sfamous book 'El Maestro', this is a much more difficult piecethan it sounds. Consisting of three-part writing, muchattention must be given throughout this piece to the clarity of tone, in order to bring out the various voices. The fingering of the D major chords in bars 1, 2, and 3, may seem ratherelaborate, and these can be played equally as well with a half-barré at the 2nd position, and the 2nd finger on D. In bar 6, if any difficulty is experienced in getting on to the final chordfollowing the rather unexpected C natural, this usually meansthe left hand is not being held in the correct position. TheC sharp in bar 12 has to be held for the whole bar, whilst themiddle part moves in crotchets underneath. Also be carefulwhen playing the sustained treble notes in bars 17, 18, and 20.Finally, the l.h. fingering on the 3rd beat of bars 19 and 22,may appear unorthodox, but this kind of thing is being used alot more these days, and is well worth perfecting.

56 Pavane — M ilanThe opening of this Pavane is an excellent study in chordplaying with regard to clarity of sound, control, and balance.The stretch up from the barré to the E in bar 12 should bepossible for the majority of guitarists but if this proves

impossible, an open E may be substituted, but remember thatthe bass F must be held. One other detail which is sometimesoverlooked—the two lower notes of the chord in bar 20should ring throughout the bar.

9



57 Adelita — T árregaApart from the downward legados, the first half presents noreal problems. In the first legado, make sure there is enoughpressure on the 3rd finger, as it is fairly easy for it to slip overthe edge of the fingerboard. The first note of the mordant inbar 4, is played at the same time as the bass E, on the 1stbeat. When moving from the final chord of bar 7, to the firstchord in bar 8, use the 3rd finger as a guide, but also keeping

the string depressed, so as to create a glissando. In the secondhalf of the piece, the chief difficulty lies in the threeornamented barré chords, (bars 11, 12, and 14). The first of these is perhaps the easiest, all the pupil has to do isconcentrate on hammering down on the E with the tip of the4th finger. In the next chord, there are two things to thinkabout. Firstly, the A on the 4th string sometimes comes in the

join t of the bar ré finger, so we must en su re tha t the re isenough pressure here. In addition, the mordant requires aslight extension of the 4th finger, making it difficult at first toget the tip of the finger on the note. The last of these chords,again has the problem of the barré, but the difficulty really lies

in the mordant, which is played on rather 'soft' notes, high upon the 3rd string. In the pull-off from the F sharp to E, the 4thfinger must come to rest against the 2nd string.

58 Pavana — PisadorThe full title of this piece, 'Pavana muy llanapara taner' means'Pavana, quite easy to play'. It consists entirely of three partwriting, and once again, is not quite as harmless as it looks.Bars 5 and 6 require a certain amount of 'clambering about' inthe lower positions, and in bar 6 a full barré and then a half barré must be used. In bar 19, I have introduced a 'harp'effect on the 2nd and 3rd beats. By playing the four crotchets

on different strings, they can be made to overlap and run into

each other. The 16th Century form of the Pavane, was usuallymade up of eight-bar sections, and this example is noexception.

59 Prelude — KuhnauAn exquisite piece of music, it should not become a chordexercise as many pupils seem to play it. It will pay the stu-dent to examine in very great detail every finger movement of

the left hand, as in many instances the fingers for a group of notes need not, indeed should not, go down at the samemoment. However, I would suggest that before a single note isplayed, the student goes through analysing the harmonicprogressions, as this will help in the learning of the piece.Notice the frequent use of guide fingers, e.g. bar 4, whengoing to the second group of notes, leave the 3rd finger downand slide the 1st finger down from the 4th to the 2nd fret.When you have a movement such as this, take most of thepressure off and slide the finger without actually depressingthe string. Study carefully the passage from bars 6-9. You willnotice that the finger which plays the final note in each group

has to jump straight to the first note of the next group. Do notcut any notes short, with correct practice this section willbecome less difficult.

60 Prelude (E ndecha) — TárregaIn the third bar play the A using a pivot. The chords in bars 7and 8 must be played smoothly without any awkward pauses.For the 2nd and 3rd chords the half-barrés should coverstrings 2, 3, and 4. Notice the length and shape of the phrases,particularly in the section beginning on the last note of bar 8.This phrase ends on the second chord of bar 10, and a veryslight pause is effective at this point before beginning the next

phrase. At bars 12 and 13 a rallentando helps in rounding off the phrase satisfactorily.

Fo r e wo r d This revised edition of Music from the Student Repertoire is a combination of the majority of music

which appeared in the two books previously issued in the mid 1970's.

With this new volume, we offer a collection of sixty selected pieces which I have now put into a

graded sequence, giving a wealth of material for students in their first couple of years of study. In

terms of musical and indeed technical value, all these pieces are worthwhile, and the student need

have no qualms about playing any of these if called upon to perform in public.

As well as the more familiar examples by such names as Aguado, Carcassi, Milan, Dowland, Sor,

Tárrega, etc., there are also a number of lesser-known pieces which I have found to be very popular

with pupils of all ages, and therefore hope that other teachers may find of some benefit.

10

fohn Mills.



Study in C(Opus 31. No. 1) FERNANDO SOR

(1778 -183 9)

FERDINANDO CARULLI(1770 -1841)

1

Andantino2

11



3

D.C. al Fine

12

DION ISIO AGUADO(1784 -1849)

Lesson



Allegro MAUR O GIULIAN I

(1781 -1829 )

13

5 Andantino FERDINANDO CARULL

(1770 -1841)

4



Study in C(Opus 35. No. 1) FERNANDO SOR

(1778 -1839)

14

6



7 Andante in CMAURO GIULIANI

(1781 -1829)

15



D. S. al Fine

16



ANON(from William B allett's L ute book) (1580)

Maestoso MAURO GIUL IANI(1781-1829)

17

Greensleeves8

9



10MATTEO CARCASSI

(1792 -1853)

18

Minuet



11 Andante GraziosoFERDINANDO CARULLI

(1770 -1841)

19



12

20

MAURO GIULIANI(1781 -1829)

Allegretto



ANON

DIONISIO AGUADO

(1784 -1849)

21

Lesson14

13 Entree



15 A Toy ANON

(from Jane Pickering's Lute Book)

16 AndantinoMAURO GIULIANI

(1781 -1829)



17

23

Study in G(Opus 35. No. 4) F E R N A N D O S O R

( 1 77 8 - 1 8 3 9 )



18F E R N A N D O S O R

(1778 -18 39)

24

Minuet in G



ANON

25

Allemande19



20 FRANCISCO TARREGA(1854 -1909)

21(Opus 31. No. 6)

FERNANDO SOR(1778 -1839)

26

Study in E minor

Estudio No.1



27



22 A N O N

23 Allemande

28

Pavane

A N O N



JOHN DOWLAND(1562 -1626)

D. C. al Fine

29

24 Orlando Sleepeth



2 5

30

S tudy in A m inor(Opus 60. No. 7) M A T T E O C A R C A S SI

( 1 79 2 - 1 8 5 3 )



26 BallettoA N O N

31



27A N O N

28 Study in E minorF R A N C I S C O T A R R E G A

32

Bourrée



ANON

33

29 Passamezzo



30ANON

31 Study in EFERNANDO SOR

(1778 -1839)

34

Galliarde



32

35

Ariafrom Partita in A minor

JOH. ANTON LOGY

(1643 -1721)



3 3 Study in CFERNANDO SOR

(1778 -1839)

36

(Opus 35. No. 13)



3 4 Minuetf ro m Su i t e in D min o r R O B E R T D E V I S E E

(1600)

37



35(Opus 35. No. 17) FER NANDO SOR

(1778 -1839)

38

Study in D

CI I



DION ISIO AGUADO(1784 -1849)

39

36 Lesson



37 Lesson

Allegro moderato

DIONISIO A GUADO(1784 -1849)

40



38R O B E R T DE V I S E E

(1600)

41

SarabandeFrom Suite in D minor



39 Minuet(from Sonata No. 1 in C)

Al l e g r o

ANTON DIABELLI(1781 -1858)

42



4 0 PreludeR O B E R T D E V I S E E

(1600)

43



41(Opus 6. No. 1) FERNANDO SOR

(1778 -1839)

44

Study in D



42 Study in D major(Opus 60. No. 10)A l l e g r e t t o

M A T T E O C A R C A S S I( 1 79 2 - 1 8 5 3 )

45



43 Study in A(Opus 35. No. 21) FERNANDO SOR(1778 -1839)

46

Andante



47



44 S tudy in E(Opus 31 . No. 7) FERNANDO SOR

(1778 -1839)

48



Allegretto

Study in F(Opus 60. No. 16) M A T T E O C A R C A S S I

( 1 7 9 2 - 1 8 5 3 )

45

49



46 Study in B m inorModerato

CD.(Opus 35. No. 22) FERNANDO SOR

(1778 -183 9)

50



L U I S M I L A N(1536)

51

4 7 Pavane



48 Study in A(Opus 60. No. 3) MATTEO CARCASSI

(1792-1853)

52



FRANCISCO TARREGA(1852 -1909)

53

49 Prelude



50 Prelude in D minorFRANCESCO MOLINO

(1775 -1847)

54



51 Lagrima FRANCISCO TARREGA(1852 -1909)

55



52 SonatineAllegro moderato

MAURO GIULIANI(1781-1829)

56



5 3 Prelude

57

F R A N C I S C O T A R RE G A( 1 8 5 4 - 1 9 0 9 )



54 Pavane LUIS M ILAN(1536)

58



Pavane L U I S M IL A N(1536)

59



56

60

PavaneL U I S M I L A N

(1536)



57 Adelita

61

FRANCISCO TARREGA(1852 -1909 )



58 Pavana Muy Llana Para TañerD I E G O P I S A D O R

(1552)

62



5 9 PreludeJOHANN KUHNAU

(1660 -1722)

63



6 0 Prelude (Endecha)F R A N C I S C O T A R R EG A

( 18 5 2 - 1 9 0 9 )

guitar music from the student repertoire

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