Play full-length songs from Suite Antiga: I. Preludio by Guido Santorsola on your phone, computer and home audio system with Napster. Antonio Amodeo Chitarra c Guitar Ensamble, Guido Santorsola Sonata n.3 ( ) amabile,scherzo, lento, finale Eduardo Flores Abad. Guido Antonio Santórsola di Bari Bruno (18 November in Canosa di Puglia, Italy – 24 . 1 de la Suíte Antiga (); original for guitar solo; Introducción, tema y variaciones (); also for wind quintet; Canción de cuna (Lullaby) ( ).
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The shift is then systematically transplanted to develop the scale form.
The scale in bar 1 of Diii uses strings 2 and 3 and nicely accentuates the commencement of string 3, with the coincidence of it falling at beat 2 of this bar, on the note D natural. With these articles I hope to equip the classical player with some of the tools of the jazz guitarist, which can help bridge the unfortunate gap between styles and allow anyone studying this work to gain better understanding of their instrument and the music played upon it.
In D3iii and D4a, we find an echo of the “pairing” and arpeggiation of the E major arpeggio in the previous measure.
I have avoided using picture diagrams or “boxes” in these articles as these diagrams only serve to separate the student’s knowledge of the notes and their names from their positions all over the fingerboard. Slow repetition with no mistakes is urged, until the patterns begin to flow easily.
The evidence suggests either El or E2 as the most feasible alternatives. A small Roman numeral after the initial scale code indicates that there is another less important shift on that string. El has a unique feature of having two of the triplets begin with the first finger and is therefore a very secure and easily accentuated fingering and combined with unusual slur possibilities, presents an attractively unusual approach to this passage.
The jazz or session guitarist of today is expected to improvise freely in all keys and also be able to read fluently all over the neck. El is more suited to the slurs being located between notes two and three of the triplets, but even then this breaks down in bar two, triplet two, of our example. A small letter after the initial scale code indicates that there are perhaps 2 ways of playing the form – as in D4a and D4b.
Introduction This is the second of a series of three articles. This suggests a great purity in this line, while D4a transfers to string 4 after four scale notes have elapsed, leaving another four notes onto the G. There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here. This sort of practise will slowly build a neuro-muscular memory matrix of the whole tonality of each one of the Chapters.
Preludio (Suite Antiga) by Guido Santorsola – Classclef
This article deals with Chapters D, E and F. To keep constant voicing, I would finger the D natural note that is in the chord, on the second string here, and on the third in D3iii and D4a. Choice of fingering will be seen to have a profound effect upon the interpretive presentation of santorxola musical idea through the alteration of timbre caused by string selection and phrasing by means of shift selection.
Letters to the Editor. To demonstrate them for oneself in this way is probably the best way to absorb them. In the Courante from J. The high scale at beat 2 bar 2 is common to all our fingerings, yet this scale effect is perpetuated in Diii by its adherence to String 1 as much as possible. D3iii however, takes the scale all on string 3, apart from the A note at the bar’s end.
Using the fingering patterns given on the previously, try to write out and learn four other possible fingerings of this passage. D4a has fewer shifts than Diii or D3iii. Figure 13 Diii begins more brightly than the other two fingerings. One could adopt a policy here that is common in modern fingerings of Bach, which is to substitute a string crossing for a slur and vice-versa and still use El as a viable fingering for this guiido, if the slurs are kept between notes two and three of the triplets where possible.
This causes symmetrical sequences previously not apparent, while creating a more cello – like timbre, especially on String 4.
Using antkga sense, santorsla musicality and the analytical santoreola you have learned in these articles, gudio which of your fingerings is best, and, examine the various attributes of all your fingerings, both pros and cons. This occurs only in two note accumulations in D3iii, creating a “pairing” effect and an accumulation of three notes in D4a.
These articles are designed to be used in conjunction with the accepted classical guitar scale fingerings used for the examination requirements of most North American and European music schools, and to further the guitarist’s understanding of the guitar fingerboard and the immense number of fingering permutations available for a given idiom. Diii begins more brightly than the other two fingerings.
Scales All scales in the intermediate and advanced grades of most examination requirements for classical guitar can be considered as mobile fingering forms that can be performed at any position on the neck, thereby changing in key without altering in mechanical presentation.
Bach’s Second Violin Partita we find a good example of a D melodic minor descending scale that we can use the previous permutations to solve. Next time we will examine three 3 Octave scale forms. The previous article dealt with Chapters A, B and C.
Vicenti Guieo, The Eternal Gypsy. This excerpt from the Fugue from the Second Violin Sonata Bach provides us with a vehicle to play this two octave harmonic minor form at the fifth position in A minor. In El, however the string crossings interfere with the slurs. With the grid system used here, the student should be constantly referring to the scored scale above and, as a result, must absorb the notation AND the note’s position on the fingerboard simultaneously.
Back to index Chapter F 2 Octave Melodic Minor Scale commencing on String 6 This scale form is normally performed with a shift on String 5 both ascending and descending as follows: Perhaps even to try to put some of the principles examined and explained above, to use in your own repertoire.
Figure 12 This excerpt from the Fugue from the Second Violin Sonata Bach provides us with a vehicle to play this two octave harmonic minor anttiga at the fifth position in A minor. They appear quite complicated at first but become easy to understand when attempted once or twice. In Diii the G blends in with the E arpeggio and apart from stressing the beginning of the new measure, has little other effect. Chapter D 2 Octave Harmonic Minor Scale commencing on String 6 At this point Zantorsola suggest that you attempt to learn, practise and memorize the following scale fingerings.
The E major arpeggio at bar 2 beat 1, is more obvious in Diii than in D3iii or D4a, because of the feature of each note having a separate string and the tendency for harmonic accumulation.
Here again, the “correct” fingering is a matter of preference. Figure 15 There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here. Tonally, the fingerings become progressively darker sooner from El to E3.