GUIDO SANTORSOLA SUITE ANTIGA PDF

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 evidence suggests either El or E2 as the most feasible alternatives. Slow repetition with no mistakes is urged, until the patterns begin to flow easily. 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.

E2 works well with the slurs in these positions, as does E3. Letters to the Editor. The tone becomes darker also, which is in context with the nature of the overall timbre, of these fingerings.

Figure 12 This excerpt from the Fugue from the Second Violin Sonata Bach provides us with a vehicle to play this two octave harmonic minor form at the fifth position in A minor. 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.

To demonstrate them for oneself in this way is probably the best way to absorb them. Back to index Chapter E 2 Octave Melodic Minor Scale commencing on String 5 This form is normally executed with an ascending shift on String 4 and a descending shift on String 1, as follows. In the Courante from J.

Using the fingering patterns given on the previously, try to write out and learn four other possible fingerings of this passage. Vicenti Escudero, The Eternal Gypsy. 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 santoorsola combined with unusual slur possibilities, presents an attractively unusual approach to this passage.

Guido Santórsola

By this in-depth analysis of the interpretational effect of each fingering, at least the evidence supporting their uses, is now clear. In D4a the G is magnified in importance by its location at the end of a four note sequence on string 4, followed by the abrupt punctuation of auite left hand shift.

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Choice of fingering will be seen to have a profound effect upon the interpretive presentation of a musical idea through the alteration of timbre caused by string selection and phrasing by means of shift selection. This sort of practise will slowly build a neuro-muscular memory matrix of the whole tonality of each one of the Chapters.

Here again, the “correct” fingering is a matter of preference.

This causes symmetrical sequences previously not apparent, while creating a more cello – like timbre, especially on String 4. The shift is then guudo transplanted to develop the scale form.

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. E2 is attractive from the aspect of balance within the fingering, as it has either a string crossing or a shift located between notes two and three of each scale triplet.

D3iii however, takes the scale all on string 3, apart from the A note at the bar’s end. This article deals with Chapters D, E and F. 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.

Although this example goes beyond the realm of this form by a few notes, the following fingerings still illustrate three different approaches to this example that are drawn from the previous permutations. Chapter D 2 Octave Harmonic Minor Scale commencing on String 6 At this point I suggest that you attempt to learn, practise and memorize the following scale fingerings.

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Next time we will examine three 3 Octave scale forms. 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. 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.

In cases such as this there is no correct way, only a number of alternatives. For the following articles these forms duite best understood as follows; 2 Octave Major Scale commencing on String 5 or String 6. Diii begins more brightly than the other two fingerings. In El, however the string crossings interfere with santorsol slurs.

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Using common sense, your musicality and the analytical devices you have learned in these articles, decide which of your fingerings is best, and, examine the antifa attributes of all your fingerings, both pros and cons. A small letter after the initial scale code indicates that there are perhaps 2 ways of playing the form – as in D4a and D4b. 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.

The jazz or session guitarist of anyiga is expected to improvise freely in all keys and also be able to suiite fluently all over the neck.

Preludio (Suite Antiga) by Guido Santorsola – Classclef

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.

The previous article dealt with Chapters A, B and C.

They appear quite complicated at first but become easy to understand when attempted once or twice. Back to index Chapter F 2 Octave Guid Minor Scale commencing on String 6 This scale form is normally performed with a shift on String 5 both ascending and descending as follows: The desirability of this arpeggio effect is to some extent dependant on the function of the G at the start of the measure. 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.

Christopher Parkening, Young Virtuoso. With the grid system used here, the student should be constantly referring to the scored scale sukte and, as a result, must absorb the notation AND the note’s position on the fingerboard simultaneously.

Introduction This is the second of a series of three articles.