complete giuliani studies
DESCRIPTION
The study of Mauro GiulianiTRANSCRIPT
MEL BAY PUBLICATIONS, INC. • #4 INDUSTRIAL DRIVE • PACIFIC, MO 63069
CLASSIC GUITAR Compiled & Edited by David Grimes
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COMPLETEGIULIANI STUDIES
CLASSIC (jVITAR Compiled & Edited by David (jrimes
MEL BAY PRESENTS
COMPLETE (jiVLIANI STUDIES
David Grimes uses and endorses LaBella strings.
© 1995 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. S.M. I. MADE AND PRINTED IN U.S.A.
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1 2 3 4 5 6 7 8 9 0
CONTENTS
Studio per Ia Chitarra, Opus 1 • . • • . . • • • . . • . . . . • . . • . . . . . . . . . . . . . . . . . . . . . 7 (The Study of the Guitar)
Part One - Exercises for the Right Hand Part Two - Exercises for the Left Hand Part Three - Exercises in Articulations and Ornaments Part Four - 12 Lessons
Esercizio per Ia Chitarra, Opus 48 . • • • • • . . • • • • . • . . . • . . • • • . • • • . . • • • . • • . • 59 (Training for the Guitar)
24 Studies
XVIII Le~ons Progressives, Opus 51 . • • • • • . • • • . . • • • • • • • • • • . . • • . . • . . . • . • • 91 (Eighteen Progressive Lessons)
18 Lessons
Studi Dilettevoli, Opus 98 ............................................ 111 (Entertaining Studies)
8 Studies
Etudes Instructives Faciles et Agreables, Opus 100 .•.•••••...••••••••.•••.. 129 (Easy and Agreeable Instructive Etudes)
24 Cadences, Caprices, Rondos and Preludes
Primi Lezioni Progressive, Opus 139 . • . • • • • . . • • • . . • . • • • • • • • • • • • • . . . . • • . . 159 (First Progressive Lessons)
6 Lessons
2
INTRODUCTION
The studies of Mauro Giuliani stand alongside those of Fernando Sor, Matteo Carcassi, Dionisio Aguado and Ferdinando Carulli as the staples of the didactic pieces by the "first generation" of classical guitarists. The six-string guitar (what we now call the "classical" guitar) was a new development in the late eighteenth century, and a number of talented guitarist/composers set about exploring the capabilities of their chosen instrument and providing learning pieces for students and amateurs.
Mauro Giuliani ( 1781-1829) was one of the most celebrated guitarists of his age - a brilliant performer and a prolific composer. He left an extensive legacy of compositions, and many of his works are heard regularly in recitals and concerts today. In addition to his concert works, Giuliani composed numerous studies and other pieces intended for students and amateurs, and these have been considered indispensable by generations of guitarists.
There is often an indistinct dividing line between "studies" and other short compositions, and many composers have called pieces "studies" seemingly for lack of more suitable titles. Giuliani's studies usually have clearly-defined pedagogical purposes. Giuliani also wrote a number of other works intended for amateurs and less-advanced players, calling them "divertissements" or "amusements," and these are listed with the studies in Thomas Heck's seminal dissertation on Giuliani, The Birth of the Classic Guitar and its Cultivation in Vienna, Reflected in the Career and Compositions of Mauro Giuliani, Yale University, 1970. Giuliani did not choose to call these pieces studies, however, and they have not been included here, although they are certainly recommended for use by all students. Opus 50, "Le Papillon," in particular, contains exceJlent material for beginning students.
The studies and exercises contained in the six opus numbers here provide some of the most effective material in the entire guitar literature for building and refining a superior technical command of the guitar. In this edition I have modernized some of the notation and corrected a number of misprints.
In Opus 139 and in the first three Parts of Opus 1, Giuliani provided detailed fingering instructions, while in Opus 48 and Opus 100 he indicated only position numbers (Roman numerals), and in Opus 51 and Opus 98 he offered no fingerings at all. Since these works are intended for student use, I have suggested supplemental fingerings to help solve some problems and to help lay the foundations for good fingering habits. Where Giuliani specified fingerings, I have tried to respect the musical concepts, altering fingerings only where contemporary practice offers smoother and more efficient left-hand use. I have also omitted some of the superfluous fingerings in Part Three of Opus 1.
3
NOTES
Giuliani's Opus 1 is made up of four parts and constitutes a most useful summation of Giuliani's technical ideas. Part One is well known as the famous (or infamous) 120 Daily Studies that use various right-hand arpeggio formulae on basic C and G7 chords. These have been used with good results by students and teachers for many years. Unjustly neglected, however, are the other sections of Opus 1. The interval studies in Part Two are among the very most effective left-hand studies in the literature, and the studies in articulations, damping, slurs and ornaments in Part Three are highly pertinent and useful.
Giuliani's meticulous and detailed fingerings in Opus 1 deserve close attention and study. In the interval studies it is clear that he preferred to keep the left hand in one fingerboard position, using finger movements across the strings, rather than (perhaps more "naturally") sliding along the fingerboard with the stronger fingers. The fingering of a particular passage in a piece to be performed is entirely situational, depending upon the musical content, and Giuliani used other systems in his fingering for other pieces. In Opus 139, No. 3, for instance, the original fingering calls for the parallel thirds to be fingered by sliding the first finger along the first string, in direct contradiction to the advice proffered in Opus 1. Giuliani's consistent approach in the Opus 1 interval studies, however, provides exceptional exercise for strengthening and equalizing the fingers and promotes smooth cooperation among them. I have revised the original fingerings somewhat in a number of cases in accordance with contemporary practice and to clarify the concept of efficient fingering. Giuliani also used the left-hand thumb to stop some notes on the sixth string, and this has required some fingering revisions. In these interval studies, the left hand should prepare both notes of the interval at the same time, training the fingers to work in coordinated pairs.
The 24 short pieces in Opus 48 present an excellent preparatory course for playing and interpreting Giuliani's concert works. They contain many of the figurations, textures and technical problems that will appear frequently in the performing repertoire. In fact, several of the studies in Opus 48 are excerpted directly from passages in a number of Giuliani's concert works. Study 16, for instance, is identical (apart from a few inconsequential details and the final cadence) with measures 209 - 242 in the first movement of Giuliani's "Grand Concerto," Opus 30.
Opus 51 is a progressive set of studies for beginning-to-intermediate guitarists. Several of the pieces are quite familiar to teachers, offering examples of technical and musical situations that will be found frequently in the music of Giuliani's time.
As the title indicates, the eight pieces that make up Opus 98 are entertaining and pleasant, but have somewhat less focus as pedagogical material. The difficulty level is early intermediate.
Opus 100 contains four types of studies. The first nine pieces are studies in arpeggios over chords forming typical harmonic progressions in keys with up to four sharps or flats. The next seven are short caprices and rondos, and the concluding section contains "Preludes to use as cadenzas before beginning a piece of music" in the keys most commonly used in 19th-century guitar music.
4
The title page of Opus 139 advertises 24 pieces in four volumes "for the use of amateurs who want to improve without the aid of a teacher." Only the first volume (six pieces) is now extant.
As noted above, Giuliani's smaller guitar allowed him to stop some bass notes by wrapping his left thumb around the narrower fingerboard to the sixth string. In pieces in the key ofF, Giuliani occasionally wrote the final six-string chord (in first position) with an open low A, barring only the first two strings and stopping the low F with the thumb. On a modem guitar this causes an unsatisfactory deviation from good hand position and is no longer accepted in standard technique. In those chords I have replaced the low A with the C on the fifth string. (The final chord in Opus 1, Part 4, Number 9 is one example.)
Giuliani was not averse to using "unusual" or "backward" fingerings when the occasion called for creative solutions to fingering problems. In Op. 1, Part 3, No. 2, for instance, a "backward" fingering (that is actually fairly standard) is seen in line 1, measure 2, where the third finger is left on the low C while the second finger plays the F on the fourth string. This is more efficient than reorganizing the fingers to a more "natural" disposition.
In Opus 100, No.4, a fingering problem arises in line 9, measures 1 and 3. Here Giuliani would most likely have used his left thumb to stop the low F sharp in the last beat; the most viable modern option is to use a "slant bar," with the first finger laid diagonally across the fingerboard from the E sharp on the first string to the F sharp on the sixth.
Many guitarists in Giuliani's time used ligados (slurs) for almost all scalar lines, and the general practice was to place dots above or below the notes that were not to be slurred. Such a dot attached to a note now signifies a definite staccato, and I have removed Giuliani's articulation dots to avoid confusion. The notated slurs and the fingerings given are sufficient to specify the intent clearly.
Giuliani applied sforzando signs to many notes that would seem to require only moderate stress. In most cases, these merely point out appoggiaturas or other dissonances, which should be given more weight than their following resolutions. He also used this notation occasionally to emphasize dominant-to-tonic relationships. In similar cases in other pieces, the same effect is indicated by short decrescendo "hairpins." Either of these indications will help to clarify the musical direction for students, and both have been retained.
5
The original editions of Giuliani's studies contain relatively few errors (missing beams, missing accidentals, clearly wrong notes, etc.). Most of these are obvious and have been corrected here without individual comment. In a number of instances, however, I have felt that there were some not-quite-so-obvious errors, and the changes I have made are listed below.
Op. 1, Part 4, No.2 (p. 48)- line 4, measure 1: the third note was printed as C, not D. Op. 1, Part 4, No. 11 (p. 57) - I. 9, m. 3: the first up-stem was printed as E, not C sharp. Op. 1, Part 4, No. 12 (p. 58)- I. 5, m. 2: the last note was printed as E, not F sharp.
Op. 48, No. 5 (p. 63)- I. 5, m. 1: in beat three, the first and last up-stems were printed as A's, not B's. In beat four, the D sharps were printed as E's.
Op. 48, No. 16, page two (p. 77)- I. 5, m. 1: the first down-stem was shown as E, not C sharp. Op. 48, No. 17, page two (p. 79)- I. 6, m. 1: the first two up-stem G's were printed as B flats.
Op. 51, No.7 (p. 97)- I. 2, m. 3: the sharp sign for the G was missing. Op. 51, No.9 (p. 99)- I. 4, m. 2: the first up-stem was printed as C, not A. Op. 51, No. 16 (p. 106)- I. 7, m. 2: the last three treble C's were printed as E.
- I. 9, m. 2: the sixth note was printed as C, not B.
Op. 98, No. 2 (p. 114) - I. 7, m. 4: the first eighth note was printed as A, not G. Op. 98, No. 4 (p. 118) - I. 4, m. 5: the down-stem G's were printed as A's.
page two (p. 119) - I. 2, m. 4: the down-stem G's were printed as A's. page two (p. 119)- I. 7, m. 1: the third up-stem was printed as B, not C sharp.
Op. 98, No. 7, page two (p. 125)- I. 4, m. 5: the first up-stems were printed as B and D, not C and E.
Op. 98, No. 8, page two (p. 127) - I. 2, m. 2: the sharp sign for the A was missing.
Op. 100, No. 6 (p. 135) - I. 8, mm. 2 & 3: the last note was printed as F, not D. Op. 100, No. 10 (p. 139) - I. 2, m. 3: the first note was printed as D, not E.
- I. 8, m. 1: the last three notes were printed as F flat-G natural-F instead of A flatB natural-A.
- I. 9, m. 1: the fourth note was printed as B, not C. Op. 100, No. 11 (p: 140)- I. 8, m. 1: the up-stem F's were printed as E's. Op. 100, No. 13, page two (p. 145) - I. 3, m. 3: the natural sign was missing. Op. 100, No. 14 (p. 146) - I. 5, m. 1: there was not natural sign in the original. Op. 100, No. 15, page two (p. 149)- I. 6, m. 1: the second bass note was printed as B, not A. Op. 100, No. 16, page two (p. 151) - I. 1, m. 1: the fourth down-stem was shown as A, not D. Op. 100, No. 18 (p. 152)- I. 1: the twelfth note (G) was printed as a sixteenth, not an eighth. Op. 100, No. 24 (p. 156)- I. 1, m. 3 and I. 2, m. 1: the first three up-stems were printed as
C sharp-F sharp-A instead ofF sharp-A-C sharp.
6
David Grimes July, 1995
Studio per Ia Chitarra (The Study of the Guitar)
Opus 1
7
Part One m i
Arpeggio exercises for the right hand
No. 1 fIll!;?;, , ~ ~ ; r; ~ ~ ; :Ill
No.2 f'lll [R pa p3 fE 1f3 pa ~ pa ,111
No.3 f"ll fN fR !B fP IF rn F2 fP :ill No.4 fell:?, J J pP tp [P If J J fE ~ f3 :ill
•mp•mplm 1m p p
No.S fllli:J 3 J m m 9] IJ J J m m fiJ :ill mipm•p m•pmip
No. 6 f I! II: ?, J 3 pa r f J 3 I ? J J pa F2 ? J J :Ill pmi pm1 pm1
No7 ft!Jj: F. ffl fE p? 1p? fE fP fE :ill No.8 ft!JI: [! t? fB pa IF papa rn :ill No .• ftlli:[E m p?fP IF m fE fE :ill
p•mamJ p1mp1m
NolO f"11}?1 m papa ~rm m papa :ill pmJam1pm1 pm1
8
II
II
II
II
II
II
II
II
II
II
No.I! f•,ll:~a (P fF (P ~rr F ;n fE :IIJ
No.l2 f•,II:FJ ~FE~ IF ra F F :IIJ m i tn a m i
(Giu!iani)i m a am i m ram m No.l3 fe11:fF~fP~ lp= 4 r ~:Ill No.l4 f e II: fF pE fF pE I r=r ?E ;n r=r :IIJ
No.l5 fell:fl.FD ;m FE IfF rn fD fD :ill No. 16 f e II: t J 3 flJ ~ J 3 fJJ I f J J (JJ ? J J (IJ :Ill
pmt am 1 pmt am1
No.I? f•' II:~ J 3 f=E J!J m I? J a f=E Jij £}?:ill p 1pm1 a pmp tpm
(Giuliani) p i p i p i p i p i p i
a
No.Is fell:[d EIJ UJ EIJIGJ [8 [8 GJ:IIJ p p i
a
No. 19 f e II: tlJ f1J f1J f1J I Jj Jj Jj Jj :Ill p p I
a
No. 20 f e II: a} ffi ffi ffi I f1J f1J f1J f1J :ill p p i
9
II
II
II
II
II
II
II
II
II
II
a a
No.Zl fllli:ftlffJfflffJiffJffJffJffJ:ill II p
a a
No.ZZ f•lll m m m m iJft w w Jilill II p p I
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No.2J f'lJi:{¥1 fR m m iffl tD tD J]lill II p
a a a
No.24 fllli:fft ffi ffi ffi iff' W W W :ill I p
pm imp i
No. 26 fl! II: rJUjJrJUjJ 'JU~JrJU~J I rjJ~jrJ~j rjJ~jrJ~j :IIIII pipimi pmimam
No. 21 f e II :jJ]JJjjJ]JU1JJJJ JjJ]JU J ljJj]Jj jJ]J Jt!JJ JDJjJjJJJ : IIIII
pi m i a i
No. 29 f e II: ?J)Jj fJUJUJ ?JJUJ fJUJUJ I f5PJ rn ?jYJ ri] : IIIII
No.30 fllll:j]jij~ijijj~jU]Jj=)Jjj I¥PPJJ5]JjJjJPJJ5]J :IIIII
10
No. 33 ~~~II: ~j5 a;JJEfjJ BJJ I ~JJ BJJ BJJ BJJ :IIJII
No.34 ~B II: ,~ji,~j]d JJ?JJPfJJ= ~,a~JJ~j~JJ' ,~p~jJ~ =IIJII
a
No. 36 ~ ., 11:jJ 3 j j J 3 j j J) j jJ )0 1@] 3 j J] 3 j J] 3 j J ] 3 :Ill II p I p I
m
No. 37 ~ " II :j ! ] J j ! ] J J ! ] J J ! ] J lj j ] J j j ] J j j ] J j j ] J : IIJ II p I p I
a
No. 38 ~ e II :j J j J j J j J j J j J j J j J I j J j J j J j J j J j J j J j j : IIJ II p I p I
m
No.39 ~~'ll:j!];j!];Jj]!Jill3!1p]3jJ]lfl]ipj!:IIJ II p I p I
a m
No. 40 ~ ~~ II :j j J j j ! J j j! ] 3 j ! J j I j j ] j j j ] J j j ] J j j ] J :Ill II p I p I
11
No.4! f•!JI:jij 3]3 HJ3 jJJ= H 1ji j Jjj] Jji J Jji j j =Ill II p I p I
No.42 fl! 11:jJ HJH 3jdj 3]3 H 1jJ J ijJ J ijJ j ijJ j j =Ill II p I p I
No43 f•!JdJJ 3j3] 3jJ J3j3] 31 jJ] ijJ] ijJ] ijJ] j =Ill II p I p I
No. 44 f I! ll:j3 j 3jdj Jjdj Jj3 jJ I jJ j JjJ j JjJ j JjJ j J =Ill I p I p I
No.45 fl! 11=]iJ 3]3] 3JH 3]3 H lji] iji jjjj] iji] j =Ill II p I p I
No.46 fl! ll=dH Jj= j Jj3 j Jj3 jill 1ji j Jji j Jji j Jji j j =Ill II p I p I
No. 47 fl! ll=]iHJ3HJ3j3jjj31jijijijijijijiji =Ill II p I p I
No 48 f llll=l3 Uj3 Hjjj 3j)j S1jJ J ijJ J ij]j ijJ J j =Ill II p I p I
No.49 f ell=dh 3j3 J3j3 Hj3 J31jj] jjj] jjj] jjj jj =Ill II p I p I
No. SO f I! ll=dH 3j3 HjH 3j3 j d1ji J iji J iji j iji J j =Ill II p I p I
12
No. 55
No. 56
No.57
No. 58
No. 59
No.60
13
II
II
II
II
II
II
II
II
14
15
No. 81
No. 82
No. 83
No. 84
No. 85
No. 86
No. 87
No. 88
No. 89
No.90
m i m
fe II= ru; rust JJ r JJ I rJJ r JJ r JJ r JJ =Ill
fe II= f.jijijij pua fJJji?PJfJJJ ~pj ?Jj =Ill am i m
f" II= ?,Ej5~Jj5 ras ~Jjj lrP?Jj rp ;Jj5 =Ill
fe II= liJj f. ji j p=j ~J5J 1p Jj fP J ~jJJ ?P J =Ill
f" II= tJSrjJ rjJ rjJ lr]Jr]J rjJ r]J =Ill
f"ll= gJjjpJJ fjJJ PJJ lfjJ'PJJ pJJJ PJJ =Ill
fe II= lHjruj rJj ruj lrJj rJj rJj rJj =Ill
fe II= f3 3J5)J {JP JJJ] 1pjJ JJjj pjJ JJjj =Ill pp1mam1p
or pi mamami
16
II
II
II
II
II
II
II
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No. 91
No. 92
No.93
No.94
No. 95
No. 96
No. 97
pmam impi pimnmami
f e II: p J 5 J j 5] J r 3 5 J 5 J) I~ J J J J J j J pJ jJ J J J] :Ill
fe II: ~jj j f=J 3~ p!?J 3 51 r jJ upJ )~ ~ J~ pJ J J :Ill
f e II: j] jj J 3 J J ?1J J 3 J J I :J 3 JJ J J JJ J) J] J J ] J :II I
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e II: W J J JJJJ ggJJJJI i J JJJJ i J JJJJ :Ill ~JAM pipi ~ ~5~j ~J~j
pami pima
No. 100 ~ ,, II: p 5 = = f 5 5 5 f'¥ f 5 ; ; I ~ J 5 5 ~ J J 5 f J J 5 r J 5 J :Ill
17
II
II
II
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. a i a i p I a I
mi p i ~ .I Tl p i p i .I J
No. 101 , r ~ "! [ r r ~ i r F f -&
II
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II p i m i
t J'==J~s~==JnJJns JJJJint'<e==. No. 110 vI! II= r r f r I r r r ~ ·Ill II
18
19
Part Two Exercises in intervals for the left hand
Thirds in C major, up to the seventh position
20
Sixths in C major, up to the eighth position
II
21
Octaves inC major, up to the fifth position
No.3 f )}jf,[:f;~.@f ll!!~@!~E!.tf I
f f!j' t!Jf#Efili:ft 1f:f#~'@f [_f I 0 2 3 I 3 2 I 2 4
4
3
22
Tenths inC major, up to the eleventh position
f 05fl3f¥2Efo~ ~ttf2Ef 0~0Ef 1
f 3am:1
~2Ef0Ef ~3EJR3~3Sf0Ef 1
23
Thirds in G major, up to the seventh position
I II ~ I
No.5 f'l·fJ:Jlt/ArJ l'fic'f·tJJ 1.C}.fJ:fltJ11
II
f' ~~.(fSk~~t!f It¥ & ~ lef'Efef I 2 I 0 l I I 04 2 I 4 2 I 4 I 2 I 4 I
24
Sixths in G major, up to the seventh position
No.6 f 1 £t:ri~E!'3~l!::fl1st:fs[J}sf!flll= I
f1 3/l:fl9r# l!i! 9 f!:p-13/!-1l!:f .f!:19 fJF I
f1
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II ~
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fj Ef [5!4 EJ' rJfl E/' EforJ!orJ' I 1 0 1 3 0 3 1 0 1 3 3 3
III VII
II
25
Octaves in G major, up to the seventh position
No.7
f.[f [1 I f!·f!f lt:f,[f I rl·tf I 2 3 0 3 2 2 0 0 2 3 2
26
Tenths in G major, up to the fifth position
*-W=~U (f ID' ~ r;r2~ I 2 3 2 3 0 3 2 0 3 1 0 1 . 0 . l •
IV V
27
Thirds in D major, up to the ninth position
f# .f!:P.Ef ltf&P.aJ= li:!f?;&P I·&Pb@;l
f~ .BzP ·P·P r&f·BP l·f:l'.fl:P l·&ffl ·~,p 1
*~ ·Pr~er 1-lTIA~BP ~.er .mr I,EJ"·EP 1
f~ .f!:P.Ef I'BP·BP I.Ef,ef 1·8P ·~I ~II
fj# ,gsn .2!f l'p.p,&P 1·8Jrl!!:P I,E;J= ·BP I f# .f!:P,Cf l,f!JP·fli' 1.f1!'t9·8 I'BF·PtP I *j~~a:P,e-g l'ee?fl~·CE·f?:R~,p.p.pp 1
f# ·ftP.am I,C!J'·C!P I.EJ'·SP I.EJ'·SP l:r 11
28
Sixths in D major, up to the fifth position
II I II ~ I II
f~ ,~l@;,@e~~~ 1~f?3ftfl~eftf lef3fef3!';4£P I
f## 0f=3@yEof,~fi l,fe[:fB,fflf 13Pl¥tf:ff 1
f## 3Pl73f{ft3pl1 ilftft;fattPJP lof38P0fJ2!! 0f 1
29
Octaves in D major, up to the seventh position II
~ ~ ~ I II No.ll f~t.f=i,@(,[fl,tforf 1,(5!R•Ufi I
30
Tenths in D major, up to the fifth position
31
Thirds in A major, up to the ninth position
32
Sixths in A major, up to the ninth position
No.l4 fi##S,~ 14f 2
P4f/f4/G/f 1/~,#,tp.f!.ffuf I
*### 281ff¢f,Efr V[J!l'4E 1~}; 14!21'4P0r4~0f I
fj## '~#;tl=:lflt@f I,Br¥0~~}5f- 14f:l'if1'2P)' I
II ~
f~# of:3f~fJ9-4~lp l,poMf3f,fo{tf 13re~rif3f,f3r I
f~#aMf=JP9f3~,f~ 13{tJf;[,~pfjP l[l!4p,foE!Jf' 1 JliL
II
33
Octaves in A major, up to the fourth position
f\#,[1 rlf!! I r!,Efifi ~~~[I rJ I 4 2 3 0 0 1 3 01 2 0 1
I II I II I II
f\# ~Ei 1!1!!} I f!J(!!!) I f:Jf!IBf I,J· II 2 2 I 0 3 lo 3 2 2 3 4 r· 0 I 0 4 0 0 2 3 4
0 I ·
34
Tenths in A major, up to the eighth position
f~# 3EP'lf ,i:f 3E? l 0cf1~ 4Ef 1t! I f~## '!1 '!1 r-J rr ~rr r~~t-r4er~ 0 4 0 4 0 4 l 0 4 4 0
2
III~ I
f~## 0f!10f!!=4~3ftf!# 11ffof!!7 4f}Jf 1f11 III V VII
4&
35
Part Three Exercises in articulation, damping, ligados and ornaments
A note is sustained by maintaining the pressure of the left-hand finger throughout the value of the note. This should be observed rigorously for the bass notes in this example.
Maestoso
No. I fl! ~ ,£,3 .J ,J •J ,J .J ~! ,J ,3 ,J ,J:J ,J j I'~ .J ~ .J q~J ,J J I u I~ 3U
I f .J .J #J J y i,J.jJ ljJ ,J J
f J J 3 J 1J 2J eJ I J .J #j J J 4J ~ IJ ~ J ~J ~ J J J I 'I 'I
r r 2r r 3r
f:~ J 3 :J ,f J J J I 'I 3 3 3 J 'I
3r r 3 J 1¥
J 4J J ~ J J J I
r
~ J J J
~ J J 4J J J J3 f 1¥ > 3 3 J u r r
36
Damping. After allowing the note to ring for its written value, damp the sound by touching the string with the same finger that plucked the note, since the slightest touch reduces the string to silence.
p p
f V ~ ~' ~ ~ ~' V ~ ~' ~ ~ ~~ r I ~ /~' ~ ~ ~v ~ ~ ~' 4~ r~' I f ! ·:fr ! ~v ! :Jl' ::. ~' I: fv ~ ~~ : tfv ! ~i I
2~ ~ ., ~ ~ ., 2~ ~ ., ~ ~ ., ~ ~ ., ~ ~ ., ~ ~ ., ~ ~ .,
f ' f! ' ~q~§ ~ ~q~r 'I ~~, I 'I ·fv 'I ~' 'I ~' 'I .~v I - - - - - -4 - -
2~ ~ ., ~ ~ ., 3~ ~ ., ~ ~ ., ~ ~ ., ~:; ., ~ :; ., ~ ~ .,
f V ~ ~~ ~ ~ ~'2~ ~~~v V ~ ~~ l~ ~ ~~ V:; ~'2~ ~~~' ~ ~ ~' I f ~ ~ ~, v :; ~, ~ :; ~f v ~ ~, 13V ;~~, ~ ~ ~, v ~ ~, v :; ~, I f v ~ ~' v ~ a~i ~ :; ~¥ ~ :; ~' I v :; ~i ~ :; ~' ~ ~ fv v :;{&~y I
f v :; ~ ¥ v ~ II~ y v :; ~ ' v ~ ~ ' I i II
37
Articulation. For articulation of the greatest possible rapidity, avoiding right -hand fatigue from frequent finger repetition, the index and middle (and annular) fingers are used in alternation, as shown by the fingerings given below.
Allegro m i m m i m m i
No.3
r m i m
m i m
r r
38
Acciaccatura from below. To make the melody note sound sufficiently, the left-hand finger must "hammer" sharply (or slide) from the preceding note.
Andantino II 1 II
No.4 fj## 8 :11 iJ!i,~ :ij tJ9\i@ itl r r
39
Acciaccatura from above. To link the grace note with the melody note, pluck the former with the right hand, then pluck the string horizontally with the left-hand finger that held the grace note.
Grazioso
Nos f~~ip·, i•~'~ i•f''f l'tr'9¥J
40
An ornament with multiple notes. After the first of the two grace notes is plucked by the right hand, the left hand executes the next two notes as ascending ligados.
No.6
V IV
Allegretto II l 2 4r"=r-! II 1 ~ 124 012 124 t·...; 012 124 124 f1
## B ~llJJ!fOJ I tfZJ- I ~;aj)J I ~#J Jti= I - - - 'I - - -
r r r r r r
trW= o 13 r·
41
Another ornament with multiple notes (inverted mordent). A single left-hand finger executes an ascending ligado followed by a descending ligado.
V III Andante mosso I 4 I IV II 1 4 I II 1 3 1 . V u
No7 f~el'~ ~~-~~l~ EJ 1~.'wa~~~ U 1 S~-~~~l~i' 1
V III II I 4 I IV II I 4 I II
f-#~~- l~ d {ii~ ~ ~~-~ lJ l~ G I~_J.~ i~ ~~ J I
I III V
f#g~d 3':d 8 I~ J 3 F !Eij I~_J,; i~~.J g.
42
Grupetto. Only the first note of the ornament is plucked with the right hand. The second note and the final note are played as descending ligados, while the third and fourth are played as ascending ligados.
No.8
21242 II
I~&JEl ~~~I r· r·
- -r· r· IV
2 124d 'f #G ~~~·
I 21242
'f .Q I &W) . .QU} 2 1 2 4 2
I'QEl r· r· r· r· r· r· r·
r r
- - - -r r r r
r· r·
43
Acciaccatura. This much-used ornament is executed in the manner described in Example Five, plucking horizontally with a finger of the left hand.
r IV
4 n21
t --- or ---
1Xn2n_ 4=' 2_t,_. 4 1:2 • I
3r --- r r II
II
. --- ~ rrrr r
rrrrrrr r
·f]~tniJ 3J j ~ J J J J I~ f~,J II ----lr 2r r r
44
Ascending ligado. The first note is plucked with the right hand, then the second is produced by a left-hand finger falling onto the string.
Vivace II III I IV F1 V ,...., II
No. 10 f.## e '{J· ~~r· a{il ~!#· ~~· (;v!#" 9 ~· 1§1· ~~·
III I IV 11!1
fj## 9~· 18· :±;J ~~· I i = ! ~~· ~~~· afl 18· ~~· r ~ r r r r V II
45
II
Glissando. After the small note is plucked, the left-hand finger that stops it slides to the melody note, sounding all the intervals in between, in the fashion of the ornament that singers call "portamento."
No. II
Allegro moderato IX I
# I 2-*
f~ rJb i r i
IX
fJ 1.¥1 ·~ r
f ~8 a if : 1.w .itf I·~ ·~ II
- f - f r r i
No. 12 Simple trill. After plucking a note with the right hand, strike the next higher note forcefully and repeatedly with a finger of the left hand, making both notes sound.
Simple trill
0 2 3
f~.l~~~~~~~~~~~~~~~r~r m 1
II
II
Two-string trill. This trill, which is preferable to the other since it sounds for the full value of the note, is played with the index and middle fingers or with the thumb and index of the right hand.
3 0 3 0 1
T~~~string ji~e~~~~~~~~i~li~i~i~i~i~i~i~i~i~i~ir~r~~t~. ~II 'f" 1m 1m
or: p i p i
Mordent. The mordent is nothing other than a short trill, executed in the same fashion. (NOTE: This is not the customary usage of the term "mordent" today.)
Mordent (written)
Mordent (played)
r II
46
Part Four Twelve Lessons
Maestoso
47
Allegretto grazioso
No.Z fstl~ cfE rf 1 ~·rr; a 1 §r1~ J.~ l~·rr; ~I
f f rJ1rf 1 ~ r1f.J ~ I r- D pn I~· [J ~ fiE rf2 rf I
f r·n10 1&fhJ1;fl¥Q iffihJ ~pg~ 1 VP VP
* f.!B t11 ~mm~r.:a t11 ~tam ~rmarma~ ti.f if I
f prna~mu~rma;mu~Fmu;m~~
, r· ff
-r· -r· l •.
r· I
48
Andantino mosso
49
-- slargandosi
r r -
r
50
Allegretto
No.s fjH3~:2a'" 12·rJ ~~ ~j~ rY.~ rf 1z,.LJ~'' 1 dolce
ft mW1~m r ~r:r;I!Fr ~Fr I ft ~· r r ~ #~ ~ I!~: l r~~: l i I:~: l if~ ~ ~~': l i
3~: l i I P cresc . ............... poco ............. a ................ poco
4 v II I
ft ~ /~~~ lis~~~~ l Yq~;~ l#1~ lqq~: l i f l f 1 f l f ~jiq~ 1
dim.
ft ITJbf.E J 1rfD4f.P l;.~ r?J 1f1B f9i31ffl;.E I
ft Uf~.P 1 ffi?f.n 1~rnttEf 13llif.P 1 m)~·f2 1
51
Allegretto con moto II 4 3
No.6 ~~~~~~~~~~~~~~~~ :; r "ftrr
= ., ~ r
I II
II
- -
r r IX VII
v II
- -r r r r r , 52
Allegro maestoso II
~ r r I
53
~ - -r r I
en
Allegro spiritoso
No.8 ~-ef IEr rJ f ~#J51Er tJ; ~r ~ir fJ f ~rm I i•~ '~ ~~~ ~ ~ I.J l tpl~ ·fi PI V ~ r rJ r ~ { 0 tJi.J.f Jf.J r ~ ~tf ;r ¥ i
II.....,._~ ,.._,__
&• ~ II J '(# 1•: ~~s#~ J ,J J J I,J. _ .b~ #:ro I'~ J J J~~ ~ 2 I V }W r dolce 2r:·rrrrrrr 2rtrttC:cr 2rr:rrr"trr
I II I II CI
. ~~·:· __ •~:· __ #!l~:· __ •~:· __ #~lpffi J lfi=I~@Of'~,J ~~I 2 ( r r r2r r r r 2 ( r r r r r r r i r mf
~~ ~;;~ Jt:~u I ~to~ i :~~ l,~~;lj'~j : i I r r r r ~ r r r I 3 = = ---==== :::::o--
11
54
- ~ r ,
Allegro spiritoso
No.9 t~ 1 p 1{! t! ijf !&['! £9~ 1:f:: ~ 1[! ! p 1 pp rrr rrr rrr rrr
= "1 = "1
55
VII V II
--- 4 u.r r r IX X
nm!
'r r - - -- r r - -r r r
---u.r r r
r r 4
I
56
57
- -dotcer r
IV
-r
I
58
Esercizio per Ia Chitarra (Training for the Guitar)
Opus 48
59
..... r .......... a ............................................... . poco
60
61
Moderato
No.4 fl!~ rue!ii = (@ Q IJ w Jjlai ;zuw !1
•
-r r r
62
Allegro I .---6--, r--6-. .---6--, r--6--, II,..---6-
No. 5 f# e'J5J] f jJ5JJ f jJ=Jj r jJUJJ I i jitJJj3r jJ5Jj r jJ5Jj r jJ5Jj I
f~4I#~t;JJ F J¥JJj F J?JJJ F jJkUJ I#F#JJJJJ F jJJJj F JJJJJ F jJP-Jj I mf
I
~~~JJ5Jj~jJUJJ~j)J)j~jJUJJI~jJ;Jj~jJiJJ~jJJJj~jJJJjl CII
~~ ¥ jJ5Jj ¥ jJ5 Jj v JJ5Jj v j]5JJ I r d33Jj v jJ1iJJ v jJWJJ ¥ jJJj~ 1 r r r r r r r r
t•: jJ5Jj ~j]!jj! ~jijJ: j]'jj 1: jjdjj: j]i]j !JJfJJ: jjdjj I r r r r r r r r·
II I
f.~ j]5Jjlr ws=3JJ ww=Jw2r jJ=sw l~ ws=Jj r jJ=J~ ~ jJ5Jj ~ ws=sw 11 ~~~
63
No.6
Allegretto I
XI
64
IX IJN
~I
Maestoso
III
!':'\
: II
65
Allegro I
No.8 f I~ ,J ,D J 2 • J • ·2 • # • If J ,J J 2 •} • r • ~ • I v v -
- -
VIII
-
i r sf
r
66
f r J,] u B 5 r;J 1 r ijaj~a a tJ J EJ J 1 ~EJ J EJ J EP J 1
Sf p -~========== =============~=-
67
-r II
IX
-
r -
r r r r 68
Vivace con brio
:; Piu presto nif
f~'· = ,~ ~ 1 ~ ~ ~ 1 }~2~3~ ~ F m F m 1
f~'··f'·ffl 3F m F mr m IF m r m r t:u F m I VI I!MZ IV -~
f~'· F~/N r m F m F m ~r~m ~ ~j3r~m ~~ ~ 0 I CIII _ I
f ~~ F· m £] J'' f.J J J .a J j ~~r 3 J J Jij~~J J J ~ J J ~!J~J = J I
f ~'· ~r J'E q~ J ' J ! J s J J J ' J ~o~>r;n J J ~ J l m J J ~ j I
CIII "" I ~ ~ ~ f~~ F·m tJ ~ j f.J J a J J J J I' tH F-= Fe= v~ I
r vr f ~~ ~ ffj F fH F fflif~ ffll ~ m ~ m ~ lH r ffj I
CVI ~
69
f# f 2' FJ a;~ u pn ~~ v f!P a~ J tp 0 1
f1# J j 3 J £4 &d ; g; ffi j I d 4 d 4 J J J 3 J J J J ~= I ~ ~ ~ JJ~
\,.,.,_;
III
--- 0
II
f# tJJ pJ d £43 03 I[U Z:Bi 4kd 4D ~ Jj 1 6 ___, r--6----,
f~ J s u u:U V n; <dfbTI 1 '5 :o Ji;=t83JJitf@j 1 ~ ~~ ~
70
Allegretto v r-- 6----, r- 6----, r- 6 ----, r- 6----, r- 6 ----, ~
No. 12 f~# ed31JJj;-JJJJJ,~51JJ],JJJ5J li~¥¥¥Jid-~dyJ.JtJJ~Jr.JJ I mlf r r r r r r r
fj##! JOJOJOJJ! jJ'Jj! jjJjj! JJ'JJ I!~]'Jj! jJiJj! jJJJJ! jJJJj I r r r r r r r r
fj##! JJ'JJ! jJJJJ! jJ5JJ! jJ5JJ I![JJ'JJ! JJ'JJ !~~J'Jj! JJ'JJ I r r r r r r r r
f~#! JJ'JJ! JJ'JJ! ~jJjj! J:JS:JJ 1! JJ'JJ! j]4Jj! jj2Jj! JJ'JJ I r r r r r r r r
- - - -
r r r r
71
-4 - 7 "!!_ i .Ill i - i ~ CIV 'l ...l J ~ 4 ... ~ - - -. ·~
, t I - T -
--- -r
-r 72
Allegretto
No. 14
73
Andantino III III
IJJ = ~ ~ ~ f ~l·b g,~ ., I~ ~ IJ J J IJ I No. 15 ; -r r r r mf
I CI VI IV
4
' mf::===-
CVI VIII ~J'l CIII CI (hinge bar)
ot ~ -
~ :c r p ~ I sf
sf
sf sf
~ --====sf
74
em
CVI III
3~nn 1 ~ I ~ < ~L ~ < ~'l.f f F I~
p f
75
No. 16
sf
r r
r#; ~tfiP·r2rQ?fMs?lWROf01 r
76
-r r f'##tm;??Nl;fi
1
; ~sm~ 1
;!W,m,m,m 1
r r r ~ --- 1r ·r 3r r
XII
- -- -~ r·
II
---
-
~
- ~ -r r 77
II
---
Andantino
III
IV v
I i..IM I
I J ~ I
'\
, - - -r_ t.5-" - - -
v~ v-r· v-r· v-r·
78
III
79
Con brio 4J. 4J. --
No. 18
1. v II
2
- r r -r II
r r t~ ./ r tf IV
f~# i ;;fj' m !iii" 'i--~J -JJ I~ f m r m LV'] I t ,r ,r II r .. l r
f~# r pj f p=j ~'J!??J J j I~ Jt-J ~j; j ~ Jt-J ~--J ~==jj I
f~#; Dr j'gy; l@ p n l~ij p u f cl p" I 1 I II ~
f~# ~~tJJ; ;rr~~~#~lfrrrrefi~Jb I V "Tnr-e ._ IV I
f~# ~ j,f ; £; ~] f 4 ? ; tgj p:n,~J V.i)i!@ 1
r m r IV II r {.o·
u 80
f J - r i J s J J J J D fj I J J J J J J u J ~ 2
Grazioso
CVII
3
0 "1
III I
====*==~ i
t• irrJ;tp 1€rtF!J 1[r#(rrJ 1$1J 1
n
J 1
82
Tempo di Polonese IV II VIII IV I II
No.2! f'~~~!~~~;J@J l!m~{!i 1:W3~1~(!~dH 1 ~ r r r r r
IV II
f~~ ~§w~=w;J~~ja 1 ;~J~;!'Jpso ~~~JJ~,;·~~~rwJ 1
IX
cresc . ................. poco ................ a ................ poco ............ J XII~ ¢IX
, ~ i r ~t==;:::;u==3 J 1 J = J nn & ~ T i I .~.a. I JYJ. I ,pJ 1J ;'!J I ;pJ 1J pJ I_ _ _ I w ff \:J ..z ..z ..z..z-.= ..z..z-=- - -pr r r r r r r r ,.,r r r
~ # ~ !fj j j J j ' j J j J j lj;:t j 1 j J j J j 1 j 4J j j j J J ' J 1 J J] = # I I I --- --- ------ --- ---r r r r r r r r r
- - -
r r r r 83
Allegro maestoso
i:## III .. I III I II~j~J~ E5 No. 22 v # le; ·pY~AA ?j IP (J p lf#fj ~ oj fj ~~ d= @ I
r ~ r ~ r sf if if
I II
fb (¢.3 J ~ 5~e 5,~ J J J; 5$ J 1 fJ Jj ;=r-~=-;~~ tz)j ii HI
II IV VI III II I
~~·, ~..-4J"'!!!!!!!!!!!!J~ J~ (; 4: )~ a; J ~~; 4~ Jq~; J:; 4~·~i2 ;;~ ; I tif if
I 4 -y er --- --- _ II IV =I p:
f•~ ,p s; F j a r jar J a If,.,;~ J ~ 4lj9* I ~v sf sf sf sf
fb ~.J}~ }1 }~)DJ i J J j I ~J J jq~ J J j ~)Jj i j 1 j I r dolce r r r
84
85
No. 23
f~ g J 9•J ~ 5 ~ ijJ ? 5 -? J l,f #51 5 r 5 ~r 5 ~ 5 ? 5
J mf
en
b: r;f E r E mf
f# F J J J ~~ d
~ ~~-~ ' J J J ~= d ~ ~~ 3 ' ~ If I ;j- ;j-
Iff Iff
~ ~ J ~
I II
f~ d = j J
2 5 ,p J
lci 5 &J J r 5 F
J r 5 1 J j j J mf
--
~~-~ ' [LJ ' ~~ F ~ J J ~~ F
~ f# F J J J J If I
~ ~ Iff Iff
! = j j ~~ ~ ~ J ._J f# ~
5 J J If fib @j J j 0 t "= ,(
J J ........,
~ ~ -mf f
86
-.._;:
Sf Sf II
t ~ ~ ~ f J J j r 4.., ~ J j a f~#Jf J f
pr cresc. r ........... T. ............. . r.poco ........ .r. .......... _J,r.. a .......... .
II IV
-r r r ............ poco................. f
r r r If
87
Allegro tf tf
No.24 f1## ll' ffl :,( j j j ~ ffl *-]=J=j I! ffl! m' m! ffll ,r r ofr 'r r r
tf tf
f11## , m J J J J ~ m *~=]=J==j 1! m! m , m! m
1
,r r ofr r r r IV V II
f~# , c E w r J t J r J r' a j 1 r u e u t0 r J tJ d = ~'a j 1
r r r r r r IV V VII V IV II
f~# reur=ar-r~~~~~ROIJ~t1j'dJ;='elii;llll=tou;F ~ ~ ! r
~~ # x;,J Jj 'ij)j i jJj ..J:j)j y'J,Jj~jjj :Jjjj ~jjj ~ # I I
,r r ofr r
t• # ¥ J'J lJJj v m..J:)Jj v ~JJJ5 J]J5 J]JJ V # I I
,r r r r mf
88
XIV~ XIII XI IX
:; ~ 3_- .J :; .J;::l J VII VI IV II .ti.. :;~ I .IlL ~ .ti.. ~ JI\J.Io i ~~===~ - .. -.----- -I - --- .Ill .. • ...J .... ..... ... I' I""'"
I"" • -,11 I"" • 4) I
......_., L I I I
fj## ?Pi @fi ,£2ij E i g i ,Jd d d _ £, r ~r ~ r ~(rrr r r r r
IX VII
m= . === J ; J • 1; J J 1
~r
J 1 -r -r
II
--~
r
- ~ r
r· v
- r -r
89
--r IX
I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I
90 I I I I I I I I I I I I I I I I I I
I I I I I I I I I I I I I I I I I
I
I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I
I I II 11 II 11
' I
I I I I
I I
I I I I I I
I I I I I I
I I I
I
I I I
XVIII Le~ons Progressives (18 Progressive Lessons)
for the Guitar
Opus 51
91
This page has been left blank to avoid page turns within pieces.
92
Maestoso sJ;
No. 1 f .,t r r li I~ li r r If· f r"f I r f : J I ~ ~ f ~ I~ f ~ ~ I ~ ¢1
Grazioso
93
94
Maestoso
No.
4 *#¢fm~~~~~gmer•apwJ ~r2F' 1
f# ~JJJ~J~J ~rm·;J~d 1fm4~r~~~rrr~rrrl~rrr:~
4# Er~r~r,r 1 f#fOPJl 12~JJ#a2~J 3~ 12~JJ#JFJ 3~ ~~J~rf 1
f# ~Jt,a2~JfJ ~~JMtJ~;Jq:a ~~D·fD:fJ~FJ ~3~J!aa~;JJ~ ~~ : 11
== ==w =====' ~========!
- --- ........... ,. --- .... --- -
,r============--- r p u r 95
. r· . r·
96
No.7 fd::ti;~l~:~ ~#~' 12! p3~ ~~u I~ p4~j!E~f ~~~·4r c:r ~~I f = :::=::- mf
ft# ~=====-~~~#~I: p ~ ~f~ I ~~~t~(~ L:~~J~ I rr ~~~~~I
fj# 2~·~r rif 1lr_P ;:'I~ r;r r3r~r 14Er2fit~~ 12-r''' r ~ r fl
sf sf sf
p ~r ~
fj#{? ~#~ ~~ ~~~·3J Jill~!~ J fa fY li c t!r rJ I
~ = 2 r p-----p
97
IV II
98
Allegretto
No. 9 f ~~~ l ~I ~ ~ J r : 3? • r • ? j I ~ ~ t J ! ; 4 E r 4( ; [ r I ~I p
f~~~ ~ ~ J J:t? J tJ J I~ 1 J j r f r rt r [ r If ~e J t J ? J F J) J I f~## r ~ j J r G r r r ;·f r I~ G J t J3? J E J? J I ~4$ J ~ c 'r [ ,·[ r I
r 99
Andantino
No.IO fa ji,E rfE,r11t· rJ ~ r1 12 n=~t?~ IE· rj t Jl
100
Allegretto
101
Vivace
No.I2 f~ ef.ffl J J,Jar.m J J J j I f.m J J J j F·m J J J j I I
r· r·
r· r· 3 r·
f~,; . .=o;ar:m-y !;.mPi?p.~JJJj I,_PJPfr.mnp I
r· r· r·
- -r· r· r· r·
r·
f~r~r~r#m~.=o fo;;F~;m~m ~~~p~;#.=orm 1
fj rmrmrm:#mlrmrmrmr#Jgl~ _: II sfr sfr
102
Allegretto
No. 13 ~ & li. J §Jj ,J J 12r. j M@ J J I f. J :J d J ~ l;. J J J I@ I
~& Y#~~d§J J IJ ~ IJ J :J 3 J.J I 'I j J J§J&i lbJ§t;J J J I ~ r ~ fti r: r r r 3r r 3r
f& ~_J§Jj J J I!~.J ~3J ~ U 13~~~J ~ J ~ ~~~.§~2J ~ J J I~,.....,.J ..... J ....... ] ~.,......J I
& & ' J J J J J I•J I:· d HJ 3J 4
J~J !J I i ~ J J MJ J I ~ i r r r r r rr l r r r r f f· r
cresc .......................... ... poco .................. a ......... . CI
............. ..........-t
- - - ~ . r. ........ 2.r, ..... 3.r ... poco
............. ~-rrr r ~& [r~J 4~ 2J II& J ........ J _ .......... J J I~ J ~ J ~MJ I~M3 J J ~ 3l~i3 J J ~ 31
3 r r r r r diminuendo ........ poco ........... .
~& f!3 J J r J l&fijJ ( J&t J IZ.d!? J J IZ)HJj J J ltJ J,~ J) I .... a ............ poco r aJ r r
f & ;. J J J~JJ 1 ;.#4J 3 §J J 1 ~ ur E r 1 F a F J f J 1J J 3 J J J 1
CI CI (hinge bar)
-
r· 103
r 3
- - - -r r t r r
rrrr rrrr rrrr U
104
f J J J J h JQ I ~ 5 J J D j!S I %J 5 J' tJ J 9 I J J J D J 5 J J I J J ~ 5 f= ~ ~ I r r ~r r r r r u r
f ~~m-·i~~!;ee~ar~~~j ~~w=rjJ' 1 fd#JJ·~Jjj 1
-
r 105
Allegretto
No.l6 f!frrr2r~fr~j 1 trafr~jEr& 1~ra?rffib~ 1
f tbafdr¥dr 11raffirir 11(::rtrfrti 1
f t (:: r F f 2r 8 1 ~ ffl ; J h? J ~ I; ;JJ [#r f rt r Cr I
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106
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109
110
Studii Dilettevoli (Entertaining Studies)
or Collection of Various Original Pieces for the Guitar
Opus 98
111
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112
Andantino
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113
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116
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117
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120
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121
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Allegretto 11
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127
128
Etudes Instructives Faciles et Agreables (Easy and Agreeable Instructive Etudes)
for the Guitar
Comprising an Album of Cadences, Caprices, Rondos and Preludes
Opus 100
129
Cadences Maestoso
f f ; ~ f J j lr ,p r j j j I ; p r J J j r ,-J' r j j j I
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130
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131
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136
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Caprices and Rondos Vivace
II
139
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151
Preludes to use as cadenzas before beginning a piece of music
III
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152
153
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154
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Allegro vivace
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Pri1ne Lezioni Progressive First Progressive Lessons
for the Guitar (Part One)
Opus 139
159
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161
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Andantino
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