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The Classical Guitar Companion is an anthology of guitar exercises, etudes, and pieces organized according to technique or musical texture. Expert author Christopher Berg, a veteran guitar instructor, bring together perspectives as an active performing artist and as a teacher who has trained hundreds of guitarists to encourages students to work based on their own strengths and weaknesses. The book opens with "Learning the Fingerboard", a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard…mehr
The Classical Guitar Companion is an anthology of guitar exercises, etudes, and pieces organized according to technique or musical texture. Expert author Christopher Berg, a veteran guitar instructor, bring together perspectives as an active performing artist and as a teacher who has trained hundreds of guitarists to encourages students to work based on their own strengths and weaknesses. The book opens with "Learning the Fingerboard", a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and will reduce the time needed to learn a repertoire piece. The following sections "Scales and Scale Studies", "Repeated Notes", "Slurs", "Harmony", "Arpeggios", "Melody with Accompaniment", "Counterpoint" and "Florid or Virtuoso Studies" each contain text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. The Classical Guitar Companion will serve as a helpful companion for many years of guitar study.
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Autorenporträt
Christopher Berg received his training at the Peabody Conservatory of Music, in master classes with Andrés Segovia at the University of Southern California. He is a Carolina Distinguished Professor University of South Carolina where he directs the classical guitar program. He has been honored by the National Endowment for the Arts as a recipient of a Solo Recitalist Fellowship and by the South Carolina Arts Commission as a recipient of two Solo Artist Fellowships. He is the author of Mastering Guitar Technique, Giuliani Revisited, and Practicing Music by Design: Historic Virtuosi on Peak Performance.
Inhaltsangabe
Table of Contents List of Figures List of Tables List of Examples Preface Acknowledgments Editorial Method Introduction 1. Learning the Fingerboard Fingering Notations and Conventions Scales and Cadences Open Position Scales and Lower Position Cadences Bursts and Exercises for Change of Direction Moveable Scale Forms and Associated Cadences Long Scales Beginning Fingerboard Harmony Triads on the Top Three Strings Triad Cycles Scales in Triads Triads on the Lower Strings Triad Progressions Cadences by Franz Bathioli 2. Scale Exercises and Studies Fingering Considerations Carulli's Right-Hand Fingering Practices Carcassi's Right-Hand Fingering Practices Giuliani's Right-Hand Fingering Practices Sor's Right-Hand Fingering Practices Aguado's Right-Hand Fingering Practices Coste's Right-Hand Fingering Practices Mertz's Right-Hand Fingering Practices Triplets Scale Exercises and Etudes in Lower Positions Three Lower Position Scale Exercises with Thumb Accompaniment Three Scale Exercises from the Carulli method Attaingnant: Two Haulberroys Giuliani: Op. 1, Part 3, No. 3 Tárrega: scale exercise in D Besard: Branle Gay Mertel: Prelude 8 Dlugorai: Finale (Thesaurus Harmonicus, 1603) LeRoy: Passemeze and plus diminuée (1568) Scale Exercises and Etudes in Upper Positions Three Upper Position Scale Exercises with Thumb Accompaniment Aguado: Nuevo Método para Guitarra, Study No. 16 Carcassi: Op. 60, No. 1 Carcassi: Op. 60, No. 14 Tárrega: diminished chord exercises Tárrega: Prelude 9 Tárrega: scale exercises Tárrega: Estudio en Forma de Minuetto anon: Chi Passa (Marsh Lute Book, c. 1595) Johnson: The Queen's Treble Dalza: Piva for Two Lutes Advanced Right-Hand Scale Fingering Application Other Applications 3. Repeated Notes Overview Repeated Note Exercises and Studies Horetsky: Op. 15, No. 7 Aguado: Nuevo Método de Guitarra, Op. 6, Exercise 10 Carcassi: Op. 60, No. 2 Sor: Op. 6, No. 4 Sor: Op. 35, No. 19 Aguado: Nuevo Método para Guitarra, Section Three, Study No. 23 Carcassi: Op. 60, No. 7 Giuliani: Op. 83, No. 3 (Antoine de l'Hoyer: Op. 27, No. 4) Sor: Op. 31, No. 19 4. Slurs Overview Slur Exercises and Etudes Carulli: Prélude from Method, Op. 27 Carcassi: Exercise from Method, Op. 59 Carulli: Andante from Method, Op. 27 Carcassi: Andante from Method, Op. 59 Carcassi: Op. 60, No. 8 Carcassi: Op. 60, No. 4 Slur Exercises from Horetsky's Op. 33 Horetsky: Op. 15, No. 24 Giuliani, Op. 48, No. 4 Sor: Op. 6, No. 3 Carcassi: Op. 60, No. 9 Giuliani: Op. 100, No. 19 Giuliani: Op. 48, No. 9 Advanced Slur Exercises Virtuoso Slur Exercises 5. Harmony Overview Studies Aguado: Nuevo Método para Guitarra, Section Two, Chapter One, Exercise 12 Carcassi: Study in Damping from Method, Op. 59 Sor: Op. 35, No. 11 Sor: Op. 31, No. 22 Tárrega: Prelude 8 Sor: Op. 31, No. 20 Tárrega: Prelude 12 Sor: Op. 35, No. 16 Sor: Op. 29, No. 13 Sor: Op. 29, No. 23 Tárrega: Prelude 4 Advanced Left-Hand Exercises What Guitar Methods Say Musical Implications Applications 6. Arpeggios Overview Arpeggio Studies Carulli: Moderato from Method, Op. 27 Aguado: Nuevo Método de Guitarra, Op. 6, Part Two, Exercise 6 Sor: Op. 31, No. 6 Aguado: Nuevo Método para Guitarra, Section 2, Exercise 2 Aguado: Nuevo Método para Guitarra, Section 3, Study 5 Aguado: Colección de Estudios, Study 3 Aguado: Nuevo Método para Guitarra, Section 2, Exercise 16 Aguado: Nuevo Método para Guitarra, Section 2, Exercise 17 Aguado: Nuevo Método para Guitarra, Section 2, Exercise 20 Aguado: Colección de Estudios, Study 5 Sor: Op. 35, No. 9 Giuliani: Op. 48, No. 2 Aguado: Nuevo Método de Guitarra, Section Two, Exercise 10 Giuliani: Op. 48, No. 5 Giuliani: Op. 48, No. 6 Aguado: Nuevo Método para Guitarra, Section 3, Study 8 Giuliani: Op. 48, No. 3 Sor: Op. 35, No. 23 Sor: Op. 31, No. 12 7. Melody and Accompaniment Overview Chordal Textures Sor: Op. 31, No. 23 Melody Above an Alberti Bass Horetsky: Op. 15, No. 2 Giuliani's Fingering Examples Sor: Op. 35, No. 13 Melody in an Arpeggiated Texture Sor: Op. 35, No. 22 Sor: Op. 6, No. 11 Simple Melody Tárrega: Endecha 8. Counterpoint Overview Contrapuntal Pieces and Studies Valderrabano: Duo Pleni Sunt Giuliani: Op. 139, No. 4 Zani de Ferranti: Caprice, Op. 11, No. 1 Aguado: Nuevo Método para Guitarra, Lesson 38 Aguado: Nuevo Método para Guitarra, Lesson 39 Aguado: Nuevo Método para Guitarra, Lesson 40 Sor: Op. 31, No. 4 Carcassi: Op. 60, No. 6 Sor: Op. 6, No. 8 Giovanni Maria da Crema: Recercar Tredecimo Four Fantasias by Francesco da Milano Francesco da Milano: Fantasia 28 Francesco da Milano: Fantasia 40 Francesco da Milano: Fantasia 38 Francesco da Milano: Fantasia 34 9. Florid/Virtuoso Etudes Overview Virtuosity Is Not Everyday Life Carcassi: Op. 60, No. 20 Tárrega: La Mariposa Tárrega: Study in A Tárrega: Estudio de Velocidad 10. What Next? Bibliography
