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Guitar Repertoire and Studies/Etudes if Guitar Series Third Edition The Guitar Series was originally published in 1989 to international acclaim. In 1997, a second edition was received with heightened enthusiasm. The present third edition, launched in 2004 and building on that strong foundation, has been refined to meet the changing interests and needs of teachers and students. The aims of the series are threefold: to provide students with a clear, well-paced path for their musical development; to nurture the technique necessary to successfully meet those developmental challenges; and to expose students to the full range of the instrument’s repertoire and potential. The Guitar Series guides students from the late elementary level (Introductory book, Repertoire and Studies/Etudes book 1) through to late intermediate and early advanced repertoire (Repertoire and Studies/Etudes books 7 and 8). The studies/etudes are especially suited for building technique as well as musicality relevant to the repertoire of each level. Technical and conceptual challenges are progressively introduced from one book to the next to ensure the steady development of musical skills. The well-rounded guitarist will have an understanding of the instrument’s history as well as practical experience with a wide range of repertoire from all historical periods and styles. Guided by this principle, the series editors have drawn on more than 500 years’ worth of guitar and lute music for the present edition. Each book in the Guitar Series features compositions from the Renaissance to the present day; from book 2 on these are grouped according to historical period. By learning music from each period, students will gain a comprehensive overview of the evolution of musical styles and of guitar music in particular. The guitar student who works carefully through this series under the guidance of a good teacher will gain not only technical proficiency, but also artistic maturity and a broad overview of both the instrument’s repertoire and its possibilities. A Note on Editing and Performance Practice A systematic and thorough approach to fingering is fundamental to a student’s success in learning to play the classical guitar. The fingerings in this series have been designed in accordance with the latest pedagogical principles and to ensure natural playability and musical integrity. The use of fingering indications throughout the nine Repertoire and Studies/Etudes books and the Guitar Technique book is intended to assist students to adapt to the increased level of complexity encountered in each successive volume and to provide a logical framework for the development of a musically fluent and flexible guitar technique. Faithfulness to the composers’ intentions, as reflected in the source materials, has guided the editors’ decisions concerning the inclusion of dynamic markings. The editors have added no dynamic markings to the scores where none are to be found in the original sources. They stress, however, that all music must be played with dynamic contrasts whether or not specific indications are given in the score. Metronome markings for the repertoire and studies suggest tempi within the bounds of stylistic dictates and technical considerations. Frequently, a tempo range is given to accommodate individual interpretations. In the interest of personal creativity, teachers and students may wish to alter the given dynamic indications and metronome markings, or to employ alternate fingering systems. This edition follows the policy that the bar line cancels accidentals. In accordance with current practice, cautionary accidentals are added only in cases of possible ambiguity. For examination requirements of The Royal Conservatory of Music, please refer to the current Guitar Syllabus. Dr. Trish Sauerbrei Editor-in-Chief Symbols and Abbreviations Pima itt -hand fingering 1,2,3,4 left-hand fingering ® string number -3 guide finger i in eft hand shifting Sate a eee a sree sss sagas eas eee sce slur: a left-hand articulation of the second note of a pair — either a itil “hammer-on” (ascending pair) or r “pull- off” "descending Pair) partial barre: the top number of the fraction indicates the lowest sting ce 4 Qt by the barre; the bottom number indicates the number of strings (including the lowest) that are covered; the Roman numeral indicates the fret number a full barre (cejilla): indicates that all six strings are covered Piv. I pivot barre: prepare barre by stopping the string with a segment of the barre finger or place barre while fe continuing to hold the Previous note with finger 1 i arpeggiando: play notes one at a time from lowest to highest (or in direction of the arrow head) d harmonic pont. sul ponticello: ae with the right hand ne near the > bridge to oe a brighter sound an sul tasto: play with the right hand near the fretboard to produce a softer, fuller sound nat. natural: follows pont. or tasto and indicates a return to playing i in the usual manner rasg. _Tasgueado: trum the strings using the back surface of the ight hand nails ae tambora: sound the notes by tapping on or near the 2 saddle i in the rhythm co indicated using the right-hand fingers or thumb i) golpe: a percussive knock created by hitting the guitar body with the right- hand fingers or thumb Renaissance and Baroque Classical and Romantic Music Music Repertoire Pavana con partidas el aire Espafiol Villano Pavane Ul i Lute Suite No. 4 _I: Prelude Courante Lute Suite, BWV 996 V: Bourrée Can She Excuse, Poulton 42 Walking in a Country Towne Partita, BWV 1002 V: Sarabande Minuet and Trio Grand Sonata, op. 25 #eAN: Minuet andl iTn0. tit Divertimento, op. 37, no. 5 Grand Sonata, op. 22 II: Minuet and Trio Divertimento, op. 40, no. 12 Waltz, op. 51, no. 8 Nocturne, op. 4. Waltz . : Pavana Adelita (Mazurca) Francisco Tarrega Contents __ Gaspar Sanz, transc. Michael Bracken 6 Gaspar Sanz, arr John Mills 7. Luis Milan ae Silvius Leopold Weiss He See eee eeieieiLo Silvius Leopold Weiss 10 Johann Sebastian Bach 1 __John Dowland, arr. Jeffrey McFadden 12 Thomas Robinson, ed. Karl Scheit aid Johann Sebastian Bach, __arr. Norbert Kraft : Eee Franz Joseph Haydn, fe eeeiee 16 arr. Frangois de Fossa Fernando Sor Mauro Giuliani Hae ee 19 Fernando Sor ‘Mauro Giuliani fe 7 Napoléon Coste Johann Kaspar Mertz José Ferrer Francisco Tarrega 20th-Century and Contemporary Music eS 3 Interlude : ___Luke Mercier : Hee 30, So Unusual ie Peruvian Waltz Lacrymosa (Tearful) es Gelosia (ealousy) : a! Chicago StyleBlues Millia Beauvais _ iia Suite No. 1 Leonardo Balada Lento ae 46 Studies/Etudes 1. Moderato, op. 35, no. 17 _Fernando Sor _ oe 47 2; Study, op. 6,01 3. Emde, op. 100,n0.12 _4. Caprice, op. 100,n0.13 0 i 5. Sonatina No. 5: I ___Niecold Paganini 6. Etude, op. 38, no. 1 _7. Bude, op. 60, 0. 3__ _8. Estudio reread rrer 9. tude 16 f Gerald Garcia _ 10. Prelude, TI i-9 a Francisco Tarrega Al Study Norbert Kraft = 12. BossaNovaBtude Gerald Schwertberger 13, Miniature No. 12: Pretude Alain Reiher ___ Fernando Sor _____Mauro Giuliani _ _Napoléon Coste _ qe Mateo Comcast José Ferrer Pavana con partidas el aire Espafiol Gaspar Sanz (fl. ca 1650 - 1710) transc. Michael Bracken J=6-76 (1962- ) @ @m,, im” ; es Sst ; ‘ 3] Oly if ty ae : Source: Instruccién de muisica sobre la guitarra espafiola, libro 2 (1674) Transcription © copyright 1996 Michael Bracken. Reprinted by permission. 0-88797-8703/06 Villano* Gaspar Sanz (fl. ca 1650 — 1710) D arr. John Mills = 48-52 4 3 (1947- +) ae) mul “4 d od +d a a a. hr ° * Villano: a sung dance popular in Italy and Spain during the 16th and 17th centuries Source: Instruccién de musica sobre la guitarra espafiola, libro 2 (1674) Arrangement © copyright 1976 Waterloo Music Company Limited, Waterloo, Ontario, Canada. Reprinted by permission. e-serers703/er Pavane III d= 104-112 Luis Milan v.21 on Piv. 31 ane Sr (ca 1500 - 1561) lA ala am x z Z > 24 aa ala alo = Source: El maestro (Valencia, 1536) 0-88797-870-3/08 iv. £1 Piv.I Piv. Lute Suite No. 4 7 Silvius Leopold Weiss I: Prelude (1686 - 1750) 6 3 Freely J = 96 - 108 6 5u___ maim =e se 7 oP F F F PF pe PF PF PF FSP N.B:: There are no bar lines in the composer's manuscript. Source: Lute Suite No. 4. London, British Library, MS Add. 30387 o.87878705/09 10 Courante Silvius Leopold Weiss @=12- 126 (1686 - 1750) mesa, tier cm tant . ee a) ami rere = ©) ee © ASS @ eg t re Source: Cologne, Universitats- und Stadtbibliothek MS 5, fol. 6v 0-88797-8703/10 Lute Suite BWV 996 J =116-132 V: Bourrée Johann Sebastian Bach Sq 6 (1685 - 1750) 7 ol ee eee Sree 3 trp? Tr re pre rh TP (a) wv eee ctr | [7 fe. | 0-88797-8703/11 12 Can She Excuse Poulton 42 John Dowland (1563 — 1626) © =FH : arr. Jeffrey McFadden = 66-72 a oo m mn m Sita ) i Source: William Barley, A New Booke of Tabliture (London, 1596) Arrangement © copyright 1997 The Frederick Harris Music Co., Limited, Mississauga, Ontario, Canada. 0-88797-870.3/12 0-88797-8703/13 14 Walking in a Country Towne Thomas Robinson (fl. ca 1589 — 1609) ed. Karl Scheit (1909 - 1993) J =54-60 m Piv. $01 Source: The School of Music (London, 1603); Five Pieces by Thomas Robinson © Copyright 1957 Universal Edition A.G., Wien. Copyright renewed. All rights reserved. Reprinted by permission of European-American Music Distributors Corporation, sole U.S. and Canadian agent for Universal Edition A.G., Wien. 0-88797-8703/14 Partita BWV 1002 V: Sarabande Johann Sebastian Bach Largo J = 50-56 (1685 - 1750) svn arr. Norbert Kraft sy 5 ® (1950- ) 5 ® ® m im ae) e als % wale a Source: Partita no. 1 for Solo Violin, BWV 1002 Arrangement © copyright 1989 Norbert Kraft. Reprinted by permission. 0-88797-8703/15 15 16 Minuet and Trio Franz Joseph Haydn (1732 - 1809) arr. Francois de Fossa Piv. 311 (1775 - 1849) 4 i m 34 ; Source: Symphony No. 85 (La reine), third movement; Francois de Fossa: Selected Works for Guitar Solo © Copyright 1990 Editions Orphée. Reprinted by permission. 0-88797.870.3/16 47 i mama mimia i_maimi 4 2| =o ou D.C. al Fine r Grand Sonata op. 25 IV: Minuet and Trio Fernando Sor 1778 = 1839) J = 138-160 ‘ ) m a a a i 0-88797-870.3/17 17 18 6 : 35, d ‘ 2 6l— Fine of P mf marcato il basso D.C. al Fine 59 0-88797-8703/18 19 Divertimento op. 37, no. 5 Mauro Giuliani (1781 - 1829) Grazioso 2 = 120 - 132 al. : : : m f. vf f Source: 12 Divertimenti, op. 37 (Vienna, 1812) 0-88797-870.3/19 20 Grand Sonata op. 22 Ill: Minuet and Trio Fernando Sor (1778 - 1839) d = 132-152 om ON f 0-88797-870-3/20 4 eo nity y z D.C. al Fine FOF 0-88797-870.3/21 21 22 Divertimento op. 40, no. 12 Mauro Giuliani (1781 - 1829) Allegro vivace ¢. = 50-54 ee a a ee Pee eee a 23 24 Waltz op. 51, no. 8 Napoléon Coste 2 = 132-144 (1806 - 1883) 4 ou — 9 «5 ,®, 4am Pitees 2) 0} r Source: Récréation du guitariste, op. 51 0-88797-8703/24 D.C. al Fine © 0-88797-870-3/25 25 26 Nocturne op. 4, no. 1 Johann Kaspar Mertz Ege Spe (1800 — 1856) Andante con moto < = 56-63 Piv.51 Piv. Piv.51 Piv. > >, Source: Trois nocturnes, op. 4 (1840) 0-88797-8703/26 a tempo np 31] im Pit mosso , Lot 4 i 3m > mi 3 > 7 | 47) ie tie mon Sa = oo etslhlmrrhrhmhmre CL Pe 3 L354 0-86797-870.3/27 27 28 José Ferrer (1835 - 1916) t c . > > - g ; r r f Source: Coleccion de valses 0-88797-870.3/28 0-88797-8703/29 29 30 Pavana Francisco Tarrega 1852 — 191 Con gracia J = 92-100 109) (a % 3 2u—_, a 31v__ £271 Ba = i's 7 ESE a nf ? + | © (3 © LY] er 7. ee) cn ne tb WIT © Ha Wl —e \ | aN @s Ok One ‘alltiic Sy oe 0-88797-870-3/30 ee rit. mf i = (a) This ornament, which occurs frequently in Tarrega’s music, is performed feo approximately as shown. Play a portamento from the lower to the upper note (here C# to E), plucking the upper note (E) as you arrive: i 0-88797-870.3/31 31 32, Adelita (Mazurca) Francisco Taérrega 6 (1852 — 1909) Andante J = 84-92 $ yo —____"*"_ ™ a a ® : ® 7 Seay m = ea 1d a i a tempo @i ~3e a m = — oF Pp ee ‘fe poco rall. [a P ® tenuto Sv iy ae 5 ae mpo 5 eae) Sn D.C. al Fine ' ' (a) This ornament, which occurs frequently in Tarrega’s music, is performed approximately as shown. Play a portamento from the upper to the lower note (here G to E), plucking the chord as you arrive: ® (b) Alternate fingering: grt 0-88797.870.3/32 Majorette Robert Benedict (947- +) Con brio J. = 120 - 132 Fi a > 2@ Jo a Si Vo -® + ® oe —— Source: Divertimenti for Guitar Copyright 1981 Waterloo Music Company Limited, Waterloo, Ontario, Canada. Reprinted by permission. 088797-8703/33 33 34 0-88797-870-3/34 a tempo aimia iim 0-88797-870.3/35 35 36 Interlude it a Luke Mercier Agitato J = 66- 2 i “972. ) i Ee i a jeer Stare te m as . aomoa jm i i m m ererercey r P f AOA (a) All E’s marked with ff can be played with “Bartok pizzicato”: play the string so as to “snap” it off the frets. © Copyright 1996 Luke Mercier. Reprinted by permission of the composer. 088797 570:3/36 33 Vivace J = 84 8va, h. XIX, 0-88797.870.3 /37 37 38 So Unusual Car6l van Feggelen (1931- ) Moderato = 138-152 py 7 tl 21 m li ty 13 \ : Piv. 31___ = @ Coda ns sd spo" 1 4- pj} So © Copyright 1990 Carél van Feggelen. Reprinted by permission of the composer. 0-88797-8703/38 39 rall. ua|La R 8 meno mosso 31 3 » a _-D.C.al Coda coda mim Lomi i rall. zy (a) Use ito stop the string over the 12th fret and use p to pluck the string. 0-88797-870.3/39 40 Peruvian Waltz Car6l van Feggelen Allegro J = 112-120 xy (931— ) ifeeeimeceend % ; ~—————_ Piv. I D.S. al Coda 23 aa : 7" cee % or of © Copyright 1988 Carél van Feggelen. Reprinted by permission of the composer. 0-88797-870-3/40 41 Lacrymosa Tearful Pierre Gallant 4un (1950- ) Adagio 2 =56-60 4 ee mii im ce! ; 2 2J~2 ofa = P = —= = ee eae dolce espressivo i m (a) hx h. XI h. XT h. XT soma 4 —==_s mp _espressivo eared Piv. iv. 2 Piv. 5m, 3 Piv. 5 U1 dim. poco a poco Vit Poco meno mosso ) = 52 ieseelea Tara, m 20} 6 4. Need ue 0; 1 rit. P espressivo ———— _ pp PP rit. (a) Use ito stop the string over the 12th fret and a to pluck the string. © Copyright 1989 Pierre Gallant. Reprinted by permission of the composer. 89797-5703 /41 42 Interlude Stephen Wingfield (1955— ) Andante J =80-88 fides oel hg el vt qv ie fe tranquillo, sempre molto legato a poco a poco cresc. (ed animando un poco) 2 2 3 3 oe zu1—__, i: zu 3 oe tranquillo © Copyright 1978 Stephen Wingfield. Reprinted by permission of the composer. 0-88797-870-3/42 Gelosia Jealousy J =92-100 Carlo Domeniconi 6 (1947- ) . 4 Phy OM eee Piv.41 m_i_aim a I Ay 5 1 AIO I = +e. Q Coda 29 “aI iba all ie a 4] 4 Bs oi T= Te z ee me LG Source: Quaderno brasiliano per chitarra © Copyright 1983 Bote & Bock, Berlin, Germany. Reprinted by permission. 0-88797.870.3/43 43 44 Chicago Style Blues Smoothly J. = 60-69 William Beauvais a (1956- ) 17 @ ® 1 Source: Well Tempered Blues © Copyright 2001 Winter Longing Music. Reprinted by permission. 0-88797-870.3/44 - 088797-870-3/45 45 46 Suite No. 1 Lento Leonardo Balada J =46-50 a a tempo (1933- ) h.XII 3 xUVvitvanr h. XID ~ @® 3 piv O@ Piv. I o a Pas aaa th i Oo e i a m o8s aad = x6 g-11 0 3s 1 Pp poco ral. f —=— = mp p attr 7 + f 4, a@tempo a i m al mA eee aio 7 7 3 V4 ———_—— rit ‘Pp poco meno mosso —a hx xnvn® 7] - és! A Pivd a @@4 Oat a 2 bar | 2 = = 4 ALE 3 pa | sie es tyr 'F +r * etye f mp rit. pra. pp © Copyright 1961 Columbia Music. Sole representative, Theodore Presser Company, King of Prussia, PA. Reprinted by permission. 0-88797-870.3/46 Study /Etude no. 1 Moderato op. 35, no. 17 Moderato 4 = 104-112 i 3 Si i i m i Q Source: Vingt-quatre exercices trés faciles, op. 35 (Paris, 1828) Fernando Sor (1778 — 1839) 4 qu moa Pp 9 Pp ? i ®, 0-88797-8703 /47 47 48 Study /Etude no. 2 Study op. 6, no. 1 Fernando Sor (1778 — 1839) Allegro moderato ¢ =100-112 3 4 3 IL —_——_ 4 n_..—_______,, 7 at oie 3 4 3 _—_— 30 3 1 30 17 0 Peete eeerree reece Source: Studio for the Spanish Guitar, op. 6 (ca 1815 — 1817) 0-88797-870-3/48 wale wile 0-88797-8703,/49 49 50 Study /Etude no. 3 E tude op. 100, no. 12 Grazioso J. = 50-60 Mauro Giuliani om (1781 - 1829) sG ieeeaeceasereecaecisectl rinforz. 3 5 eee 5 I I wl —_ ir oF oF: - F =F nf = —== Source: Etudes instructives, faciles et agréables, op. 100 (Vienna, 1819) 0-88797-870:3/50 $1 a tempo
    See poco rall. , Tempo primo Portrait d’un Vieillard yw (0-88797-870-3 /64 Study /Etude no. 10 Prelude T1i-9 Francisco Tarrega (1852 - 1909) Allegretto 4 = 60-69 wx 1B © fiz. ® 3u : 3 Piv. ® (0-88797-870-3/65 65 66 Study/Etude no. 11 Study Norbert Kraft Agitato J = 69-80 On eee oe eee ae CT SO © Copyright 1990 Norbert Kraft. Reprinted by permission of the composer. 88797 70:3/66 a tempo 28 a i m poco rit. vin | nf cresc. molto valu 33), ——______, 0-88797-8703/67 67 68 Study /Etude no. 12 Bossa Nova Etude Gerald Schwertberger (1941- ) Bossa Nova d = 76-84 mp im pi m p mp @ > > ae > > > a ~the L Nity rie al 13 wl 17 fi. V2. 21 Source: La guitarra mexicana © Copyright 1982 Ludwig Doblinger Verlag, Wien, Austria. Reprinted by permission. .98797-8703/68 35 elu 1 win eB I win 1 NIN (0-88797-870-3/69 69 70 Study /Etude no. 13 Miniature No. 12 Prelude Alain Reiher (1955- ) Moderato cantabile J = 80-92 m i i es Pp Pp 0 mf ———————— Source: Twenty Miniatures © Copyright 2001 Alain Reiher. Reprinted by permission of the composer. 0-88797.870-3/70 71 4 Il 3] 19 espressivo ———————— Sl 0-88797-8703/71 72 33 perdendosi 0-88797.8703/72