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 tone becomes darker also, which is in context with the nature of saantorsola overall timbre, of these fingerings. 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 various attributes of all your fingerings, both pros and cons.
D3iii however, takes the scale all on string 3, apart from the A note at the bar’s end. 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.
Figure 13 Diii begins more brightly than the other two fingerings.
Guido Santorsola – Suite Antiga
D4 refers to the 2 Octave Harmonic Minor scale form commencing on String 6 and shifting on string 4. 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.
The evidence suggests either El or E2 as the most feasible alternatives. Perhaps even to try to put some of the principles examined and explained above, to use in your santorsoal repertoire. 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.
In the Courante from J.
D4a has fewer shifts than Diii or D3iii. In cases such as this there is no correct way, only a number of alternatives. 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.
Next time we will examine three 3 Octave scale forms. To demonstrate them for oneself in this way is probably the best way to absorb them. 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: This causes symmetrical sequences previously not apparent, while creating a more cello – like timbre, especially on String 4. Diii begins more brightly than the other two fingerings.
The shift is then systematically transplanted to develop the scale form. 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.
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. Introduction This is the second of a series of three articles.
Vicenti Escudero, The Eternal Gypsy. 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. For the following articles these forms are best understood as follows; 2 Octave Major Scale commencing on String 5 or String 6. Christopher Parkening, Young Virtuoso. Each of which represents one of the nine scale forms I have utilised a reference system of letters alphabetically indicating the scale forms as ordered in this work and numbers indicating the shift string to give the student easy reference to the various forms.
This article deals with Chapters D, E and F. 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.
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. The previous article dealt with Chapters A, B and C.
D4iii would mean that although the main shift is on String 4, there is another less significant shift on String 3 iii. A small Roman numeral after the initial scale code indicates that there is another less important shift on that string.
In D3iii and D4a, we zantorsola an echo of the “pairing” and arpeggiation of the E major arpeggio in the previous measure. 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.
Here is an opportunity for you to try to use some of the advice given throughout these articles. Slow repetition with no mistakes is urged, until the patterns begin to flow easily. Figure 15 There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here.
They appear quite complicated at first but become easy to understand when attempted once or twice.
Guido Santorsola – Suite Antiga
A small letter after the initial scale code indicates that there are perhaps 2 ways of playing the form – as in D4a and D4b. By this in-depth analysis of the interpretational effect of each fingering, at least the evidence supporting their uses, is now clear. I have avoided using picture diagrams sanhorsola “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.
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. Here again, the “correct” fingering is a matter of preference. Zantorsola, the fingerings become progressively darker sooner from El to E3. There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here.
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.
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 a left hand shift. 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.
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.
This sort of practise will slowly build a neuro-muscular memory matrix of the whole tonality of each one of the Chapters.