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A Yavied Ca,Jiteeli,on ofrEasy lcllo-Peces 'fon Gutar

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Take t EasyEine bunte Sammlung A varied collectlon of

|eichter So|ostcke fr Gitarre easy solo-pieces for guitar

gesammelt und bearbeitet von collected and arranged by

Ferdinand Neges

Att in q Gavden GreenAnonym / England (17. Jhdt

@ Copyright |999 by Ludwig Doblinger (Bernhard Herzmansky) KG, \Uien _ Miinchen. Printed in Austria

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Illbullet'oaus ,,The English Dancing-Master" (ca. 1720)

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Bufifio ons(Ground)

John PlayordArr.:,"F. Negesm i

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Anonym / England (17. Jhdt.)Arr.: F. Neges

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Tanznach Nicolas Vallet

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Novetnbev-BluesSlow

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Ferdinand Neges(nach einem alten BIues-Motiv)

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Beachte, dass bei diesem Blues die Melodie stndig in der mittleren Stimme ist (bis auf die Takte 9 und t0).

Note that in this Blues the melody is alutays in tbe rniddle part (except for bars 9 and 10).

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tteal Awav(Spiritual)

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Besonders im II. Abschnitt sind die Sttickeauf einfachen, zerlegten Akkorden aufge-baut. Mit der Tabelle soll ein erster Schrittz1Jm Vcrstndnis ftir diese Akkorde(= Griffe) gesetzt werden. Zunchst gehtes nicht um harmonische Zusammenhnge,sondern um das Erkennen von typischenGriffbildern im Notentext.

o leere Saite klingt / tbis sting soundsX Saite wird nicht gespielt / tbis sting is not played

C / C major

:ffiD / D major*mE / E major

:ffiDm / D minor*m

A7

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Akkctvd -Tabelle(Chond Chant)

Tbe pieces - notably tbose in Section II - drebased on simple broleen cbords. This Chart utillserve as d first steo in understanding tbe chords(- fingering). At first tbe purpose is not so mucbto grasp tbe barrnonic rektions as to recognisecharacteristic fingering cornbinations in tbeprinted score.

G / G rnajor

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A / A major

;ffi

Am / A minor

;ffi

Variante / Variant

A7.m

Em / E rninor

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fu' Ver' Ubungen fitin die nechte tlandBartolomeo Bortolazzi

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Modevato qus op. 241/1Ferdinando Carulli

Takt 16 sollte ,apoyando" gespielt werden.

Bar 16 should be pkyed,apoyando".

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Andantno qvs op, 241/1

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Ferdinando Carullla i a i

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Enfrache N|e\ode

Anonym / sterreich (19. Jhdt.)Moderato

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Andantno }}|osso, op, 21ft

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Matteo Carcassi

Allegro, op. so/12p r p I p l p _ l

Mauro Giuliani

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Ylalzev

Luigi Picchianti

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VI a]zev lllt YJageolett -TcinenLuigi Picchianti

FloS.

VII_Fks.

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e Flageolett-Tone im 2. Teil werden am besten mit dem 3. oder 4. Finger gegriffen.

,e fkgeolet notes in tbe second part are best phyed aith the 3rd or 4th finger

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Luigi Picchianti

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1,6Cong, long ago (Rumba-Version)

Folk-Song (19. Jhdt.)Arr.: F. Neges

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Klene Geschchte / thovt, 3tovyFerdinand Neges

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o(Wiegenlied aus der

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Auvergn e / Lullaby from the Auvergne)W}nel, vte, vte

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ansonsten ,apoyando'.r " " " " "t denotes "tirandoo, otbenpise

"apoyando".

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r --- - 1 denotes'apoyandoo, otberanise otirando,.

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She wove a Ye]Jow R,bbonNot fast

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bung: a. Spiele in jedem Takt (au8er in Takt 24) nur den jeweils ersten Basston und versuchedie Oberstimme moglichst ,apoyando' zu spielen.

b. Spiele das Stiick, wie notiert, durchgehend ,tirando'.. c. Finde Deine eigene Version mit einer Mischung aus Apoyando - und Tirandospiel.

Praice: a. In eacb bar (9xcept bar 2Q Plal tb.e first bass note only and try to play tbe upper partuitb as mucb ,apoyando" as possible.

b. Play tbe piece ,tirando" tbrougbout, as giaen.c. Put togetber your ou)n aersbn, blending,apoyando" and ,tirando".

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AllegrettoLuigl Picchlantl

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Andante, o?.31/1

Fernando Sor

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Tavantella

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Tlcaca

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Mogliche Begleitstimme ftir Gitarre 2, /. Optional accompanirnent for Guitar 2:Am PQ) Dm

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Panlalctne

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Anonym / Schottland (18Jhdt.)

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Geovgia-Picking Nr. l

Gottfried D. Gfrere

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Gottfried D. Gfrerern=) )r3-rm

Back to the Roots (Blues)

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I, Gotried David Gfrerer zh|t zuden wichtigsten cisterreichischenFolk-/Bluesmusikern der jungenGeneration.

Gottfied Daoid Gfrerer is one theforemost younger folk and bluesmusicians in Austria today.

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Menuet duTa.nibouY de Basquenach Jaques de Saint-Lt

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'Waldv geJenAnonym / Deutschland (17. Jhdt.

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Msdevalo, op. 39/15Vi

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tyJvie's tong(Part I)

Nicht zulangsam / Not too slow

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ERLUTERUNGEN

Die teilweise vorhandenen Tempoangaben verstehen sich als unver-bindliche Empfehlungen.

1. All in a Garden Green: Diese frhlich beschwingte Melo-die (J .= 80) war m 77. Jhdt. in ganz EuroPa verbreitet.

2. Lillibullero ist John Playfords bertihmter Tanzsamml:ng. ,TheEnglish DanciniMaster. ntnommen. Der schwingende Dreiertakt(J.: 60) dieser rspri'inglich aus.Irland stammenden Melodie soll-. te bewust hervorgehoben werden.

3. Buffoons (Ground): Unter einem ,Groun{" versteht man denharmonisciren Untergrund ftir melodische Improvisationen.Vielleicht gelingt .. i' eine Melodie zu'einden, die zu denAkkordenion,Buffootr' (J =.744) Passt.

4' Tanzz Bei diesem heiteren Renaissance-Tanz () = 76) sollte derFingersatz f r die rechte Hand unbedingt beachtet werden. Derselb"swerstndliche und gekonnte Einstz des Ringfinggrs (a)ist eine Grundvoraussetzung fiir eine gute Anschlagstechnik.

5. November-Blues: Bei dreistimmigen Akkorden wird sehr oft diemittlere Note zu leise gespielt. DJher stellt dieser langsame Blues

1J = 60) eine besonder ufgabe: Die M.elodie liegt bis auf zwei"kt. immer in der mittlereStimme und muss gat, z! h

EXPLANATORY NOTES

he tmpo markings given for some pieces 'are no more than recom-endations.

i. All in a Garden Green: A cheerful and lively melody (J = 80)which was popular throughout Europe in the 17th cenrury.

l. Lillibullero: Originally from Ireland, this exuberant melody wasincluded inJohn Flayfordt famous collection of dance tunes 'The

English Dancing Mastero. You should deliberately emphasise theswinging triple time (J. = 60).

i. Buffoons (Ground): A'ground'meant the harmonic material forimprovised melodies. You might want to invent your own unewhich fits the chords () = 4).

.. Dance In this cheerful Renaissance dance (j = 76) it is veryimportant that you carefully follow the right-hand fingering. Youwill be able to develop a good plucking technique only if you havematered a fluent and adept technique with your ring finger.

. November Blues: In playing three-part chords, rhere is a tendencyfor the middle note to be too soft. This slow Blues (J = 60) helpsyou to overcome the problem, because its melody is (with theexception of two bars) in the middle part. It should be clearlyaudible.

. Steal Away: !hile you are playing this stately Spirirual (J = 60),imagine a choir of Black singers who, inspired by their devoutfaith, are singing of their hopes and anxieties.

. Chord Table Practise the chords not iust individually (taking careto put your fingers on the strings simultaneously - iemembr thewritten chord!), but in a variery of combinations.

. Four Exercises for the Right Hand: These exercises are takenfrom the guitar method by B. Bortolazzi, whose was one of themost popular guitar teachers in Vienna in the first half of the nine-teenth century.

, Moderato: rU ith the help of the Table on page 8 try to identify thechords, which are broken down in the same way each time.

, Andantino: Like the previous composition, this familiar piececomes from Carulli's guitar method. Frequently revised andenlarged with each new edition, this method established itself asone of the key methods for guitar in the nineteenth cenrury.

, Simple Melody: This unpretentious piece spotlights a pluckingsystem for the right hand which is applicable to many similarcompositions: the thumb (p) *d index finger (i) are used for theaccompaniment, while the melody is generally played with themiddle finger (m) and ring finger (a).Andantino mosso: The above plucking system is also used in tlrisbrief piece. You should pay special attention to rhe composer'sdynamic markings.Allegro: Mauro Giuliani composed many valuable pieces thathave esablished themselves in the guitar repertoire. This popularAllegro is taken from Giuliani's collection 'Le papillon / TheButterly" (opus 50). The Present publication's cover designrecalls that album. Note that in the first four lines every secondnote is played with the index finger (I).'Waltz:

Posteriry has almost completely forgotten L. Picchianti.He spent his whole life in Florence, where he published a numberof guitar pieces. The waltz was by far and away the single mostpopular dance form in the nineteenth cenruryValtz with flageolet notes: The most notable fearure of this pieceis its use of (relatively easily played) flageolet notes in the secondhalf. These notes will be even more clearly audible if the righthand plucks them on the fingerboard.Andantino: To avoid the use of the left hand thumb required inthe original, the bass c on re second crotchet of bars 6 and 14 hasbeen shortened to a quaver. trf you want, you can try either of thevariants provided, which retain the original note value.Folk Song: T'he melody of this old folk song is played,with thethumb throughout. This originally. somewhat sentimental songgains freshness by its rhythmc arrangement of a Rhumba() = 1j.2).Short Story: The piece that concludes Section II is written in popsryle. You will find it easier to solve any rhythmic problem youmay have if you count in 4/8 0 = 1,,3.2), at least at first.

19. .Sommeil, vite, vite (Sleep quickly):,section III focuses on rhe,considered.choice berween 'tiramdo .and apoy,anda. This Frenchlullaby (j = 8a) contains indications of whire to play with whichtechnique.

20. There's Music in the Air: This upbeat folk song (J = 104), like theprevious piece, also employs both plucking techniques,

21. She Vore a Yellow Ribbon: This easy-going traditional song()=92) Poses a tough challenge to those *ho *"''t to try it. As thfootnote explains, you can first play the piece either apoyando ortirando and then ahernare them as you see fit.

22. Brian Boru's March: The origins of this Celtic melody can betraced all the vray to the llth cenrury. According ro an ancientlegend, a thousand harpers played this stirring march (). = 66)during a legendary battle, helping the Irish to gain rhe upper handover the Vikings. In this and the following pieces you are left todecide for youiself whether to play tirand , opoyo,do.

23. Allegretto: In this lively, cheerful piece you should nore rhecomplex use of rhe right hand and also exactly observe the rests inthe lower part.

24. Andante: This familiar guitar composition is frequently cited as.an example of how impressive musical effects can be achieved with

modest technical resources. Fernando Sor was a key figure in thedevelopment of guitar music.

25. Tarantella: Itaiian legend has it that the only way to survive rhebite of a tarantula (an extremely poisonous spider) is to keepdancing the arantella until the poison has left the body. Thetempo increases progressively throughout rhe dance (). = 92/126).

26. Titicaca: south American folk music tends to srress the rhwhmicelement. It makes sense to include not only a second'guitarbut also a number of (not too loud) rhythm instrumenrs for aperformance of this exciting Peruvian dance (J = 88).

27. Pantalone: The name of this piece derives from a boisterouscomic figure in the Commedia dell'arte tradition. (J = 120)

28. Sucu, Sucu: This cheerful Colombian melody () = 76) entailsfrequent changes of position: nor easy but perfectly feasible withenough practice.

29. Georgia Picking No. 1: This piece is in Bluegrass style (a blend ofIrish, English and American folk music). It is a feaure of theo.riginal picking Patterns in Bluegrass music that the rng finger (a)is barely used. (J = 100)

30. Back to the Roots: This piece is reminiscent of the old CountryBlues played in the Southern States of the USA in the thirties. Thetempo is lively (J = 120). Ideally, the bass should sound short andincisive throughout. Note rhe shccato markings in the upper pan.

31. Menuet du Tambour de Basque: Just as the waltz was rhepredominant dance in the nineteenrh century so rhe Minuetdominated the dance forms of the Baroque age. This graceful.Minuet of the Basque Drummero introdues downward .lo'''

32. Es flog ein klein' Valdvtigelein (approx.: A little bird wasflying): An old love song that tells of the pangs of love (J = 160).Two alternatives are provided for the rather difficult renrhpassage in the second part. Or you can invent your own variant.

33. Fuego y carb n (Fire and Coal): This happy song frorn the Southof Spain (J = 1oO) introduces upward ilurs. If-you leave yoursecond finger in place ar tJre beginning, the first slurs will be easierto get right.

34. Moderato: The many technical challenges make this piece themost difficult in Section V. It entails upward and downward slurs,recurrent changes of position, md the observation o detaileddynamic markings.

35. Sylviet Song: This brief composition is built over calm, pulsatingbass notes () = I2o). The melody contains numerous syncopationand downward slurs and should be.practised alone at the beginning.

36. Lo'oking Back: This.somewhat melanoholy pop song (J = 63)provides a good oppornrniry ro revievr.the. skills and under-standing which you have acquired.

F. N.