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Classical Guitar Companion [Pehme köide]

5.00/5 (5 hinnangut Goodreads-ist)
(Professor of Guitar, University of South Carolina)
  • Formaat: Paperback / softback, 246 pages, kõrgus x laius x paksus: 216x277x18 mm, kaal: 703 g
  • Ilmumisaeg: 20-Feb-2020
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0190051116
  • ISBN-13: 9780190051112
Teised raamatud teemal:
Classical Guitar CompanionSuurem pilt
  • Formaat: Paperback / softback, 246 pages, kõrgus x laius x paksus: 216x277x18 mm, kaal: 703 g
  • Ilmumisaeg: 20-Feb-2020
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0190051116
  • ISBN-13: 9780190051112
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780190051112.html
Märksõnad:
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.

Arvustused

Oftentimes a new guitar study is accompanied by fanfare proclaiming that a new technical discovery has been made, or some set of magical exercises promising virtuosity have been revealed for the first time. Christopher Berg's Classical Guitar Companion has done the reverse of this by showing that the answers have been in front of us the whole time, with examples spanning over 450 years of lute and guitar repertory. * Tonny Morris, Executive Director, Classical Guitar Alive *

List of Figures
xi
List of Tables
xiii
List of Examples
xv
Preface xvii
Acknowledgments xix
Editorial Method xxi
Introduction 1(8)
1 Learning the Fingerboard
9(38)
Fingering Notations and Conventions
10(1)
Scales and Cadences
11(18)
Open-Position Scales and Lower-Position Cadences
12(7)
Bursts and Exercises for Change of Direction
19(1)
Moveable Scale Forms and Associated Cadences
20(4)
Long Scales
24(5)
Beginning Fingerboard Harmony
29(18)
Triads on the Top Three Strings
29(1)
Triad Cycles
30(1)
Scales in Triads
30(1)
Triads on the Lower Strings
31(3)
Triad Progressions
34(1)
Cadences by Bathioli
35(12)
2 Scale Exercises and Studies
47(42)
Fingering Considerations
47(7)
Carulli's Right-Hand Fingering Practices
48(1)
Carcassi's Right-Hand Fingering Practices
48(1)
Giuliani's Right-Hand Fingering Practices
49(1)
Sor's Right-Hand Fingering Practices
49(1)
Aguado's Right-Hand Fingering Practices
50(1)
Coste's Right-Hand Fingering Practices
51(1)
Mertz's Right-Hand Fingering Practices
51(2)
Triplets
53(1)
Scale Exercises and Etudes in Lower Positions
54(11)
Three Lower-Position Scale Exercises with Thumb Accompaniment
54(1)
Three Scale Exercises from the Carulli Method
55(1)
Attaingnant: Two Haulberroys
56(2)
Giuliani: Op. 1, Part 3, No. 3
58(1)
Tarrega: Scale Exercise in D
59(1)
Besard: Branle Gay
60(1)
Mertel: Prelude 28
61(1)
Dlugorai: Finale (from Thesaurus Harmonicus, 1603)
62(1)
Le Roy: Passemeze and Plus diminuee (1568)
63(2)
Scale Exercises and Etudes in Upper Positions
65(20)
Three Upper-Position Scale Exercises with Thumb Accompaniment
65(1)
Aguado: Nuevo m6todo para guitarra, Study No. 16
66(2)
Carcassi: Op. 60, No. 1
68(2)
Carcassi: Op. 60, No. 14
70(1)
Tarrega: Diminished Chord Exercises
71(1)
Tarrega: Prelude 9
72(1)
Tarrega: Scale Exercises
73(3)
Tarrega: Estudio en forma de minuetto
76(2)
Anonymous: Chi passa (Marsh Lute Book, ca. 1595)
78(1)
Johnson: The Queen's Treble
79(3)
Dalza: Piva for Two Lutes
82(3)
Advanced Right-Hand Scale Fingering
85(4)
Application
85(2)
Other Applications
87(2)
3 Repeated Notes
89(17)
Repeated-Note Exercises and Studies
90(16)
Horetsky: Op. 15, No. 7
90(1)
Aguado: Nuevo metodo de guitarra, Op. 6, Exercise 10
91(1)
Carcassi: Op. 60, No. 2
92(2)
Sor Op. 6, No. 4
94(1)
Sor Op. 35, No. 19
95(2)
Aguado: Nuevo metodo para guitarra, Section 3, Study No. 23
97(1)
Carcassi: Op. 60, No. 7
98(2)
Giuliani: Op. 83, No. 3 (Antoine de l'Hoyer: Op. 27, No. 4)
100(4)
Sor Op. 31, No. 19
104(2)
4 Slurs
106(22)
Metric Slur Exercises and Etudes
106(6)
Carulli: Prelude from Methode complete, Op. 27
107(1)
Carcassi: Exercise from Methode complete, Op. 59
107(1)
Carulli: Andante from Methode complete, Op. 27
108(1)
Carcassi: Andante from Methode complete, Op. 59
109(1)
Carcassi: Op. 60, No. 8
110(1)
Carcassi: Op. 60, No. 4
111(1)
Slurs across the Beat
112(2)
Slur Exercises from Horetsky's Op. 33
112(1)
Horetsky: Op. 15, No. 24
113(1)
Giuliani, Op. 48, No. 4
114(1)
Advanced Slur Studies
114(7)
Son Op. 6, No. 3
114(3)
Carcassi: Op. 60, No. 9
117(2)
Giuliani: Op. 100, No. 19
119(1)
Giuliani: Op. 48, No. 9
120(1)
Advanced Slur Exercises
121(7)
Virtuoso Slur Exercises
123(5)
5 Harmony
128(21)
Studies
128(15)
Aguado: Nuevo metodo para guitarra, Section 2,
Chapter 1, Exercise 12
128(1)
Carcassi: Study in Damping from Methode compete, Op. 59
129(1)
Son Op. 35, No. 11
130(1)
Son Op. 31, No. 22
131(1)
Tarrega: Prelude 8
132(1)
Son Op. 31, No. 20
133(1)
Tarrega: Prelude 12
134(1)
Son Op. 35, No. 16
135(2)
Son Op. 29, No. 13
137(3)
Son Op. 29, No. 23
140(2)
Tarrega: Prelude 4
142(1)
Advanced Left-Hand Exercises
143(1)
What Guitar Methods Say
143(1)
Musical Implications
144(5)
Applications
145(4)
6 Arpeggios
149(26)
Arpeggio Studies
151(24)
Carulli: Moderato from Method, Op. 27
151(1)
Aguado: Nuevo metodo de guitarra, Op. 6, Part 2, Exercise 6
152(1)
Son Op. 31, No. 6
153(1)
Aguado: Nuevo metodo para guitarra, Section 2, Exercise 2
154(1)
Aguado: Nuevo metodo para guitarra, Section 3, Study 5
155(1)
Aguado: Coleccion de estudios, Study 3
156(1)
Aguado: Nuevo metodo para guitarra, Section 2, Exercise 16
157(1)
Aguado: Nuevo metodo para guitarra, Section 2, Exercise 17
158(1)
Aguado: Nuevo metodo para guitarra, Section 2, Exercise 20
159(1)
Aguado: Coleccion de estudios, Study 5
160(1)
Son Op. 35, No. 9
161(1)
Giuliani: Op. 48, No. 2
162(1)
Aguado: Nuevo metodo de guitarra, Section 2, Exercise 10
163(1)
Giuliani: Op. 48, No. 5
164(2)
Giuliani: Op. 48, No. 6
166(1)
Aguado: Nuevo metodo para guitarra, Section 3, Study 8
167(2)
Giuliani: Op. 48, No. 3
169(1)
Son Op. 35, No. 23
170(2)
Son Op. 31, No. 12
172(3)
7 Melody and Accompaniment
175(13)
Chordal Textures
177(2)
Son Op. 31, No. 23
178(1)
Melody above an Alberti Bass
179(3)
Horetsky: Op. 15, No. 2
179(1)
Giuliani's Fingering Examples
180(1)
Son Op. 35, No. 73
181(1)
Melody in an Arpeggiated Texture
182(5)
Son Op. 35, No. 22
182(2)
Son Op. 6, No. 11
184(3)
Simple Melody
187(1)
Tarrega: Endecha
187(1)
8 Counterpoint
188(16)
Contrapuntal Pieces and Studies
189(8)
Valderrabano: Duo pleni sunt
189(1)
Giuliani: Op. 139, No. 4
190(1)
Zani de Ferranti: Caprice, Op. 11, No. 1
191(1)
Aguado: Nuevo metodo para guitarra, Lesson 38
192(1)
Aguado: Nuevo metodo para guitarra, Lesson 39
192(1)
Aguado: Nuevo metodo para guitarra, Lesson 40
192(1)
Son Op. 31, No. 4
193(1)
Carcassi: Op. 60, No. 6
194(1)
Son Op. 6, No. 8
195(1)
Giovanni Maria da Crema: Recercar tredecimo
196(1)
Four Fantasias by Francesco da Milano
197(7)
Francesco da Milano: Fantasia 28
198(1)
Francesco da Milano: Fantasia 40
199(1)
Francesco da Milano: Fantasia 38
200(1)
Francesco da Milano: Fantasia 34
201(3)
9 Florid or Virtuoso Etudes
204(9)
Virtuosity Is Not Everyday Life
204(9)
Carcassi: Op. 60, No. 20
205(1)
Tarrega: La mariposa
206(2)
Tarrega: Study in A
208(3)
Tarrega: Estudio de velocidad
211(2)
10 What Next?
213(2)
Bibliography 215(4)
Index 219
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.