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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This article deals with Chapters D, E and F. The jazz sqntorsola session guitarist of today is expected to improvise freely in all keys and also be able to read fluently all over the neck.
Here is an opportunity for you to try to use some of the advice given throughout these articles.
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Using the fingering patterns given on the previously, try to write out and learn four other possible fingerings of this passage. The desirability of this arpeggio effect is to some extent dependant on the function of the G at the start of the measure.
This sort of practise will slowly build a neuro-muscular memory matrix of the whole tonality of each one of the Chapters. Figure 12 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 antita fifth position in A minor.
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.
Guido Santorsola – Suite Antiga
For the following articles these forms are best understood as follows; 2 Octave Major Scale commencing on String 5 or String 6. Perhaps even to try to put some of the principles examined and explained above, to use in your own repertoire. A small letter after the initial antiya code indicates that there are perhaps 2 ways of playing the form – as in D4a and D4b.
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 antiag on the fingerboard simultaneously.
Figure 15 There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here. There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here. santorwola
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. 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.
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.
Diii begins more brightly than the other two fingerings.
Suite Antiga: V. Giga, a song by Guido Santorsola, María Isabel Siewers on Spotify
Slow repetition with no mistakes is urged, until the patterns begin to flow easily. D4iii would mean that although the main shift is on String 4, there is another less significant shift on String 3 iii.
Vicenti Escudero, The Eternal Gypsy. 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. Letters to the Editor. 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.
Scales All scales in site 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.
The previous article dealt with Chapters A, B and C. Choice of fingering will be seen to have a profound effect upon the interpretive presentation of a musical idea site the alteration of timbre caused by string selection and phrasing by means of shift buido. Here again, the “correct” fingering is a matter of preference.
The tone becomes darker also, which is in context with the nature of the overall timbre, of these fingerings. D3iii however, takes the scale all on string 3, apart from the A note at the bar’s end.
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. Figure 13 Diii begins more brightly than the other two fingerings.
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. D4a has fewer shifts than Diii or D3iii.
In cases such as this there is no correct way, only a number of alternatives. In the Courante from J. D4 refers to the 2 Octave Harmonic Minor scale form commencing angiga String 6 and shifting on string 4.
This causes symmetrical sequences previously not apparent, while creating a more cello – like timbre, especially on String 4. 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. In D3iii and D4a, we find an echo of the “pairing” and arpeggiation of the E major arpeggio in the previous measure.
In Diii the G blends in with the E arpeggio and apart from stressing the beginning of the new measure, has little other effect. Christopher Parkening, Young Virtuoso. This suggests a great purity in this line, while D4a transfers to string 4 after four scale notes have elapsed, leaving another four notes onto the G. Abtiga 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.
The shift is then systematically transplanted to develop the scale form. Introduction This is the second of a series of three articles. The evidence suggests either El or E2 as the most feasible alternatives.