Chromatic Scale Exercises
Ex. 1
Ex. 2 Repeat on all strings.
Ex. 3
The following four pieces present a variety of styles and periods and use many of the techniques described in this Method.
Estudio Poetico, written by one of Tarrega's most famous pupils, Daniel Fortea, should be played gracefully and freely. It has a very distinctive common denominator to be practiced separately, this being the right hand pattern, a finger (melody, usually rest stroke) followed by i m chord harmony. It also uses a type of hinge half Bar, which necessitates the first finger to drop onto the half Bar from a normal single note position, then return without the first finger leaving the fingerboard. Note also the use of bass silencing methods (M.2 and M.3). Use rest stroke basses wherever possible to provide depth to the harmony. Note also the grace note at the end of line 3 which is the same as that explained on page 118 except it is hammered instead of snapped.
This Bourree, (a baroque dance in *time) by the great J. S. Bach, is a very important and popular piece in the guitar repertoire- I have purposely left out any fingerings as it is intended to be used as both a solo and duet piece. Although written as a solo, the wonderful two-part writing works perfectly as a duet, and has been recorded as such to allow the student to play both the upper and lower parts separately with the recording. It can, of course, be refingered as a solo.
The Gigue, (a lively baroque dance in ) time), should be played with a steady, uncompromising pulse at a reasonably fast tempo (allegro). It provides good practice in silencing basses, ligados, and alternating right hand fingering.
Granadina uses many of the techniques studied throughout the method including tremolo, arpeggios, multiple slurs, half Bars and natural harmonics. It also contains an interesting syncopated section at line three, bar one. As with all pieces, practice each technique individually until it flows and can be incorporated into the piece as a whole.
