GUIDO SANTORSOLA SUITE ANTIGA PDF

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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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. To demonstrate them for oneself in this way is probably the best way to absorb them.

This occurs only in two note accumulations in D3iii, creating a “pairing” effect and an accumulation of three notes in D4a. 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.

One could adopt a policy here that is common in modern fingerings of Bach, which is to substitute a string crossing for a slur and vice-versa and still use El as a viable fingering for this passage, if the slurs are kept between notes two and three of the triplets where possible.

This sort of practise will slowly build a neuro-muscular memory matrix of the whole tonality of each one of the Chapters. 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.

D3iii however, takes the scale all on string 3, apart from the A note at the bar’s end. Christopher Parkening, Young Virtuoso. In El, however the string crossings interfere with the slurs. Back to index Chapter F 2 Octave Melodic Minor Scale commencing on String 6 This scale gudio is normally performed with a shift on String 5 both ascending and descending as follows: In D3iii and D4a, we find an echo of the “pairing” and arpeggiation of the E major arpeggio in the previous measure.

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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. Here is an opportunity for you to try to use some of the advice given throughout these articles.

Guido Santorsola – Suite Antiga

E2 works well with the slurs in these positions, as does E3. This causes symmetrical sequences previously not apparent, while creating a more cello – like timbre, especially on String 4. 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. The E major arpeggio at bar 2 beat 1, is more obvious in Diii than in D3iii or D4a, because of the feature of each note having a separate string and the tendency for harmonic accumulation.

In Diii the G blends in with the E arpeggio and apart from stressing the beginning of santtorsola new measure, has little other effect. Figure 15 There are no slurs in Bach’s original, however the guitarist may wish to insert some as I have added here. I have avoided using picture diagrams or “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.

Diii begins more brightly than the other two fingerings.

Next time we will examine three 3 Octave scale forms. By this in-depth analysis of the interpretational effect of each fingering, at least the evidence supporting their uses, is now clear. 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 guldo note D natural.

Guido Santórsola

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 the fifth position in A minor.

Although this example goes beyond the realm of this form by a few notes, the following fingerings still illustrate antiha different approaches to this example that are drawn from the previous permutations. 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. The high scale at beat 2 bar 2 is common to all our fingerings, yet this ugido effect is perpetuated in Diii by its adherence to String 1 as much as possible.

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For the following articles these forms are best understood as follows; 2 Octave Major Scale commencing on String 5 or String 6. E2 is attractive from vuido aspect of balance within the fingering, as it has either a string crossing gujdo a shift located between notes two and three of each scale triplet.

D4 refers to the 2 Octave Harmonic Minor scale form commencing on String 6 and shifting on string 4.

Figure 13 Diii begins more brightly than the other two fingerings. El is more suited to the slurs being located between notes two and three of the triplets, but even then this breaks down in bar two, triplet two, of our example.

A small Roman numeral after the initial scale code indicates that there is another less important shift on that string.

Preludio (Suite Antiga) by Guido Santorsola – Classclef

The shift is then systematically transplanted to develop the scale form. 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.

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. D4iii would mean that although the main shift is on String 4, there is another less significant shift on String 3 iii. In cases such as this there is no correct way, only a number of alternatives.

The tone becomes darker also, which is in context with the nature of the overall timbre, of these fingerings. The evidence suggests either El or E2 as the most feasible alternatives.

The desirability of this arpeggio effect is to some extent santprsola on the function of the G at the start of the measure. Vicenti Escudero, The Eternal Gypsy.

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