Classical Guitar Arr Stephan Schmidt

Hercules’ Dance

2

Tilman Susato (c. 1500 –1560)

Arr.: Stephan Schmidt

Susato was a calligrapher, trumpet player and composer in Antwerp, where he played in the town band. From 1543 onwards he was also a music publisher, issuing works over 90 composers including Orlando di Lasso The powerful and restained “Hercules’ Dance” comes from a collection of “all kind of jolly dances played on many musical instruments”.

A 1

8

3

4

4

2

2 3

C

G

1 3

3 2

0

0

3

3

Dm 0

3 2

3

Am

1

1

0

0

C

1

3 2

0

0

3

3

4

2

G

3

3 2

0

0

3

3

Dm 0

3 2

3

C

1

1

0 3

0

0

2

3

3

3

C

3

1

0

3

G

0

3

1

2

3

1

3

4

8

C

G

0

0

2

3

1

1

3

3

A 1 3 2

8

C 1 0 3

G 3 2

0 1

0 1

3

3

Dm 0

3 0 0

2

2

3

Am

1

1

2 0

2 0

C 3

1 2

2

0

G

0

0

0

0

3

3

3 0

0

3

3 0

0

3

8

C 1 0 3

G 3 2

0 1

0 1

3

3

Dm 0

3 0 2

0

2

3

C

Am

G

0

1 2

3 0

3

0

1

1

0

2 0

2 0

3

0

1 0

1 0

3

3

9

Dance for a Fugger lady

3

Melchior Neusiedler (1531–1591)

Arr.: Stephan Schmidt

Melchior Neusiedler was a son of the Nuremberg lutenist Hans Neusiedler. At the age of twenty he went to Augsburg, where families such as the Fuggers were generous patrons of the arts and musical life flourished. The composer dedicated this dance to a Fugger lady by way of thanks and included it in his “German Lute Book”, published in Strasbourg in 1574.

A 2

2

3

2

2

3

2

3

2 8 3

1

2

2

2 0

0

0

2

3

2

2 0

0

0

2

0

2

0

3

3 0

0

B 2

3

8

2

2

2

3

2

3

2

1

2

0

3

2

0

0

3

0

2

3

2

0

2

2

0

0

0

2

0

2

3

2 0

0

0

C 3

2

3

1

3

1

2

1 8 2

0 1

2

0 1

0 1 0

0

2

0

0 1

2

0 0

0

0

2

2

2

0

2 0

0

3

1

3 2

8 2

0 1 0

10

2

1

4

2

4

1

2

0 1 0

2

0 1 0

2 0

0 0

2

2

2

0

1

2 2 0

2 2 0

The Parlement

4

from England (c. 1530)

Arr.: Stephan Schmidt

The title of this lively piece means something like “The Conversation” or “The Discussion”. In the 16th Century composers were starting to see music as a tonal language, a concept which later characterised the music of the Baroque era. This composition by an unknown master was copied down by the celebrated John Dowland (1562–1626).

A

4

2 3 1

2

3

3

2

1

2 1

8

D

3

A

2 3 2 0

3

2

0

0 2 2

3

3

2

0

4

4

2

2 3 2 0

2

3

2

0

0 2 2

3

2

0

3

A

2 3 2 0

3

2

0

3

2

0

G

0 2 2

0

2 3 2 0

0

D

0

2

D 2 3 2 0

4

2

A 0

D

1

8

D

2 1

3

3

3

2 3 1

G 0

2

0

2

4

2

2

0

3

A

2 3 2 0

D

0 2 2

2 3 2 0

0

3

2 3 2 0

II

B

4 1 2 1

1

2

4

1

2

4

2

1

4

2

1

4

3

1

8

3

D 2 3 2 0

4

1

2

3

C 5

2

3

5

2

3

5

3

2

0

0 1

3

0

0

3

0

3

1

0

1

3

1

0

3

3

2

3 1

3

3

2

2

0

4

4

8

D 3 2 0

G 2

4

0

2

3 0

2

3

2

4

0

2

0 0 3

D 2

3

0

2 3 2 0

A 0 2 2 0

D 2 3 2 0

2 3 2 0

11

Lesson For Two Lutes

5

from England (c. 1530)

Arr.: Stephan Schmidt

This Lesson For Two Lutes is by no means merely a technical study, but a bright and lively composition which also happens to be easy to play. Like “The Parlament”, this “Lesson” was also found in a collection put together by John Dowland. The first guitar part can alternatively be played as a solo piece.

Guitar I (or solo version)

A

2 1

3

2 2

3

IV

1

3

2

4 0

1

2

4

1

2

4

5

7

1

2

4

4

5

7

8

0 0

0

0

0

5

0

0

0

IV

II 1

1

3

4

2

4 0

5

3

2

1

8

2

0

2

3

0

0

0

3

0

4 0 0

0

2

3

2

3

2

4

5

0

0

B 2

4

4

5

7

4

5

5

7

5

0

0

2

4

3

0

2

3

1

1

8

0

2

2

3 0

0

0 0

0 0

2

2

2

3

0

3

2

0

0

0 0

0 0

2

2

0

3

IV

II 1

1

3

2

1

3

2

3

2

3 2 1

8

2 0

12

0

2

3

0 0

3

0

2

4

0

2

4

5

4

0

5

7

4

5 0

0

3 0

2

0 2

3

2

0

2 2 0

3

2 2 0

Almost all the pieces in the Renaissance and Baroque sections were originally written for the lute, as the guitar did not established its supremacy until the end of the 18th Century. The lute has a short neck and a rounded body without ribs, made from between seven and thirteen pieces of wood. Its timbre is warmer and more tender than that of the guitar.

A

Guitar II 2

3 2

2 1

1

8

0

2 2 0

2

1

2

1

2

0

3

0

0

0

0

2

0

0

0

3

2

0

2

0

2

0

0

2

1

8

0

2

0

2

0

2

0

3

0

3

2

0

0

0

0

0

0

2

2

0

3 0

0

3

2

3

2

0

2 0

0

0

2

B 3 3

2

3 1 2

1 8

2

2 2 0

3

0

2

0 1 2

2

0

3

2

2

0 1 2

2 0

0

2

2

0 0

2

1

4

1

3 2

8

1

2

0

2 0

0

2

3

0

0

3

2

4

1

2

0

1

0

0

2

2 2 0

0 1

0

2

0

0

3

2 0

0 0

2

0 2 2

1

1

3 2

2 2 0

2

2

0

13

Bianco fiore

6

Cesare Negri (1536 –1605)

Arr.: Stephan Schmidt

This wonderfully simple and expressive piece with the title “white flower” is a jewel from “Le Grazie d’Amore” (1602) by Cesare Negri. The composer with the nickname “Il Trombone” (the trombone) founded his own dance school in Milan and served as a musician and dance master in the houses of nobility and at state banquets. II

A

4 2

4

1

8

343

4

1

2

2

2

6 =D 3

2

0

3

2

3

5

2

3

5

0

7

5

3

232

5

4

2

0

0

2

0

3

8

4

4

2

2

1

2

1

2 3

3 1 1

3

2

3

0

2

3

5

2

0

0

2

B

3

2 3

4

2

3

0 3

4 2

0

2

4 0

232

1

3 2 1

8

3

1

1

2 3

2

0

0

0 2 2

3

2

0

5

3

2

2

0

232 2

3

0

0

2

1

1

0

0

2

1

2 3

8

1

4

3 0

14

0

2

0

3

2

0 0 5

2

0

2

3

0 3

2

0

2

3 4 0

2

Branle gay

7

Jean-Baptiste Besard (1567–1625)

Arr.: Stephan Schmidt

The Branle is a French dance from the 16th Century with many variants. Branle gay is one of the fast damce forms. Besard came from Besançon and, after first studying law, went to Rome to study music. Later he spent many years working in Cologne, where he published books for the lute as well as books on the law.

A

II 1

2

4

3

5

1

2

4

3

5 0

2

1

3

2

8

6 =D 2

2

0

2

1

2

3

5

2

3

0

2

3

0

2 0

0

2

3

0

2

1 3

1

2

1

2

2

3

2

0

2

0

8 2

2

0

0

2

1

3

2

0

1

0

2

0

0

B

1

2

1

2

0

1

0

2

II 1

2

4

3

5

1

2

4

3

5 0

8

2

2

0

1

2

1

2

3

5

2

3

0

2

3

0

2

0

0

2

1

2 0

0

3

8

0 0

2

0

3

2

3 0

0

2

4

0

2 0

0

4

4

0 0

4

15

Romanesca

8

Vincenzo Galilei (1520 –1591)

Arr.: Stephan Schmidt

The Romanesca was a popular dance and variation from in the 16th and 17th Centuries, often accompanied by a steady repeated pattern in the bass. In this popular piece by Vincenzo Galilei the bass line is played as an introduction, later coming to a point of rest in section A’, after which it forges ahead again with the impetus of the dance.

8

6 =D

0

A

0

0

II 2

0

0

0

0

2

2

4

1

2

3

5

7

0

0 0

4

2

0

0

1

8

3

0

0

0

0

0

0

0

0

3

0

0

5

2

0

0

0

0

8

0

3

0

2

3

2

3

0

0

0

0

0

0

0

0

0

4

0

0

3

0

0

0

4

2

2

0

1

8

3 0

16

0

2 0

3

5

0 0

7 0

3

0 0

0 0

5

2

0 0

0

0

8

0

3

0

2

3

2

0

0

0

0

0

2

3

0

3

2

0

0

0

2

0

3

3

0

0

0

2

0

0

0

B

8

2

0

2

0

0

0

2

3

0

0

0

0

0

0

0

5

3

0

0

0

8

2

0

3

0

0

0

5

3

0

0

0

0

0

3

0

0

0

2

0

0

0

8

3

2

0

3

0

0

0

2

3

0

0

0

0

2

2

0

0

0

5

3

0

0

0

8

0

0

3

0 0

2

3

0

2

0 0

0 0

2

3

2

0

0 0

3

2 0

3

0

2

3

0 0

0

0

17

Vincenzo Galilei grew up in Florence. At an early age his lute playing impressed influential patrons who enabled him to go to Venice and Rome to further his musical studies. Later on in Pisa he married a noblewoman whose first child by him was a son, Galileo. Galileo also learned to play the lute, but is was for his scientific research that he achieved world renown – Galileo Galilei (1564 –1642).

A 1

3

8

0

2

0 0

4

0

2

0

0

0

0

0

2 0

2 0

0

4

0

0

0

8

2

0

2

0

4

2

0

4

0

4

2

0

4

0

2

0

4

2

4

0

0

0

0

B

8

2

0

0 0

3

2

0 0

2 0

0

0

0

0

0

5

3

0

0

0

8

2

0

18

0 0

3

5

0 0

3 0

0

0 0

0

0

2

3

0 0

0

0

Galilei wrote his lute tutor “Fronimo” (Venice 1568) in the form of a stimulating dialogue. Most of his compositions (Passamezzi, Saltarelli and other dances) are contained in an unpublished collection, however. The lutenists of Munich are proud of the fact that Vincenzo Galilei spent a year in their city in 1578, making music at the court of the Duke of Bavaria.

8

3

2

0

3

0

0

0

2

3

0

0

0

0

2

2

0

0

0

5

3

0

0

0

8

3

0

2

0

2

3

0

2

3

5

0

0

3

5

3

2

0

0

0

VII

2

0

3

2

3

0

0

0

0

0

0

0

4

4

4

4 1 1

8

10

10 0

0

0 0

10 0

0 0

0

0

10 7 7 0

A 16th Century lute.

19

Le Rossignol

9

from England (c. 1600)

Arr.: Stephan Schmidt

The “Nightingale” is the title of this elaborate dialogue between two birds, whose very similar voices are cleverly interwoven. This beautiful Duo is easy to play; it appears in Jane Pickering’s Lute Book (c. 1600), which is now kept in the British Museum.

A

II 2

4

4

2

1

4

2

2

1

2

3

1

3

8 4

3

3

4

3

2 2 3

1

1

8

0 1

4

2

1

1

3

1

1

3

3

2

2

1

1

4

8

II

2

4

1

4

4

3

3

8

1

1 1

4

3

3

4

2 3 1

1

8

0 1

II 2

2

1

4

4

4

2

2

1

2

3

1

8

II

2

4

3

8

1

1 1

20

4

4

3

8

3

2

1 2

4

2

1

3

1

3

1

3

2

3

1

Advanced players may enhance the effect of birdsong further by adding trills. This would be particularly appropriate at the beginning of bar 18 and 20, as well as bars 28 and 30. The trills – examples are to be found in “Bianco fiore” and elsewhere – should be performed with precision by both guitars at the same thime.

A 3 2

0

2

3

2

3

0 0 0

5

7

2

1 3

0

3

2

3

0

3

2

0

5

2

3

1

7

2

2

0

5

5

3

0

5

3

2

0

4

2

0

4

0

3

3

0

2

0

3

2

0

2

0

2

3

2 3

0

4

0

2

3

1

0

0

0 5

4 0

4

0 0 0

2

3 2

0

2

0 0 1

4

2

5

3

2

0

5

3

5

7

5

3

2

2

3

0

3

0 5

2

0

2

5

3

2

3

1

2

0

2 3

2

3

0

2

3

0

3 0

2

3

0 0 1

2

2

0

3

0

4

4

3

0

1

0

4

0

0

3

7

0

2

2

2

0

0

3

4

1

2

2

2

0 0 1

2

3

0

4

0

3

0

2

3

3 0

2

1

0

0

3

3

0

2

0

0

4

2

4

0

2

0

0

1

0 0 1

2

2

3

2

0

3

2

0

2

1

0 0 1

4

2

0

21

B

II

4

2

2

1

1

0

4

2

2

1

1

3 1

8

II 2

1

0

4

8

0

4

II 2

1

4

1

0

4

3 1

3 1

4

4

3

1

4 1

4

1 3

4

4

2

2 3

2

8

1

2

3

2

1

2

8

II 1

4

4

II 2

1

0

1

0

4

1

2

2

1

3 8

1 4

4

4

8 4

2

2

1

4

1

4 2

8

II 4

2

1

0

1

4

0

4

4

3

1 2

8

3 1

3 1

2 2

2

8

4 1

1 3

2

4

4 1

8

22

2

1

4 3

3 1

1

3

4

B 7

7

7

7

7

7

5

3

2

0

4

2

3

2

0

4 2

0

4

2

3

2

0

4 2

1

4 2

7

4

2

4

7

7

7

7

7

5

3

2

0

2

5

3

2

3

4 2

3

0

2

3 0

2 0

2

7

8 5

0

5 7

7

7

5

0

0

3

3 0

2

3

5

2

3

5

3 0

2

0

0 0

0 0 1

4

4 2

0

5

3

2

0

7

7

7

7

2

0

1

3

1

0

3

7

0

2

7

7

0

7

4

5

3

2

2

0

2

3

3

2

0

2

3

2

3

2

0

2

3

5

3

0

0

2

3

2

0

4 2

4

0

1

4 2

1

3

0

8 5 7

3

0

2

5 7

3

2

0

7 0

0

2

4

2

4 2

7

7

2

3

7

5

7

7

2

7

3

7

5

7

5

3

0

2

2

0

1

2

3 0

2 0

2

3

3 0

4

0

4 2

0

4

2

0

4 2

0

3

3

7 0

3

3

5

2

3

5

5

3

2 0

3

2

0

0

4

0 0 4 2

0

2

0

4

0 0 1 0

4

2

0

0

2 0

23

Tarleton’s Resurrection

10

John Dowland (1562–1626)

Arr.: Stephan Schmidt

“Tarletons Resurrection” is a lament without words for the famous court jester Richard Tarleton, who provided entertainment at the court of Queen Elizabeth I. John Dowland became renowned chiefly for his expressive and usually melancholy songs with their elegant and richly ornamented lute accompaniment.

II

A

1

3

1

4

3

II

4

2

1

4

2 1

2

1 1

8

2 2

0 2

3

2 3 2 0

0

0

II

3

5

4 0

5 2 2

2 3 1

3 1

2 1

1

4

4

2

4

0

0

0

1

1

7

0

II 1

5

1

8

1

2 2 0

2

0 0 1

4 2 2

0 2 2

2 3 2 0

0

0

4

5

4 5 4

4

0

II 4

2

3

8

0 2 2

0

0

B

4

1

2

3

1

1

0 0

5 2

2

4

4

2

4

4

4 5 4

2 0

3 1

0 0 1

2

1

0

4

2

3

1 3

1 1

8 1

0 2 2 0

24

2

II

2 2 1

0

2

0

2 3 1

1 2

2

3 1

1

2 1

1

7

5

4 5 4

4

2

0

0 2 2 0

2 3 2 0

2 2 4

4

0 0 2

3

2 2 0

The composer, who was born near Dublin, spent time in France, Italy, Germany and Denmark before finally securing a post in London. Shakespeare extols him with the highest praise in his sonnet “The Passionate Pilgrim” (1599): “Dowland … whose heavenly touch upon the lute doth ravish human sense.”

2

3

4

4

3

3 1

1

2

2

2

8

0

3 2 0

2

0 0 1

3

2 2 0

0

C

1

1

0 2 2

1

4

3 1

4

1 2

3

1

5

5

9

6 7 0

1

9 7 0

4

3

1

7 5

5 2

6

4

0

2

4

2 4

4 5 4

2

2

0 2 2 0

0

4

2 1

3

2

1

8

4

2 1

4

2 1 1

2 3 2 0

2

1

4

1 2

8

5

2 2 0

II

4

2 3

3 2 0

2

3

5 0

0 2 2 0

3

2 0

3 0

0 2 2 0

1

3 2

2 2 0

25

Dance

11

from England (c. 1590)

Arr.: Stephan Schmidt

This lively dance movement is taken from an old book of lute tabulature. It consists of sections A and B, each of which is followed by a variation. The variations are marked as A’ and B’ respectively. The first chord can by strummed with the thumb (indicated with an arrow) so that a powerful accent is given at the beginning. II

A

4

2

1

3

2

2

4 3

3

1 1

8

1

5 2 2 2 0

A

1

3

2

0

3

2

0

0

0

2

2

0

3

0

3

2

0

0

0 0

4

2

4 2

0 0 1 0

II 4

4

2

1

2

3

3

2

4 3

2

1 1

8

1

5 2 2

2

3

5

3

2

0

2

0

3

2

B

0

2

3

0

2

2

0

0

3

0

2

8

1

2

0

2

3

0

2

3

0

2

0

2

4

0

4

2

1

8

3

1

2

2

4

2 0

2

0

2

3 2

4

2

3

3

2

4

1

1

2

0 4

3

0

2 0

3

0

2

4

5

2

2

4 2

2

0 2

2 1

1

2

2 2 0

0

4

4 1

3

1

0

2

3

1

2

4

1

0

4

2

0 0

4

1

2

3

1

2

0

II 2

0

3

1

0

3

2

B

4

2

3

1

2

1

2

2

0

II 2

26

1

4

5 0

2

0 2 0

2 1

1

2 2 0

0 0 1 0

Minuet in C

12

from Thuringia (c. 1680)

Arr.: Stephan Schmidt

The minuet was originally a folk dance from France: it was introduced at Court under Louis XIV and was eventually to become the most popular dance form of the Baroque era. This, the first of four minuets in present collection, is a simple yet elegant miniature with sequences in the melody that are typical of the period.

A 4

8

4

2

0

1

0

3

1

0

1

1

0

0

2

3

3

8

3

3

2

2 3 0

1

0

1

0

3

3

3

B

1

2 2

8

3 4

5

3

3

2

3 2

3

4

2

1 2

2

3

1

1

0

8

0 0

1

0

0 1 3

28

0

3

4

4

1

2

0

2

3

0

3

4

3

2

3

1

3 3

0 0 0

1 0 2 3

Minuet in A minor

13

from Lithuania (c. 1680)

Arr.: Stephan Schmidt

3

A minuet is always written in ⁄4 time and usually begins on the first beat of the bar. The most commonly used form consits of two parts, each eight bars long. It was a dance for couples, who stood some distance apart to perform elegant sequences of steps and bows. The minuet was later superseded by the waltz as a dance, yet it continued to figure regularly in instrument music in stylished form.

A 2 8

2

2

0

1

0

2

0

2

0

1

1 2

2

1

0

1

0

1

0

1

3

0

3

1 2

0

0

B

4

3

3

1

0

1

2

2

1

2

4

4

0 2

0

1

0

1

0

3

3

2

2

3

3

3

0

3

0

4

2

5

2

1

0

2

0

1

0

1

2

2

2

0

3

2

2

3

1 1

1

2

8

8

3

0

4

1

0

0

0

3

3

0

3

1

3

2

8

1 0

0

3

1

0

0 2

1 2

2

0

3

2

2 3

3 0

1

0 2

1

2 0

29

Gassenhauer

14

Valentin Rathgeber (1682–1750)

Arr.: Stephan Schmidt

3

The Gassenhauer is a leaping dance in ⁄4 time which follows on from a striding dance. This piece appeard in the “Augsburger Tafelkonfekt” as a song with harpsichord accompaniment. The song begins: “False tongues leave me no peace. / Wherever I turn, hey attack me. / First I am too quiet for them, then too garrulous. / and then I offend them again by some action or other.”

A

Guitar I (or solo version) 4

8

4

1

3

4

3 3

C 1

0 3

3

G 1

0

1

3

C

3

3

3

1

0

3

3

G 0

1

3

3

3

C 0

3

3

3

3

Fine 1

8

4

2

3

G 1 0

C 1

0

1

2

3

0

0

3

1

3 0

2

3

3

C

G

0

1

3

0

3

1

3

3

3

3

B

8

C 0

0

0

3

3

1

3

G

C

3

0

3 0

1

3

3

4

4

0

1

3

3

4

3

C 0 3

3

0

1

3 3

0

D. S. al Fine

3

F

C

5

3

3

3

4

3

C 0

3

3

1

8

30

G 0

3

3

1

2

G 3

1

0 3

1

3 3

0

3

0 2

0

Valentin Rathgeber was a Benedictus monk who belonged to the monastery of Banz, in Franconia. On his own initative, however, he spent nine years on a “grand tour” which took him to places including Bonn, Stuttgart, Augsburg and Munich. In this period he published the “Augsburger Tafel konfekt” already mentioned, with dances, songs and chamber music, as well as church music.

A

Guitar II

8

3

4

1

3

3

C

G

0

2 3

1

0

0

3

C

0

3

0

0

3

1

0

3

3

G

C

0

1

3

3

3

Fine 4

8

4

2

3

3

G 3 0

C 3

1

1

2

3

0

1

G 1

0

3

3

C

0 0

0

3

1

3

0

1 3

3

0 3

B

8

C 1

G 1

0

3

1

C

0

2

3

0 0

G

1

1

3

1

3

3

3

3

0

0

3

3

D. S. al Fine

8

C 1 3

1

0

1

3

C

F

C

0

1

0

3

1

3

3

G 0

3

1 3

3

0

0 0

3

31

Rujero

15

Gaspar Sanz (1640 –1710)

Arr.: Stephan Schmidt

4

The Rujero (or Ruggiero) is an instrumental dance in /4 time followed by a dance (Paredetas) with three beats in a bar. Both the two dances introduced here are part of the “Suite Espagnola” by the Spanish composer Gaspar Sanz and appear in a book of tabulature published in Saragossa in 1674.

A

121

II 2

1

2

2

3

4

2

1

2

2

3

8

3

2

0

3

0

2

0

232

0

3

5

3

3

0

0

2

0

3

0

2 3 3 2 4

8

1

1

3

2

0

3

2

3

2

0

0

3

2 3

0

0

2

0

4

0 2 2

1

0

B 3

3

2

2

3

2

3

3

2

3

1

8

2

1

0

2

2

3

2

0

2

0

2

0

0

4

4

2

2

4

0 0 2

2

0

2

0

1

1 3

2 2

8

5 3 4

32

5

3 0 2

3

3 2

2 3 0

3

2

0

3

0

2 0

3

0

2

3

3

0

0

Paredetas

16

Gaspar Sanz (1640 –1710)

Arr.: Stephan Schmidt

Sanz came from the region of Aragon; after studying music, philosophy and theology he went to Italy to extend his musical knowledge. He used the five-string guitar customary at that time, without the bottom E string. Sanz was also an organist, playing for many years in the chapel of the Viceroy of Naples.

A

12 1

II

4

1

2

1

2

8

3

2

0

3

2 32

0

3

0

12 1

II 2

121

4

2

2

5

3

232

0

4

2

0

12 1

0

3

12 1

1

8

3

2

3

0

232

0

0

232

3

0

B

0

3

232

0

0

2

0

12 1

121

8

0

2

2 32

0

0

2 0

0

4 2

4 2

1

0 0

3

232

2

0

2

0

2

2

1

8

0

5

3

2

4

2

0

3

2

0

3

0 0

3

0

3

2

3

0

3

0

33

Aria

17

Jan Antonin Losy (1643–1721)

Arr.: Stephan Schmidt

Aria is a term used to describe a stately piece with the emphasis on the melodic line. The Bohemian lutenist, violinist and composer Jan Antonin Losy von Losimthal came from a wealthy noble family, studied Philosophy in Prague and travelled extensively in Italy, Spain and Germany.

A

4 3

4 3

4 3 1

8

0 1 2

0 1 0

0 1

0 1

5

3

2

3

B

1

5

4

5

4 2

1

5 5 2

0

5

5

3

1

0 2

0

3

1

3

0

0 0 1 2

3

3

III

I

4 3

1

4

4

1

1

8

3

0 1 2

2

0

1 2 3

3

2 0

3

1

0

1

3 0

3

3

1

5

2

3

5

6

3

0

3

1

3

0

3

3

1

3

2

1

2

2

8

0 1 2

0 0

3 3

1 2

1

0

0

2

0

0 2

0 1

0

0

1

2

0

1

3

0

2

0

1

2

0

3

3

1

3

2

1

2

2

8

0 2

1

0 0

3 3

1 2

1 0

0

2

0

0 2

0 1

0

0 2

3

1 0

0

1

2

0 2

1 3

3

1

34

0

0

Bourrée in D minor

18

Robert de Visée (1650 –1725)

Bearb.: Stephan Schmidt

In 1768 Jean Jacques Rousseau described the Bourrée as a “cheerful dance with four beats in a bar”. Visée was a guitarist and lutenist at the court of Louis XIV. In 1672 he published his book of pieces dedicated to the king. “Livre de pieces pour la guitare dédié au roy”. It contains the famous Suite in D minor from which this Bourrée is taken. III

A

4

4

3

0

1

1

3

0

4

3

3

2

1

2

8

1

4

1

4

4

3

2

2

2

3

3

5

2

3

5

3

0

1

3 2

0

4

2

3 3

3

1

1

0

0

3

2

2

3 3

0 2

III 4

4

1

1

3

2 0

4

3

2

1

2

8

1

3

4

1

3

1

2

3

3

5

2

5

3

0

3

1

4

3 2

0

4

B 2

1

3 3

0 2 2

0

0

4

4

2

4

4

3

3

3

3

3

5

1 3

8

0

3

2

0

2 0

4

3

3

2

3 3

6 0

5

3

1 2

3

0

1

2

2 0

3

0

1 0

3

2 2

2

1

3

3

2

2 1 0

1

3 0

1

1

3

3

3

2 0

2

3 3

3

3

4

2

1

5 2

0

3

3

1

1

0

3

4

1

2

8

2

0 2

4

2

3 2 0

2

3

3 3

3

3 0

2

35

Sarabande

19

from Poland (c. 1710)

Arr.: Stephan Schmidt

The Sarabande probably originated as a folk dance in Mexico. In the 17th Century it was popular at all the courts of Europe and metamorphosed from a quick to a slow dance with three beats in a bar. In this form it was included in the Suite, taking its place between the Courante and the Gigue.

A

8

0

3

3

1 0

3

2

1

3

1

3

2

0

4

4

4

2

3

3

2

0

0

5

3

3

3

2

0

3

1

0

0

4

2

1

5

3

2

8

0

0

3

3

1

3

0

3

3

2

0

0

3

3

B 4

8

2

3

3 0

2

4

8

3

3

2

2

1

2

4

2

2

3

2

0

0

3 2

2

2 1

3 2

36

2 0

0 3

3 2

0

0

0

3

4

3

3

3

2

3

0

0

1 0

0 3

2 0

0

3

2

0

2

3

3

The Suite (Fr. Sequence) emerged from the pairing of contrasting dance movements, the first of them is slow quadruple time and the second in quick triple time. In the Baroque era the typical sequence of movements was Allemande – Courante – Sarabande – Gigue, with other dances (Minuet, Air, Bourrée) frequently inserted. All the dances in a Suite are in the same key.

A 4

4

8

0

0

2

1

3

0

3

3

2

3

1

3

2

0

4

1

2

3

3

0

2

0 3

3

5

1 2

3

2

0

3

1

0

0

8

0

0

0

1

3

0

3

3

3

0

2

0

5

1

3

3

2

2

2

3

0

0

0

B 4

8

2

3

3 2

0

4

8

3

3

3

3

2

3

3

2

3

1

3 0

2

0

3 2

3

0

0

3

0

0

3

2

2

1 3

3 2

2 0

0 3

3 2

1 0

0 0 3

2

0

2

0

4

0 3

37

Air

20

Georg Friedrich Handel (1685–1759)

Arr.: Stephan Schmidt

Handel was so fond of his melody that he used it in a number of versions in various different compositions. This guitar version forms the basis of the last movement of a harpsichord Suite published in 1720. In the original, this noble melody forms the theme upon which five variations are based.

A 1

8

1

1

3

3 3

2

2 4

2

0

0

4

3

0

0

0

4

4

0

0

4

2

4

2

1 2

2

1

0

2 2 0

0

2

1

2 2

1 2

4

Georg Friedrich Handel was born in Halle on the Saal in 1685. It was his father’s wish that he should study Law, but his talent and enthusiasm for music soon took him to Hamburg, where he started out as an orchestral musician (second violin). His first opera “Almira” was a resounding success when first perforemd in 1705 at the famous “Haus am Gänsemarkt”. A notable feature of this youthful composition is the use of three languages: Italian, German and Plattdeutsch. Handel then spent some years studying in Italy before eventually moving to London in 1711. In London Handel had to endure financial difficulties as an impresario, in spite of the great success of his operatic creations. His best-known competitions include the “Water Music”, the “Fireworks Music” and the oratorio “Messiah”. Operas such as “Xerxes” and “Julius Caesar” have been performed more often in recent years, after a long period of neglect on the German stage. Handel festivals take place every year in the German town of Göttingen, Halle and Karlsruhe. 38

0

3 1

8

2

4 6

4 0

2

0 1 2 0

The terms Air and Aria denote a peceful, often solemn instrumental piece. Both words are derived from the Greek “aeros”, a breath of air. In Italian the term “aria” originally ment “sung meldoy”, as in our operatic arias.

B

4

8

4

1

2

2

3

0

5

4

0

4

0

1

1

2

0

0

0

2

4

3

5

0

2 0

4

0

3

4

0

3

4

4 1

1

8

2

0

5

4

4

2

0

4

1

2 4

0

4

2

3

0

0 1 2

0

1

1

0

1

1

3

2

4

0

0

3

0

2

1

0

4

2 4

3

3

1

2 2

3

0

3

2

2

4

2

0

0

0

2 2

0

0

3

1 8

2

1

0 4

2

0

2 8

2

3

2

0

1 2

3

2 2

0

2 0

0 0

2

2 0

39

L’inverno

21

Antonio Vivaldi (1678 –1741)

Arr.: S. Schmidt /N. Baur

“The Four Seasons” are among Vivaldi’s most famous compositions. A violin concerto with three movements is dedicated to each season in this cycle. The slow middle movement of Winter (l’inverno) with its tempo indication “largo” (broad) has been arranged here for solo guitar. The notes with upward stems form the melody, and should of course stand out in performance.

A 1

4

8 3

3

1

1

0

0

3

0

3

1

3

1

3

0

0

3

0

0

1

4

1

3

0

1

3

5

0

5

7

0

2

2

7

5

6 0

1

1

0

1

0

2

0

0 0

0

0

3

3

3

3

5

0

7

1

4

2

3

8

0 0

1

3

7

0

4

2

3

8

3

3

4

4

0

0

3

3

4

0

1

0

3

1

3

0

0

2 0

3

3

0

1

2

3

1

0

2

4

0 2

3

1

3

3

1

3

4 1

8 3

4

3

0 0 3

2

0

0

0

4

0

3 0

3

3

2

0

0

4

0

2 0

3

3

2

0

0

0

4

3

0

2

4

2

0

4

8 2

3

3 0

3

40

2

2

0

0

0 3

3 0

0

2

0

3

1 0

0

2

0

2 0

0

0

0

0

0

0 0

0 0

3

0

2

0 3

The sonnets commenting on the seasons may well have been written by Vivaldi himseelf. The following lines correspond to this largo section of Winter: Passar al foco I di quieti e contenti / mentre las poggia four bagna ben cento. (Peaceful and contented days are spent by the fireside / while many outside are soaked by the rain.

B 2

1 3 4

8 1

3

0

1

0

0

2

0

3

0

1

2 0

2

3

0

0

0

0

2

0

2

0

0

1

0

4 5

1 0

0

0 0

0

0

0

0

3

3

3

2

8

1

0

3

1

1

0 0

1 0

3

3

4

4

3

5

0 0

0 0

0

0

2

3

3

0

0

1

2

3

0

1

0

2

1

3

0

3

3

0

1

0

0

0

1

3

8 3

1

0

3

0

2

2

0

1

0 0

0

3

2

0

1

3 0

0 3

0 2

1

3

0

3

0

0

3

3

0

0

0 3

3

8

3 3

0

0 2

0 3

1

3

0

3 0 3

0

3 0

0 3

3

0 0 3

3

1

0 0 3

0

1

1 0 2 3

41

Canarios

22

Gaspar Sanz (1640 –1710)

Arr.: Stephan Schmidt

The name of this quick dance from the gigue family refers to its place of origin in the Canary Islands: it is an instrumental dance without words, generally in 3⁄8 or in 6⁄8. In this composition by Gaspar Sanz there are some charming thythmic changes of accent from 6⁄8 to 3⁄4.

A

II 2

1

2

1

1 2

3

2

1

8

0

3

2

0

2

3 0

2

3

2 3

3

2

0 0

0

0

2

0

3

3

2

3

0

3 0

0

8

2

0

2

3 0

2

3

2 3

3

2

0 0

0

0

2

0

3

3

2

2

3 0

0

3

0

B 1

2

2

4

1

3

2

2

1 8

4 3

0

C

3

1

2

0

3

0

3

2

4

2

0

4

4

4

3

2

2 4

0

0 0

2

2

3

0

2

3

2

4

2

4

0

0

1

5

3

2 1

4

1 8

7

7 0

42

2

1

9

9 7

10 7 0

10

2

3 0

3 2

5

5 4

2 0

3

2

4

4 2

1

4

2

2

3

8

1

3

0

0

0

2

2

2

A 1

2

3

2

3

3

0

4

0

3

5

3

3

0

0

0

2

3

5

3

0

4

2

8

2

3

5

0

0

3

3

0 0

0

0

3

0

2

2

3

4

2

1

5

3

2

3

0

0

D 3

2

3

2

0

0

1

8

2

0

2

0

2

0

4

0

2

3

2

0

0

0

2

0

2

3

5

3

0

0

E

8

3

0

3

0

C

0

2

0

3

0

0

0

2

3

2

0

0

0

3

2

0

2

2

4

2 3

8

3

1

0

0

5

1

1

7

3

4

1

7

3

4

4

4

2

9

9 7

10 7 0

10 7

5

3 0

3 2

0

0 4

3

3

4 5

4 5

43

Largo

23

Antonio Vivaldi (1678 –1741)

Bearb.: Stephan Schmidt

Largo means “broad” and is not only a tempo indication but also the title of movement in Baroque concertos. This is the famous middle movement of a concerto for lute, two violins and basso continuo which Vivaldi probably composed while staying in Prague in 1730. The lute part is nowadays often played on the guitar, with the melody being varied in the repeats.

A 2

2

1

4

4

2

2

5

3

1 8

2

3

3

0

1

5

2

3

5

0

0

2

5

0

2

3

0

5

7 2 0

0

0

4

4

2

4

1

4

2

4

3

5

1

8

2

5

2

3

5

0

4

2

5

5 2

0

1

4 4

2

5

3

0

1

4

2

7

5

4

8

5

2

0

5

3

4

3

4 2

4

2

2

4

7

7

0

4

7

5

7

7

3

5

5

0

1

2

1

7

44

2

0

4

8

5

5

7

5

7 4

5

7

5

5 4

3

5

5

5 4

Vivaldi spent most of his career in his home town of Venice.His red beard and theological training earned him the nickname “Il prete rosso” (the red priest). In 1703 he was appointed to teach string playing at the Ospedale della Pietà, the famous orphanage in Venice, where he was in charge of intensive musical instruction.

4 2

8

4

3

4

4

5

4

4

3

1

4

2

4

2

5

3

1

5

3

5

3

5

3

5

3

2

2

1

7

5

0

0

3 1

8

2

2

4

2

5

2

5 4

0

0

2

2

4

2

0

5

2

4

2

0

242 4

4

2

1

4

2

2

5

3

1

3

8

5

7

5

7

5

7

5

7

5 75

4

7

2

4

0

0

II

4 1

1

3

4

4 1 1

8

2 0

5

5

2

4 4 0

5 2 2 0

45

In his function a a music teacher Vivaldi composed numerous concertos for solo instruments, in addition to liturgical works; the solo concertos were performed on Sunday afternoons. Although the “prete rosso” also wrote almost 100 operas, his greatest achievemnt was the introduction of the solo concerto as a musical genre in Europe, influencing even J. S. Bach.

B

II 1

3

2

4

1

3

1

3

2

4

1

2

3

8 1

3

5

3

5

4

0

5

2

3

2

3

3

5

2

2

3 2

1

1

2

2

0

2

2

2

3 2

0

2

0

2

0

2

2

0

2

0

2

0

2

2

0

2

3

4

121

2

2

2

3

7

8

7

8

7

8

7

7

7

8

7

8

7

8

7

7

7

5

3

2 3 2

0 7

7

0 4

7

2

2

3

3

2

1

4

1

0 2

46

0

1

7

8

5

4

2

2

3

8

3

0

3

8

7

0

2

3

5

3

2

5

2

4 2

1

1

3

2

2 4

2

5

3

1 8

5

2

3

3

5

7

2

4

4

0

0

0

2

5

4

2

2

1

8 3

5

7

5

3

2

5

3

1

1

7

0

2

0

0 3

3

4

4

4

2

2

1

4

2

1

3

1

4

2

5

2

1

8

7

9

7

5

3

2

5

0

3

2

4

2

3

0

0

3

2 1 8

2 2

0

2

0

2

0

2 2

0

2

0

2

0

2

0

0

2

2

0 2

2

0

2

0

0

2

0

3 2

2

0

2

0

2

0

2

0

020

4 2

1 2 3

8

2 0

3

5

3

02 0 0

3

3 4 5

47

Jesu, Joy of Man’s Desiring

24

Johann Sebastian Bach (1685–1750)

Arr.: Stephan Schmidt

This Chorale from the Cantata “Herz und Mund und Tat und Leben” [My Heart, my Mouth, my Deeds, my Life] was composed for a four-part choir and chamber orchestra, with violin and oboe playing the celebrated opening theme. The choral entries (the first of them in bar 9) are marked by the use of block harmonies. The first guitar (or solo arrangement) on the accompanying CD can be heard through the right speaker.

A

Guitar I (or solo version) 3 3 3 4 2 4 3

4

1

1

0 3 1 1 0 2 0 2

0

3

4 1

3

2

1 3

0

0

0

4

2

1

3

4

0

2

0

3

2

1

3

2

3 1 0

0 2

4 5

0 4 0

2

1 0 0

2

4

4 1

3

1

2

3

3

4

1 3

0 2

0 2

0

4 2 4 3

4

4

0

3 0

2

2

8

1

2

3 2 3

3

3

2

0

3

3

4

3

1

0 3 1 1

3

B

4 1

1

2

8

4

3

3 2 3 2

2

0 2 0

0

2

3 1 0 2 3

2 0

4

0

0

4

0

4

3

0 3

3 0

0 3

0 0

3

3

4 2

1

3 0

3

3

3

1 3

3

4

1

3

8 2

3 0 0 3

1

2

2

3

1

1

1 0

3 2

0

2

1 0

3 3

2

2

0

1

0 0

2

3

2

0

1 3

1 0

2

4

2

4

2

0

2 0

1

0

2

4

8

0

4

2

1 0

0

2

2

3

2

1 0

0 0 3

48

3

2

2

0

3 0 2

0

0 0 2

2 3

0

1

0 0

2 0

A shortened version of this guitar arrangement is conceivable with the sequence A-B-A’’ (solo version or duo). The second guitar part comes through the left speaker and may be turned down, included or listened to on its own, as required. It functions as an accompaniment and its melody has been given the same bass line as for Guitar I.

A

Guitar II 3

3

2 1

8

1 1

0

0 2

4

1

4

0

2

0

2

0

2

2

2

0

2 0

0

2

1

1

0

4

4

0

2

0

2 3

0

4

2

0

2 0

0

4

3 4

2

4 1

8

1 1

3

0

4

0 2

4

0

2

0 3

3

1

2

1

2

4

2

4

3

1

3 2

0

2

0

2

2

0

0

2 3

0

4

2

4

0

0

3

0

3

3

3

0

2 3

B 1

4 2 3

3

8 2

0

1

3

0

2

0

0

2

3

2

3

3

1

3

2

2

4

2

3

1

0

2

0

0

2

3

3

2

3

1

1

2

1

2

3

2 0

2

0

4

2

4

2

2 2

8 3

2 0

3

3

1

2 0

4

0

4

4

1

4

2

0 0 3

1

2

1 0 2

0

3 0 2

0

0 0 2

2 2

0 4

2

2 4

49

A

Guitar I (or solo version) 3 3 3 4 3 4 2 3

3

1

2

8

4 1

0

0

0 3 1 1 2 0 2

0

3

2

2

4 1

0

3 1 0

0

2

3

3 2 3

3 0

2

2

0 2 0

0 2

0

3 1 0 2 3

1

2 0

0

2

3

3

1

0

0

0

4

4

0 1

1

2

0

0

1

4

1

5

3 0

0

0 0

3

2 2

3

2

4

4

1 3

2

2

0 2 0

1

0

3

2

1

3

0 1 2

2

3

4

3

3

2 2

2 3

3

2

4

6

5

3

5

3

0

1 1

3

1

2

0

0

1

3

3

0

1

3

0

0

4

1

2

1

0 5

1

3 4

1

3

3

0 3

2

1

3

1 0

3

II

4

2

2

3

2

3

5

3

4

4

2

3

3

0 4 0

3

3

1

4

0

2

2

2

1

2

0

1

5

0

0 0

0 1

3 0 2

2

0

3

3 4

2

1 1

3

1

2

4

3

3

8

3

0

3 3

50

4 5

3

1

0

0

1

3

3

3

4 1

3 2 0

1

4

4 1

1

0

0 3 1 1

8

2

1

3

8

0

2

4

4

3

2

2 3

C

1 3

4 2 4 3

4

4

0 2

0 2

0

0

2

8

3 0

1

3

2

2

3 2 3

3

3

3

1

1 1

3

0

4

0

1

3 0

0 3

3

3

1

3 2

0

1

2

1

0 3

2

3

2 3

1

0

1 0

2

3

0 2 3

3

2

3

0

2 3

0

4

0 2

0

2 0

A

Guitar II 3

3

3

2

1

1

8

1 1

0

0

0

2

0 4

0

2

0

2

2

2

0

2 0

0

4

0 2

4

2

1

0

2

2

1

4

0

0

2 3

0

4

2

0

2 0

0

4

3 4

2

4 1

8

2 1

3

0

4

4

2

2

3

3

1

2

1

3 2

0

2

0

4

2

1

2

0 2

1

0

0

2

0

0

2

0

4

3

4

2

0

0

3

2

1

3

2

3

3

3

3 4

0

0

3

3

2

2

0

2 0

3

4

0

2 3

C

8

4

1

2

1

0

1

0

0

3

0

2

2

3

2

2

1

0

2

8

1

0

1

2

3

2

2

1

3

2

4

3

2

1 2 2 0

0

0 1

3 0 2

0 0 2

0

3

3

3 4

8

0

3 3

0

1

3 0

1

0

1

0

2

0

3

2

3

2

0

3

1

0

1

2

3 4

51

Guitar I (or solo version) 3 3 3 4

1

1

2

8

2

2

0

0 3 1 1 0 2 0 2

0

3

3

2

4

0 2

0

1 3

0

0

0

3 1 0

2

0

0

2 0 2 4 0 2 4 0 5

3

2

1

2

4

3 0

2

2

3

1

3 2 3

1

4

2 1

8

2

0

4

0

4

0

1

2

0

2

1 0

0 0

2

2

3

3

3

3 0

0

2

0

0 0 2

0

2

1

0

2 0

0

3

3

4 3

3

2

3

1

1 0

1 4

4

3

4

2

1

4

8 2

3

0 3

0

3

3 0

0

3

1

0 3

3

3

1

2

4

2

2

1 3 0

0 3 1 1 0 2 0 2

4

4 1

3

3

4 3

4

2

3

0

2

0 2

4 0 4

1 3

0

0

3 1 0

2

3

4

1

3

1 0

3

1

1 3

1

0

0

1

0

3

3 2

3

3

2

3 2

3

0

0 0

2

0

4

4 5

0 2

0 4 0

1

2

1

2

1 0 0

4

3

3 2 3

1

2

3

4

3

2

2

1 3

4

0

4

2

3

2 2

8

0

0

4

1

0 2

2

2

3

3 0

1

2

2

3 2 3

0

0

1

1

0

2 3

1

0

0

3

4 3 4 2 3

3

1

8

0

0

0 3

3

A

52

3 0

0 4

1 2

2

0

0

0

4

0 0 2 3

2

Guitar II 3 3

3

8

0

0

0

0

4

0

2

0

2

0

2

0

2

1

0

4

0

2

0

2

4

4

4

1

2 0

4

0

2

1 0

0 0

4

2

3

3

3

3

3

1 2

0

0

2 3

3

0

3

0

3

0

1

0

4

4

4

0 2

1

3

0

2

0

2

2

2

0

2 0

0

2

2

4

1 1

3

0 2

0

4

2

1

2

0

0 2

4

0

4

3

4

0 3

2

0 2

2

0 2

0

0

0

2 3

1

4

2 3

0

0

2

4

0

0

2 0

4

1 3 2

4

3

2

1

0

2

4 1

8

2

1

1

2

3

3

1

1

8

0

2 4

2

3

3

0

0 4

0

3

2

0

1

3

2

3

3

A

3

1

0

2 2

3

3

3

0 0 2

0

2

0

4

2

0

3 0

3

3

4

4

1

2

3

2 0

0

4

1

2

8

2

1

3

8

0

4

0 4

2

0

1 2

0 3

2 3

53

Bourrée in E minor

25

Johann Sebastian Bach (1685–1750)

Arr.: Stephan Schmidt

The Bourrée, originally a folk dance from the Auvergne, reached the courts of Europe in the 17th Century and eventually found a place in the Suite, between the Sarabande and the Gigue. The famous pedagogue Jean-Jacques Rousseau wrote of its form: “The Bourrée is in two parts, like most dances: each part has four bars or a multiple of that number.”

A

II

II

II 2 1

1

2

4

8

1

3 1

0 2

3 2

0

3

0

4 2

0

2

0

0 3

3 2

0

MZ D D

MM Z M M Z D D D D

4

4

1

1

1 1

2

2

4

2

0

0

3

4 1

3

2

1

0

2

3

2

2

2

0

4 2

0

4 1

3

0

2

0

0 3

2

1

2

0 2

4

1

2

4

8

1

0

M D

2

0

4

4

1

2

0

3

0

2

0

2

0

M Z D

M D

M Z D

0 3

2 2

4

0

0

3

2 3

3

3

2

1

1

2

J. S. Bach (1685 –1750)

54

2

3

1

3

4

0 3

G 2 3

0

4 5

0 5

1

0

2

3

2

2

II 2

3

0 0 2 3

Bach probably composed this extremely popular, fast Bourrée during his time at Weimar (1707–17). It forms part of the Suite in E minor for the 13-course lute. Like other works by Bach, this piece has found its way into pop music. In 1969 the group “Jethro Tull” issued their legendary version for flute and E-bass on the LP “Stand Up”.

B

4

4 2 8 3

0

1

0

3

4

8

3

1

3

0

3

3

4 3

4

2

2

4

2

2

0

2

0

5 4

0

3

0

3 4

1

0

2

0

2

3

2 2

0

0

0

0

3

2

2

3

2

3

1

3

2

4

1

3

3 4

2

1

6

7

2

3

5

7

3

2

2

2

0

6

9

7

7

4

1

0

2

7

0

1

0

1

4

2

1

1

1

3

2

0 2

3

3

0

2

2

4

1

3

0

1

4

2 1

1

1

2

2

4

2

3

4

2

0

4

0

0 3

2

2

1 1

2

0

0

2 2

4

6

1

1

3

2

1

0 3

1 3

3

2

0

1

2

2

0

3

1

1

1

2

3

2

0

0

4

II

2

3

2

5

0

0

1 2

3

1

3

2

0

2

1

1

3

0

3

2

0

2

1

4

4

2

2

2

5

1

5

4

1

3

4

5

4

5

4

3

5

3

3

4

2

1 2

0

3

3

2

2

2

2

1

8

3

3

1

1

3

1

2

3

0

3 1

4

3

0

2 0

3

1

3

1

2

4

8

3

3

3

1

4

0 0

4 0

2

1 2

4

2

4

2

1

2 0

4

0 2

2 0

55

Minuet in E

26

Adam Falckenhagen (1697–1754)

Arr.: Stephan Schmidt

This simple but effective minuet has survived in manuscript form in the Bavarian State Library. Fackelhagen was born in Grossdalzig, near Leipzig, and began his career in Gera and Weimar, later moving to Bayreuth in 1632 as court lutenist. His compositions include chamber music and numerous Suites for lute solo.

A 1

4

2

2

2

1

2

1

8 3

2

4

1

0

2

3

0

0

0

0

4

2

0

0

4

1

0

2 2

4

1

4

2

0

II 2

4

1

1

4

3

3

8

3

1

3

1

1

0

0

4

2

0

1

2

2

3

4

5

4

2

4

3

8

1

3

4

1

4

4

2

2

2

B

3

1

0

3

2

4

2

4

2

1

2

4

5

2

5

5

2

4

2

4

0

2

5

4

2

0

0

0

0

1

4

3

2

0

2

4

1

1

8

3

2

3

0 0 4

2

2

0

4

0

3

1

4

56

2

4

2

2

0 0

0

4

2

0

0

0 1

2

0

4 4 0

0

1

2

Andante

27

Joseph Küffner (1776 –1856)

Arr.: Stephan Schmidt

The Italian word Andante means “walking”: in music it denotes a moderate tempo. It corresponds to a relaxed walking pace (c. 80–100 steps per minute). In the following piece a meldoy is presented in a variety of ways at this tempo: with two voices in thirds, in chords, with a single voice and unaccompanied, in the minor and the major.

A

4 3

1 2

5 5

3 4

1 2

4

8

1 2

1 2

1 2

1 2

0

0 1

0

1

0

3

3

1

0

1

2

0

4 3

1 2

5 5

3 4

1 2

8

1 2

1 2

1 2

1 2

0

0 1

0

3

1

0

2 0

0

B

4

4

4

8

0 1 2

1 2

3

1

3 0

0

0

3

1

3 0

0 1

3 0

3

1

0

1

Fine

8

58

0 1 0

0 1 2

3

0

0 0 1 0

3

1

0

1

2

0 0 1 0

0

3

1

0

2 0

3

Küffner was born in Würzburg and gained high esteem as a violinist and director of music in the employment fo various princes. Although not really a guitarist himself, he wrote numerous catchy, usually short pieces for the guitar, as well as duos and chamber pieces. He expressed his support for the Polish liberation movement by writing Polonaises and Polish songs.

C 2 1

0 2

1 2

2 3

2 3

2 1 0 1

2 3

2 1

0 2

2 3

2 1

0 1

3 4

2 2

0 1

2 8

2 2

2 2

0 2

3 4

0

0

2 3

0

0 2

3 4

2 2

0 1

0

2 2

0

8

0 2

3 4

0

0

0

1

4 3

0 2

2 1

0 1

4

2

2

2

0 2

2 2

2 2

0

0

0

0

D

2 0 2

0 1 0

2

0

4

2

0 0 1

2

0

2 3

2 1

0 1

0 0

0 1

3

2

0 0 1

0

0

2 1

0 2

1 2

0 2

0 2

2 3

0 2

2 3

2 1

3 4

2 2

0

8

0 1

0 1

2 2

0

0

3 4 0

2 2

0 1

0

0

2 2

0 1

0

0

2

4

2

0

0

D. C. al Fine

2 3

2 1

1

8

2 2

2 2 0

0 2

3 4 0

0

2 3 0

0 2

3 4

2 2

0

0 1

1 0

3

2

0

2 0

59

Ländler

28

Anton Diabelli (1781–1858)

Arr.: Stephan Schmidt

The Ländler, a folk dance with a slow 3/4 beat, was one of the precursors of the waltz. Famous figures among the Early Romantics such as Beethoven and Schubert were particularly fond of composing Ländler. In recent times the guitarist and composer Siegfried Schwab has been one of those to take on this musical form, writing twelve wonderful Ländler in A major.

A

8

4

4

3

3

3

0 0

2

1

0

3

2

1

0

0

0

0

1

0

0

0

3

4

1

3

2

4

2

3

1

0

1

0

3

3

2

1

8

0

1

0

3

2

3

2

3

0

1 0 0

1

1 0 0

1 0 2 3

0 0 0

3

3

B 4

1

4

3

4

3

1

1

2

2

4

8 3

2

0

3

3

1

2

0

3

1

2

2

0

3 0

0

0

2

1

0

2

3

1

3

2

0

3

3

3

4

4

3 1

2 8 2

3 2

60

1

2

0

1

2 3

0

3 0

0

0

0

2

1 0

2 1 2

3 0 0

0 3

2

Diabelli, whose name indicates Italian ancestry, was born in Mattsee in Austria and played an important part in Viennese musical life with his playing, composing, teaching and publishing activities. He was well acquainted with Beethoven, Haydn, Schubert, Giuliani and other composers: Beethoven, for instance, wrote 33 Variations on a waltz by Diabelli.

A

8

4

4

3

3

3

0

1

0

3

2

1

0

0

0

0

0

1 0

0

3

4 3

1

2

4

2

3

1

0

1

3

3

0

2

1

8

0 3

1

0

2

3

3

2

0

1 0 0

1

3

1 0 0

0 0 0 3

1 0 2 3

In 1908 the Viennese newspaper “Wiener Extrablatt” reported an acrobatic variant of the Ländler dance: “Balanced in handstands on the lasses’ powerful shoulders, the lads stamp out a Ländler on the wooden roof”.

61

Tarantella

29

Mauro Giuliani (1781–1829)

Arr.: Stephan Schmidt

The Tarantella is an old Neapolitan dance that was said to have originated as a treatment for the bite of the tarantulla spider. People would often go on dancing for hours “as though bitten by a tarantulla”, driven on by the furious playing of violins and guitars, reinforced with noisy percussion and shouts of encouragement from bystanders.

1

2

4

1

1

8

0

0

0

3

1

1

0

2

1

0

0

0

1

2

4

2

1

1

0

0

0

0

1

0

2

1

0

0

0

1

0

2 0

0

4 1

2

4

1

2 1

8

0

3

1

1

0

2

0

0

1

0

1

2

4

1

1

0

0

0

2

0

0

3

0

2 0

0

2

3

3

3

3

3

3

0

0

0

4

8

3

2

0 3

2

1 0

3

0 3

2

3

1

0 2

0

1

8

0

3 2

0

0

3

1

3

0 2 3

3

1 2

0

3

0 0 3

4

2

0

3 3

62

0

2

0

1 3

0

3

1 2

0

3 0

3 2

1

0 3

1

3 3

0

1 3

0

2

3

Giuliani learned to play the flute and cello in his youth, before devoting himself entirely to the guitar and eventually becoming one of the greatest guitar virtuosos of all time. At the age of 25 he left Italy for Vienna, where he made the guitar so popular that Beethoven attended his concerts and Haydn performed with him.

8

0

3

1

1

0

2

1

0

0

0

1

2

4

1

1

0

0

0

2

0

1

0

2

0

0

1

1

0

0

2

2

2 0

0

3

2

8

0

3

1

1

0

2

1

0

0

0

1

2

4

1

1

0

0

0

2

0

0

3

0

0

2

2

0

0

0

4

1 2

3

2

2

2

3

4 1

1

2

8

0

0

0

1 2

2

2

2

2

0

0

0

0

2

1

2

0

0

2

1

0

3

0

5 0

0

4

5

2

0

1

0

4 3 2 2

1

2

1

3

8

2 0

1

2 0

2

0 3 1 3

0

0

5 5 5 0

63

Andantino

30

Niccolò Paganini (1782–1840)

Arr.: Stephan Schmidt

Andantino, the diminutive form of Andante, is slightly faster than a simple “walking” pace. This popular miniature by Paganini begins almost like a dance, with happy, light-hearted steps. The graceful lightness of this piece has sometimes led to imaginative alternative titles such as “Melodie d’amour” or “Romance”.

A

3

2

2

3

2

1

1

2

2

3

4 2

1

1

5 7

2

3

8

2

0

0

0

0

0

0

0

0

0

3

2

2

3

2

0

0

0

0

0

0

0

0

0

0

7 6 0

Fine

3

2

3

2

1

1

1 2 3

8

0

0

0

0

0

0

0

0

0

3

2

3

2

0

0 0

2

3

0

2 0

3 4 5

0

B 3

2

2

2

3

4 8

1

1

1

2

2

3

2

2

3

2

2

0

3

2

0

2

2

2

0 4

2

2

3

2

2

2

2

0

2

4

2

64

2

1

2

0

2

3

8

3

1

3

2 2

3

2 2

0

3 2

2

0 2

0 4

2

2

2

2

2

2

4

3

2

0 2

2

Paganini was born in Genoa and grave his first public concert as a “child prodigy” at the age of twelve, although he had never received regular formal tuition. Numerous concert tours established his fame all over Europe as a “diabolically gifted” violinist, as his incredible virtuoso playing had an almost hypnotic effect on his audience.

C

4 1

4

2

1

5 3

2

4

2

3

2

3

2

3

8

2

7 0

5

5

3

3 2

0

5

3

3 2

0

3

0

0

0

2 0

D. C. al Fine 2

8

3

2

1

2 2

1

3

2 2

3

2 2

0

3 2

2

0 2

0 4

2

2

2

2

2

2

4

3

2

0 2

Niccolò Paganini (1782–1840)

65

Allegretto Scherzando

31

Niccolò Paganini (1782–1840)

Arr.: Stephan Schmidt

The tempo indication allegretto lies somewhere between andante (walking) and allegro (cheerful) and can best be translated as “fairly lively”. The performance indication scherzando (pronounced: skertsando) means “joking, mischievous”. The underlying rhythmic scheme is identical in the major sections A and B, and only slightly varied in the minor sections D and C.

A

4

4

2

4

4 2

1

8

3

3

3

1

0

0

0

2

2

0

0

4

2

0

0

0

1 0

3

0 3

2 0

2 0

2

2

1

0

3

2

2

0

3

1

4

3

1

3 1 2

2

0

3

3

3

4

1

4

3

B

3

Fine

2

1

0

3

3

3

8

1

2

3

0

3

1

2

3

4

4

3

0

0

0

4

3

1

2

0

3

3

1

4

3

4

2

2

0 0 2 3

1

1

3

3

1

8 2

8

7

5

7

0

5

8

5

0

4

2

7

8

7

0

7

5

5

7

0

8

5

0

4

1

0

3

8 3

0 3

66

2

0

0

3

2

2

0

0 3

3 2

3

1

0 3

0

0

1 0

2

2

0

2

3

1

The guitar became Paganini’s second instrument: he used it to help him compose the orchestral accompaniments to his violin concertos. He once said: “I love the guitar for its sound and its scope for playing harmonies. It is my constant companion on all my travels.”

C

3

2

1

4

3

1

4

3

2

3

8

1

0

2

3

2

0

7

0

8

7

0

7

5

8

0

7

0

0

0

4

2

0

0

2

2

0

II 1

8

1

3

2

0

0

D

4

2

7

8

7

0

7

5

0

0

7

2

4

2

4

2

2

0

4

1

8

0

0

1

1 1

8 1

3

2

2

0

4

3

0

0

0

0

2

2

2

2

4

5

3

2

0

0 2

2

2

2

0

0

0

0

2

D. C. al Fine

3

1

1

4

3

2

8

1

3

0

2

0

7

0

8

7

0

7

5

8 0

7

0

2 2

0

2

0

0

67

Divertimento

32

Napoléon Coste (1805–1883)

Arr.: Stephan Schmidt

The term Divertimento comes – like almost all technical terms in music – from the Italian language and means “amusement, entertainment”. It is used as the name for a merry instrumental piece. In the present example this mood is expressed in the technically accomplished use of high positions an in the use of the key of A major, which is often symbolically associated with joy. IX IX

4

A

1

2

2 2

2 1

8

12

9

0

10

4

1

4

1

0

3 4

2 2

0

10

9

12

9

12

0

1

1

2

3

2 2

4

1

0

9

12

0

IX 2

2

2

2 1

8

9

10

0

2 2

3 4

0

2 2

0

0

A

12

9

2

1

8

10

0

2 2

2

1

4

1

10

12

0

4 4

1

1

0

2 2

0

10

9

12

9

0

1

9

2

3

3 4

12 0

IX 2 2

9

9

0

IX 1

10

12

9

0

12

0

IX 2

2

2

2 1

8

9 0

68

10

0

2 2

3 4

0

2 2

0

10 0

9

12

9

12 0

9

10 0

0

Coste was born in 1805 in the French Jura (in the Doubs area). His father was an officer and for a while mayor of his town; his mother was an accomplished guitarist. In 1815 the family moved to Valenciennes (in the north of France) where Coste gave his first concert at the age of 18. When he was 30 he went to Paris and met the classical guitarists Sor, Aguado, Carulli and Carcassi, all of whom lived there at the time. IX

B

2

4

1

4

2

12

10

4

1

2

4

1

4

2

12

10

4

1

8

10

12

9

9

0

12

10

0

0

12

9

IX 4

2

2

4

0

1

5

7

9

0

4 2

4

10

12

1

2

9

10

1

2

2

1

8

4

12

0

0

1

9

2

4

0

12

9

10

0

0

4 1 3

2 1

2 3

8

0

0 3 4

2 1

0 2 2

3 2

0 0 1

0 2 2

1

0

2

2

3

0 0 2

0

1

1 2

3

0

0

0

2

1

2

4

2

4

5 2 0

5

5 2 0

Napoléon Coste (1805 –1883) 69

Barcarole

33

Napoléon Coste (1805–1883)

Arr.: Stephan Schmidt

A Barcarole (barca = boat) originally refferred to the singing of the gondoliers in Venice. In the 19th Century it became a popular form of composition with a rocking melody and three beats in a bar.

A

4

2 1 3

1 2

1 2

1

4

4

3

2

8

0

2 2

5

5

0

1 3

4 3 4

0 3 4

0

1 2

4

7

5 5 6

0

0

1 2

7

4

1

4 0

2

2 3

2 1

2 1 8

5 7

4 5

2 3

2 3

0

0 2 2

0

0

3 4

4

4

4

3

2 1 3

2 3

1 2

1

2 2

0

0

2

3 4

8

2 2

0

5

5

0

14 1

4 3 4

0

1 2

4

7

Flag. 4

4 3

4 3

2

1 3 2

0

70

4 5

2 3

0 2 0

< 12 >

9

7

9

7

0

5 5 6

1

Fine

2 3

8

575 7

7 0

0

1 2

3

0 3 4

5 7 6

5 6 7

0

In Paris Coste was particularly friendly with Sor and gave concerts with him; he also published a new edition of his guitar tutor. In 1865 he won second prize in a composition competition in Brussels. After breaking his arm falling downstairs in 1863 he was no longer able to give concert performances himself and mainly composed chamber music for oboe and violin.

B

4

4

1 3

8

4 0

7

0

4

2 4

4

2

1

1

0

4

4

3

4

1

2 0

4 0

5 0

5 0

4 0

1

2

4

4

2

4

4

4

0

4 4

4

2 3 1

8

2

2

2

7 0

12

11

11

6

5 0

4 0

4 0

2 0

6

4

2

2

1

3

4

4

4

1 3

8

4 0

7

0

4

2 4

4

2

1

1

0

1

7 0

4

4

1

9 10 9

0

0

3

1

2 0

4 0

5 0

5 0

4 0

1

2

4

4

2

0

IX 4 4

IV 3

1

4

D. C. al Fine 2

1

4

4

1 1 8

3

2

1 3

2

7 0

12 9

6 0

11

11 0

9

7

5

4

7

4

0 0 1 2

2 0 2

4 2 4

0

0

1 2

2

3

0

71

Capriccio

34

Fernando Sor (1778 –1839)

Arr.: Stephan Schmidt

Capriccio means “mood, or caprice” and is used to denote a lively and original instrumental piece, not unlike a Scherzo. In the course of this jolly piece by Sor the melody is gradually enriched with ornaments, which may need separate practice, as in bar 21 for example.

A

4

2

1

1

4

2

4

2

5

3

1

8

1

5

3

2

0

2

3

0

0

2

0

3

2

3

2

0 0

0

0

3

2

2

0

3 1

2 2

0 0

2

1

1

2

2

1

8

3

1

2

0

5

3

0

3

0

2

0

3

2

3

2

0

0

0

0 0

2

3

0

2 2

3

2

0

4

0

0

0

2

0

0

0

B 3

8

1

0 1

3

2

0

0

0

0

3

2

2 2

2

0

0

0

0

1

2

3 4

3

3

2

3

1

2

1

2

2

0

0

0

1

0

1

2

2 2

4

4

3

2

4

3

1 8

1

0 1

1

2

0

0

0

0

2 2

3

2

0

0

0

0

3 4

2

0

0 3 0

72

2

4

5 2 0

5

A

4

1

2

0

2

0

3

0

0

3

2

2

3

0

0

2

5

3

1

0

2

0

2 2

3 1

0

4

2

4

1

2

3

0 0

2

2

4

3

2

8

1

1

0

21 4

2

1

2

1

2

1

2

2 3

8

2

0

5

3

0

3

2

0

3

2

0

3

2

3

2

0

0

3

0 0

0

3 2 0

0

2

3 4 5

0

5

0

4

0

C 2 1

1

3

1

2 3

4 2

2 3

8

3

2

4

2 2

4

5

3 2

0

2

5

0

3

0

1

3

4 5

2 3

3

0

2 1

2

0

2 0

5

0

4

0

1

4 2 3

8

2

3 4

2 2

4

5

0

3 2

0

2

5

3

0

2 0 0

0

2

3

3

3

4 5

4 5

4 5

73

Larghetto

35

Ferdinando Carulli (1770 –1841)

Arr.: Stephan Schmidt

Larghetto is the diminutive form of largo (broad). A piece with this title should be played “rather broadly”: faster than a largo, but slower than andante. A relaxed walking pace would not be appropriate for this piece, as it represents the progress of an individual who has to stand his ground in the face of difficulties.

A

4

4 3

1

8

2

1

Em

B7

3 0 0 2

2 0 2 1

0

4 1

1

1 3

0 0 0 2

0 2

1

0

0

3

4

2

0

0

0

1

2

1

8

0 4

3 2 1

3

2

2

3 0 0 2

2 0 2 1

0 0 0 2

3 2

0

3

1

2

3

B

B7 0

0

2

0

0 0 2 3

2

4

2

2

1

8

4

4

4

0

4

2

1

Em 2 0

2 0

1

1

0

0

3 0

3 0

2

2

5

0

0

4

3

0

2

2 1

2

0

0 2

4

1

8

0

74

2 0

2 0

1

1

0

0

3 0

3 0

2

2

0

5 4

0

3 2

0

2 0 1

0

At the beginning we hear sober resolve, forging ahead undeterred, and with early signs of hope (bars 7 and 8). Section B shows repeated and dogged approach to obstacles and section C express confident determination with a powerful bass line. In the lively conclduding section (D) all problems have been resolved and overcome.

C

4 1 2

3

4 2

4 3

2

8

1 2

3 0

0

4 2

0

0

2

1

1

3

1

3

2

0

2

0

0

0

4

1

0

4

2

8

2

1

0

4 2

1 2 0

3 0

0

2

3

2 1

4

0

0

2

D 4

3

4 2

8

1

3 4

2

2

0

0

0

3

2

3 2

1

0

0

2

0

3

0 2

2

0

0

0

3

2

3

0

2

8

1

2 0

1

2

0 2

3

0

0 0 0 2

2

0

75

Duo in G

36

Ferdinando Carulli (1770 –1841)

Arr.: Stephan Schmidt

Many of Caruli’s compositions were inspired by his work as a teacher. This Duo meant to be played by pupil and teacher. As the teacher’s part (second guitar) is also fairly easy, however, this refresing piece with its echoes of Mozart can be played by any guitarists who enjoy making music together.

A

4

3

2 1

2

2 1

8 4

1

8

4

2 4 1

3

2

3

1

1

2

4

3

2

3

1

8

1 2

8

1

3

4

1

2

1

8

2 4

8 3

2

3

4

4

3

3

8

8

1 3

2 1 3

2 4 3

76

1

2 3

1

Carulli was born in Naples. At anearly age he learned the cello, studied music theory and taught himself to play the guitar. As there were few opportunities for guitar virtuosi in Italy at that time, in 1818 he decided to go to Paris, where he enjoyed great success with his concert performances and also won the highest esteem as a composer and teacher.

A 0

0

3

1

0 2

0

2

1

0

2 3

0

2

0

1

1

0

2

0 2

2 3

2

2 2 3

0

4

3

3

2

3 2

3

0

0

3

1

3

0 0 0

3 4

1

0

0

3

1

3

3

0

2

3

3

0

3 4

1

0

2 0

0

4

1

0

2

0

0 3

3

2

2

0

0

2

2

4

2

0

3

0 2

4 6

0

0

0 0

0

3 2

3

1 2

0

3

0 2

4 6

3

0 0

2

0 0

0

0

2

2 4

3

1 2

0

2 3

1

1

2

3

0

1

0

1

0

3

2 3

0 3

3

2

2 3

3

2

1 0

3

3

3

3

0

0 0 2 3

3

0

0

0 0 2 3

77

While the second guitar purely serves as an accompaniment in Section A, only occasionally becoming prominent with bass runs, here in section B it achieves greater independence. A dialogue with guitar I gradually emerges, culminating in the third line, where a balance is established between the two. The original distribution of roles is restored in the last line.

B

8

1 4

2

8

1

2

1

4

8 1 3 4

2 3

1

8

1

3 3

8

4

8

3

4

2

4

4

3

3

8

1 2 8

4 3 3

78

2 3

2

3

1

B 3

1

0

0

0

2

1

1

0 1 2

1

0

2

2

2

0

4

0

2

0

1

2

1 3

2

3

3

0

0

1

3

1

0

0

2

0

1

0

3

1 3

3

0 0

3

3

0

1

0

2 0

0

2

1

2

0

3

1

2

1

0

4 5

3

0

3 2

4

0

0 3

3

0

0

4

0

2

0

0

2

0

2

0

1

3

0

1

3

3

0

2

0

1

3

4

2

0

2

0

0

3

0

0

2

3

0

4

0

2

0

1

4

0

1

4

2 4 5

1

3

0

0 0 2 3

4

2

3

0

0

0 0 2 3

79

Minuet from “Don Giovanni”

37

Wolfgang Amadeus Mozart (1756 –1791)

Arr.: Stephan Schmidt

Mozart’s opera “Don Giovanni” was a great success at its first performance in Prague in 1787. This minuet from Act I first gives a musical depiction of the presentations for a happy celebration. Mozart then shows his masterful ability in using the same minuet to accompany singing.

A

1 2

1 2

1 4

4

1 2

4

2 3

7

6 7

8

5 6

5 6

5 6

5 6

5 6

5 7

5 6

0

5 6

3 4

0

3 4

3 4

3 4

3 4

5 6

0

II

6

4 1

3 2

4 1

7

0

4

3 2

3 2

1

1

3

2

8

1

1

2

4 2

4 2

4 2

4 2

4 2

2

0

2

4

4

1

2

4

4

5 2

0

2

1

0

0

A

2

2

2

3

2

0

3

2

1

4

1 2

4 2

1

8

0

4

1 3

4

1

1

3 2

0 2

0 2

0

4

0 2

0 2

0 2

0 2

2

5

0 2 0

0

4

0

II

80

3 4

0

4

3 2

4 1

8

3 4

3 4

3 4

0 2

3 4

3

2

3

2 2 0

0

0

0

0

0

4 1 4

3 2

3 2

1

1

3

2 1

2

4 2

4 2

4 2

4 2

4 2

2

2

2

2

2

0

2

4

4

1 2

2

4

4

0

0

0

0

5 2 0

2

0

2

1 2

1

1

4 4 2

0 1 2

2

0

In this guitar setting of the famous minuet, the melody begins quietly (as though in the distance) with two voices playing in thirds; it starts gently (bars 1 and 2) in fifth position. A process of repetition (A’ and B’) with an embellished bass line brings a marked intensification of power and emotion.

B

4 1

3

2 3

2 1

2 3

2

8

4 0

4 0

4 0

4 0

0

4 0

5 2

0 2

0

8

5 7

5 7

0

5 7

5 7

3 4

2 2

3

4 1

4 1

3

1

7

9

9

7

9

9

10 7

7

1

5 2

7

0

0

7

4 0

5 2

2

1

0

4 3

4 3

5 2

0 2

2 1

1 3

4 3

1 2 8

2

2 3 0

4 5

5 7

5 7

5 7

5 7

0

0

0

0

5 5 4

4

0

3 4

3 4

3 4

2 2

II

4 1

4

4

3

3

4 1

4

0 2

3 4

2

0

0

0

4 3

3 4

0

2 1

3 4

2

2 3

4

0 2

0

0

2

0

0

2 3

8

4 3

0

2

4 1

4 3

0 2

0

2

4 3

3 4

II

4 1

4 3

3

4

3 2

3 4 0

4

5 5

0

3 4

4

2

4 5

3 4

0

4 3

4 3

1 2

2 3

3 4

0

0

1 3

B

0 2

4

0

II 4

3 1 1

1

1

2

7

9

7

9

7

0

9 9 0

0

0

10 7 0

7 7

5 2

4 0

2 0

5 2 2 0

2

0

81

Das klinget so herrlich

38

Fernando Sor (1778 –1839)

Arr.: Stephan Schmidt

The stage directions say “Papageno plays on the glockenspiel. At once Monostatos and his slaves begin to dance and sing; they march off singing.” The song is reproduced on page 82 with chords for accompaniment, so that you may sing it yourself in preparation for learning the following instrumental version.

A

4

2

1

4

1

1

4

3

5

4

3

2 8

7

5

4

4 5

0

4 5

0

4 5

0

7

0

4

1

5 7

0

0

7

0

1

1

2

2

3 8

2

2 4

0

4

2 4

0

2 4

0

5

0

1 3

1

4 5

0

3

0

5

4

5

1 2

1 3

1 3

0

1 3

8

7

0

7 9

0

7 9

0

7 9

0

0

5 7

5 7

3

9 10

5 7

4 2

3

7 9

0

0

2

4 6

1

1

1 1

8

1

4 5 0

4

4 5

2 4

2

0

2 2 2

0

0 1 0

0

4 2

0

0 1 0

83

The theatrical effect of figures dancing against their will on the operatic stage may have inspiried Sor and other composers who admired Mozart to arrange the Minuet for guitar and compose variations upon it. Sor’s legendary Opus 9 includes another five variations on this theme and is dedicated to his brother Carlos Sor, who was also a guitarist and composer.

B

4

3

1

1

1

4

1

2

3 8

5

4

2

2 4

0

2 4

0

2 4

0

3

0

4 5

0

0

5

4

0

7

4

1

1 3

3

1

1

1

1

3

3

1

3

1

2

9

10

2

2

8

5

5 7

0

2

7 5 7

0

4 6

5 7

7

5 7

8

2 3

4 5

0

1

1

1

2

1

0

2

5

1

1

2

0

1 3

2

3

8

12

0

12 13 12

0

0

12 13 12

0

12 13 12

0

5

7

5

6

9

9 10

5 7 0

3

4 2

3

1

1

1 1

8

1

4 5 0

84

4

6 0

0

2

5

4

4 5

2 4

2

0

2 2 2

0

0 1 0

0

4 2

0

0 1 0

The “theme” by Sor printed here is itself a variation on the original melody by Mozart which appears on page 82 in C major. Mozart himself used the key of G major (for a tenor voice). Sor decided upon the “guitar friendly” E major and wrote a B’ variant of section B (only different in bars 21 and 22).

B

4

3

1

1

1

1

4

2

3 8

5

4

2

2 4

0

2 4

0

2 4

0

3

0

4 5

0

0

5

4

0

7

4

1

1 3

3

1

1

1

1

3

3

1

3

1

2

2

2

8

5

21

5 7

0

7 5 7

0

4 6

5 7

7

5 7

8

1 4

22

4 3 1

2

4 5

0

0

5

5

1 2

1 4

1 4

4

0

1 3

2 3

8

7

7

7

6

7 6

7 6

2

7

6

7 6

5 7 6 7

6

4 6

5 7

7 9

5 7 0

3

4 2

3

9 10

1

1

1 1

8

1

4 5 0

4

4 5

2 4

2

0

2 2 2

0

0 1 0

0

4 2

0

0 1 0

85

Allegro Moderato

39

Fernando Sor (1778–1839) The expression allegro (joyful) indicates a “lively” tempo. In order to avoid extremes, the qualifying “moderato” has been added. The typical “guitar key” of E minor has the advantage, among others, that the tonic chord can be played with open strings and a powerful bass note. For this reason popular guitar pieces are often in E minor – the “Spanish Romance”, for example.

A

3

3

2

4

3

3

3

2 1

8

7

0

0

7

6

6

0

0

7

7

0

0

0

0

0

0

2

2

0

2

3

2

0

2

0 0

0

0

2

0

2

1

0

4

4

II

4

3

3

4 1

2

8

3

3

0

7

7

0

2

B

2

5

5

3

5

0

2

2

0

4

3

1

1

2

3

1

0

0 3

4

3

2

4

3

2

3

2

3

0

1

1

4

0

0

2

3

3

2 1

8

7

7

0

0

6 0

0

6

7 0

0

7

0

0

0

0

2 2

0

2

3 2

0

2

0 0

0

0

2

0 1

0

3

4

4

2

3 1

8

4

2

0 2

3

4

1

3 2

4

1

1

2

3

86

2

4

7

5

3

2

5 0

0

2 0

2

0 2

0

1

3 2

1

3 2

2

0

2

0 2

3

2

2

0

2

The melody, almost always heard on the e' string, immediately sets off on a restless search which leads through dissonances (mirroring conflicts in life) to resolutions. Necessary pauses are followed by undaunted new departures: these start on familiar paths and continue boldly into the unknown where triumph is acknowledgeed with restful harmonies.

C

4

3

2

0

2

5

1

3

2

5

1

4 4

5

0

0

0

0

3

0

3

2

4

3 2

3

3

0

2

2

0

2

0

0

0

3

2

0

2

3

2

4

4

3

2

4

3

2

1

3

3

2

2

0

2

1

2

0

2

4

4

2

3

4

3

0

0

0

1

3

3

2

0

0

4

1

2

3

0 2

4

8

A

5

4

3

2

2

0

4

2

4

2

1

8

4

3

0 4

7

2

3

2 1

8

7 0

0

7

6 0

0

6

7

7

0

0

0 0

0

0

2 2

2

0

3

2

0

2

0 0

0

0

2

0

2

1

0

4

4

II

4

3

3

4 1

2

8

3

0 2

3

7

2

0 5

7

5

0 4

5

2

0 1

3

1

1

2

3

2

0 2

1

3

1

0

0

4

3 3

2

4

0

0

2

87

Sor, who was born in Barcelona, lived and died in Paris: his grave can still be found there in the cemetery at Montmartre. He travelled all over Europe as a celebrated guitar virtuoso; as a gifted composer he wrote songs, operas, ballet music, symphonies and church music in addition to a wealth of pieces for guitar and chamber music.

D

3

3

2

4

3

3

3

2 1

8

7

7

0

0

6 0

0

6

7

7

0

0

0

0

0

0

2

2

0

2

3 2

2

0

0

0

0

0

2

0

2

1

0

3

4

4

4

3

2 1

8

3

2

1

2

2

1

3

3

0

4

2

3

4

5

5

1

2

7

0

0

3

2 1

2

0

4

2

2

4

2

0

2

0

0 2

0

1

2

0

3

2 1

0

2

2

1

2 0

0

0 2

0 2

2 0

0

0

0 2

0 2

2 0

2

0

0

2

2

0

0

1

2

0

0

0

3

1

0

2

2

2

2

2

8

0

0

3

2

2

0

3

1

8

8

0

4

3

8

5

2

E

88

4

0

0

0 2

0 2

0

0

0

0 2

0 2

Mazurka

40

José Ferrer (1835–1916)

Arr.: Stephan Schmidt

The Mazurka (dance tune from Masuria) is considered the national dance of Poland and, like the Ländler, became a popular artistic form on the European musical scene. This jolly Mazurka in A major from Spain has captivating downward slurs in section A and C. Sections B and C begin with the characteristic dotted Mazurka rhythm.

A

4

4

1 2

3 1

II

4

1 1

3

8

5

0

0

2

5

0

4

0

3 4

7

3 4

0

0

7

0

5

2 2

7

0

0

0

4

2 2

4 3 1

8

1

5

0

0

2

5

0

0

B

4

2

0

0

0

4

0

2

2

2 3

1

2

2 3

2

0

2

0 1 2 0

2 1

2 1

8

0

3 4

0

2 3

0

3 4

0

0

0

0

2 2

0

1 1

0

2 2

0

0

0

rit.

4

1 1 4

8

3 4 0

90

0

0

2 3

3 4 0

0

2 2

0 1 0

1 2

1

0

0 2 4

1 2 0

3 1

José Esteve Ferrer from Torroella de Montgri (Catalonia) studied with the virtuoso José Broca, among others. After Broca’s death in 1882 Ferrer went to Paris, where he worked as a guitarist at the Comédie Française. Later on he returned to teach at the Conservatoire in Barcelona. He wrote about a hundred works for guitar and composed chamber music as well as church music.

C

a tempo 3 1

14 1

13 1

2

2

4

2

1 2

2

2

3

1

3 4

2 2

2 3

8

2

2

0

5

2 3

0 2

3 4

0

0

1

0

0

4

242 3

4

1

2

3

2

4

1

0 2

0

0

4 1

454 5

1

4 2

4 1

4 3

5 2

2

8

2

2 0

2

0

5 4

4 0

2 4

3

4

2

2 0 3 0

2 3

0

91

Scarborough Fair

41

from England (c. 1650)

Arr.: Stephan Schmidt

The title of this folk song refers to the market at Scarborough, in the north of England. The words describe a series of impossible tasks set for a man by his former lady love as preconditions for a reconcilation. This instrumental version presents the melody first unadorned (part A) and then embellished with a lively accompaniment (part B).

A 2

1

2

1

8

1

0 2 0

2

2

0

3

0 3

4

3

0 0

1

0

0

1

3

3

B

2

3 5

0

2

3

2 0

0

4 3

5 5

0

2

2 2

3

3

2

4

8

0 1

2

4

3

2

2 0

3

4

3

1 1

3

0 0 2

5 2

0 2 3

0

1 2

8

5 5

5 5

0

3 0

0 0

0 0 3

0

3

1

0

2

0

0 3

3

2

0

4 2

2 1

8

1

3

3

0 2 0

92

2

3 0 3

1 0

0 0 0

2

0

2 0

2

3

0

2

2

A 4 2 8

2

3

1

2

0 2

2

0

2

2

0

2

0

0

0

4

1

0

3 2

3

5 0

5

0

2

3

5

5

3

3 2

0 5

2 2

0

0

3

2

2

0

2

0

0 2

0

0

0

0

5

5

0

1 3

2

1

2

0

4

2

0

2

4

2

0

2

0

0

4

3

3

0

1

2

3

3

0 1

1 0

0

0

3

1

B

0

3

0

4

8

3

3

4

2

1

8

2

2

3

1 3

5

5

5

5

5

3

0

5

0

0

0

0

0 0

0 3

0

4

8

1

2

2

0

0

2

3 2

0

0

0

0

0

2

3

0

2

0

0

2

0

4

1

4

3

1

3

2

0

3

2

0

0 0

0

1 0

3

2

1

0

0

3

3

0

1

3

1

2

3 2

2

0

2

2

2

2

0

0

2

1

0

2

4 3 2

C 3

1

1

3

2 2 2

8

2 0

1

2

2

3

2

0

0

0

0

1

0

0 3

3

2

2 0

0 3

0

2

2

0

1

0

5 5 5 0

93

Taberna

42

from Spain (c. 1850)

Arr.: Stephan Schmidt

This mood of this piece is melancholy and cheerful at the same time, evoking an evening in a Spanish wine bar. It may be played either in slow and stately measures or as a fast dance. In the last bar of the penultimate line the upper note is played on the lower string, as may be seen in the tabulature.

Einleitung 2

1

1

4

1

1

1

4

1

1

2

1

2

5

3

5

3

2

3

2

3

3

8

7

8

7

5

9

A

7

7

2

1

2

5

3

4

2

3

2

1

2 3

3 2

8

1

7

0 0

6

7

8

7

0

6

0 0

7

8

7

0

6

7

8

7

0

2

0 2

2

2

0

II 3

1

2

4

4

5

7

2

2

1

2

4

2

5

4

5

7

5

4

2

2

5

3 0 0

1 1 8

1

5 4

4 4

5 4

4 4

4

5

7

7

4

3 0 0

0

2

1

2

3

2

1

2

3

2

V

4

1

1 1

8

7

0

94

0 0

6

7

8

7

0

0 0

6

7

8

7

0

6

7

8

7

12

12 0

5 5 5

5 5 5

4

1

3

4

3

4

3

1

3

2

3

4 2

2

8

1

8

5

5 5

7

8

7

0

0

0 0

2

3

1

2

0 2

4

3

0 0 0

0 0 0 2

2

3

3

0

IV

B 3 1

2

3

2

2

4

2

4

5

7

5

2

0

2

0

3

2

0 2

1

1 1

1

1

1

1

4

8

0

2

2

0

2

0

5

4 4

4

3 0 0

4 4

4

0

IV 3 1

2

3

1

2

4

2

4

5

7

5

2

4 2 1

8

3 0 0

0

1

0

2

0

3

2

0 2

1

5

4 4

4

4

4 4

3 0 0

0 7

0 7

0

VII 2

2

4

2

1

3

1

2

4

4

3 1

3 1 1

1

2 8

3 0 0

2

3

5

0

2

2

1 2

0

8

7 7

7

1

7

8

10

7 5

0

IV 4

2

2

4

1

4 3

1

5

3

2

0 3

5

7

1 1 1

3

7 0 0

4

1 2

8

2

1 0

1 0

3 0 2

2

0 1 0

7 4 4 4

0 0 0 0

95

Boogie in G

44

from the USA (c. 1925)

Arr.: Stephan Schmidt

The Boogie-Woogie was originally a form of Blues dance music that was played solely on the piano. Two things are typical of the Boogie: the blues chord sequence and a continuous bass melody, which also forms the basis of this guitar piece. As with Ragtime, the pairs of quavers are played more with the feeling of a triplet rhythm.

8

G

3 0

3 0

3 0

0

2

3

3 0

3 0

0

2

3 0

3 0

2

3 0

0

3 0

2

3 0 0

2

3

3 0

G7

3 0

3 0

2

3

3 0

3 0

2

0

3 0 2

8

C

0 1

0 1 2

3

0

0 1

0 1

2

3

0 1

2

0 1

0 1

0

G

0 1 2

3

B

3 0

3 0

3 0 0

2

3 0 2

0

3 0

3 0

3 0

2

0

3 0 2

1

8

D

C 2 3

0

2 3 4

2

2 3

2 3

0 1

4

D7

G 0 1 2

3

0

0 1

0 1

3 0

2 3

3 0 2

3 0 0

3 0 2

0

0

2 1 2

2

8

G 3 0 0 3

2

3

4

0

2

4

0 3

97

Habanera from “Carmen”

45

Georges Bizet (1838 –1875)

Arr.: Stephan Schmidt

This famous Habanera from the opera “Carmen” is the aria sung by the heroine of the title on her first appearance in Act I. Unlike a typical operatic aria, this is a song in verses with a repeated chorus. The gypsy Carmen introduces herself and begins with the famous line: L’amour est un oiseau rebelle / que nul ne peut apprivoiser. (Love is a wilful bird / That no-one can tame.) The first few lines of the text were written by Bizet himself, who gave them to his two librettists and asked them to continue in the same vein. The opera is set in Seville (like “Don Giovanni” and other famous operas) and the plot can be traced back to a story written in 1845 by the French author Prosper Mérimée. It does seem reasonable to ask why a work that is considered as the French national opera should have so much that is Spanish in it: the reason for this may be found in the enthusiasm for all things Spanish which prevailed in nineteenth Century France, inspired by the virtuoso violinist Pablo de Sarasate, among others.

Intro

VII

A

Guitar I

4

3

10

9

8

2

1

2

VII

V 1

4

4

2

8

8

8

7

6

5

5

9

8

6

2

1

8

3

98

2

1V

4

2

1

3

10

9

1

4

2

1

8

6

5

6

8

6

5

2

1

IX

1

2

III

3

1

1

4

3

5

6

5

3 12

11

3

3

8

4 2

3

3

8

2

3

3

8

4

8

7

6

5

5

8

6

5

6

3

5

7

Bitzet borrowed the melody for his Habanera from the folksong “El arreglito”, which was published in Paris with the subtitle “chanson havanaise” in a collection of Spanish folk music. The editor was the singing teacher Sebastian Yradier, who had brought the song back with him from a visit to Cuba. He also brought us the famous habanera “La Paloma”. The habanera (derived from Habana = Havana) is a Cuban folk dance which has similarities to the tango. Basing his Aria upon “El arreglito”, Bizet nevertheless used his enormous creative gifts to the full in refining his composition. He wrote a clever bass ostinato to accompany the melody with a suggestive effect: in this duo version it is played by the second guitar. Every bar begins with the same note in the bass part (a pedal note on D), while the other notes vary according to the shape of the melody. The characteristic habanera rhythm is repeated insistently, bar after bar. The meldoy of the verse section (A, A', B) develops its sensual allure through a chromatically descending sequence of notes from tonic to tonic which spans the octave with hardly a gap. To this is added a dance-like rhythm that sounds confident and provocative.

Intro

A

Guitar II

3

8

2

6 =D

0

7

2

8

7

0

8

7

7

0

7

8

7

0

7

8

7

3

8

2

0

7

8

7

0

7

8

7

0

7

8

7

0

8

10

8

3

8

2

0

8

10

8

0

8

10

8

0

8

10

8

0

7

8

7

99

Section A' is set an octave lower in the guitar version, so as to introduce a new tone quality. In section B Bizet has the melody move almost imperceptibly into the major key, with a foreboding alternation between minor and major. The chorus (section C) of the chanson-like Aria is firmly in the major key and here glows with the subtle interplay of two voices.

A

Guitar I 1

8

IX

VII

2

2

3

1

4

3

10

10

10

9

8

7

7

11

4

10

2

2

1

2

4

2

4

1

8

10

8

7

8

10

8

7

3

3 VII

8

10

B

4

10

10

9

8

7

7

2

10

1

8

7

8

2

8

0

1

2

1

4

4

3

4

8

7

1

8

10

9

1

7

8

3 1

8

7

6

5

5

9

8

7

5

4

3

1

8

7

5

4

3

8

7

5

7

10

9

2

4

3

5

3 4

3

1

3

1

3

III

1

3

1

1

5

7

5

3

II 4

3

3

3 100

3

3

V

8

11

VII

V

3

8

2

1

0

7

3

8

4

3

3

12

V

1

2

3

VII

3

3

4

8

7

6

5

5

8

7

5

7

3

5

7

5

Bizet began his studies at the Paris Conservatoire at the tender age of ten. His teachers there included Gounod (“Ave Maria”) and Halévy, who later became his father-in-law and also helped to write the libretto for “Carmen”. Bizet won several composition prizes, including a three-year stay in Rome. Alas, he did not live to see the worldwide success of “Carmen”.

A

Guitar II

3

8

2

0

8

7

7

0

7

8

7

0

7

8

7

0

10

8

8

3

8

2

0

8

10

8

0

8

10

8

0

8

10

8

0

7

9

7

B 3

8

2

0

7

9

7

0

7

9

7

0

7

9

7

0

9

10

9

3

8

2

0

9

10

9

0

9

10

9

0

9

10

9

0

7

9

7

101

C

Guitar I

V 4

1

1

4

2

2

4

1

3

2

1

4

1

3

1

4

II

III

0

1

0

2

2

4

3

5

3

1

3

8

2 3

5

2

5

3 2

2 3

5

3

5 7

5

5

5

7

5

VII 4

1

2

1

0

4

1

1

2

3

3

4

1

3 5

7

V

II

1

4

3

8

3 5

7

3

2

0

2

3 5

5

7 8

7

7

7

V 4

1

1

4

2

2

4

3

5 7

5

VII

VIII

1

1

3

2

1

7

1

3

1

4

9

2

8

2 3

5

2

5

3 2

2 3

5

3

5 7

2

2

1

3

1

3

1

5

5

4

3

9

3

1

4

3 7

8 9

8

7

7

9

8 9

10

9

7

3 2

4 1

4

1

2

4

2

1

12 14 12

10

2

3 8

9

7

8 9

9

3

1

1

5

3

3

8

12

9

10

14

3

102

10

1

VII 1

5

3 5

8

7

3

7

C

Guitar II

3

8

2

0

7

9

7

0

9

7

7

0

7

9

7

0

10

9

4

4

8

3

0

9

10

9

0

9

10

9

0

11

0

12

9

2

0

0

9

7

7

3

8

2

0

7

9

7

0

9

7

7

0

7

9

7

0

10

9

9

1 3

8

2

0

9

10

9

0

9

2

10

9

0 0

0

7

8

7

VII 4

4

3

1 1

8

10 9 0 0

0

0

10 7 7 0

“Carmen“ in the first performance in 1875

103

El Testamento d’Amelia

47

from Catalonia (c. 1780)

Arr.: Stephan Schmidt

This enchanting melody comes from the Spanish province of Catalonia, which has its own language and traditions. In this guitar arrangement the melody is first heard on the upper E string, with a few rather “weird” chards appearing in the accompaniment in section B. In section B' the meldoy appears in the middle voice and in the concluding section C it is played on harmonics.

2

A

1

4

4

4

3 2 8

2

0

0 0 0

0

3

0

5

5 4

7

0

V

3

0 0 7

0

0 0 2

0

VII 4

1

4

3

1 1

2

2

1 1 1

8

1

5 5 5

8

7

8

10 7 7

8

2

3

0 0

0 0 0

7

11 4

2 1

4

4

2 3

3 1

8

7

0 0

7

10 2

7

0

0

B

2

3

5

7

4

5

7

8

6

2

5

6

4

3

4 5 0

0

II 4

1

4

4

3

2

3

5

2

0 0

0 0

14 1 3

2

3 8

2

0 3 3

106

2

4 2

3

0

0

0 0

0 0 2

0

2

2

10

11

IV

14

1

IV

2

VII

3 1

1 2

19

4

4

3

1

4

2

1

IV

3

1 2 3 4

2

20 2

3

3

4 3

3 1

B

1

19

2

1

20

2 3

3 1 2

1

8

10

7 5 0

0

7

10

9

10

7 8

7

7 8

5 4

5

5 4

0

0

3 0 2

1 8

1

0 5

2

4

0

1

2 0

2

0

Flageolett-Teil

0 0

2

2

0

C

2

3

4

2

0

1

3

0 0

3

2

0

3

1

8

2

< 12 > < 12 >

< 7>

< 7>

1

3

< 12 >

< 12 >

< > 7

< 12 > 1

8

< 12 > < 12 >

< > 7

<7>

< 12 > < 7>

107

Spanish Romance

48

from Spain (c. 1850)

Arr.: S. Schmidt /N. Baur

This is probably one of the best-loved guitar pieces there is. It was used as the film music for the award-winning French anti-war film “Jeux interdits” (Forbidden Games) of 1954, played on that occasion by Narciso Yepes. In addition to the traditional solo version on the following page we present a second guitar part.

Guitar I (or solo version)

A

4

2

3

8

3

2

4

1

1

3

Em 7

0

7

7

0

0

7

0

0

0

0

5

0

3

0

0

3

0

0

0

0

0

2 0

0

0

0

0

0

0

0

0

3 0

0

7 0

0

0

0

V 4

4

4

4

4

3 1

4

3

1

1

8

Am 12

12

0

0

0

12

0

0

12

0

0

10 0

0

8 0

0

8 0

5

5

5

5

5

5

5

5

0

0

0

7

5

7 5

5

8 5

5

5

0

19

VII

3

1 1

4

1

3

1

3

2

2

2

1

8

B7 Em 7

7

8 8

7

7

8

7

11 8

7

8

7

8

7

7

7

8

7 8

7

3

0

5 0

3 0

3

0

4

3

2

0

0

0

2

0

0

0 0

2

2

0

1

Em 2 2

0

2 2

0

2 2 2

0

3 2

0

2 2

0

Fine

3

2

B7 2

0

0

8

108

0

0

0 2

2

0

0 0 2

3

0

0 0 3

0

0

0 0 0 0

9

19

20

1 3

VII 2

2

3

2

4

3

B7 4 1

4

0

1

0

4 1

0

2 1

0

0 1

0

5

1

21

4

2

4

2

4

2

0

3

4

1

0

4

2

4 4

2

2

3 4

2

4 4

2

4

22 4

3

4

4

4

1

3

1 2

8

20 4

1

E

VII

4 4

19

4 1

0

3

4

4

4

4

1

3

II

3

1 2

4

3

30

V

1 2

2 4

3

3

8

28

VII 1

1

4

B

21 22

2

1

B9 9

7

E 9 8

7

9 8

7

9 8

7

7

11

7

8

9 8

9

7

8

7

7

9

9

7

9

9

9

7 9

0

9

9 9

2

2

9

9

28

V 3

9

0

IX 4

11

9

4

1

1

3

2

8

A

E 12

9

12 9

9

12 9

9

12 9

0

9

11

9

9

10 9

9

9

9

10

9 9

9

10

9

10

9 9

II 4

4

7 9

5

5

6

5

6

0

0

0

10

30 D. C. al Fine

4 3

1

1 2

8

E 4

0

0

4 1

0

4 1

0

4 1 2

4

2

E

B7 5 2

4

2 2

4

0 2

2

0

0 1 2

4

0

0 1 4

0

1

0 0 1 0

109

You may already have discovered what a pleasure it is to make music with others quite spontaneously. If you meet other guitarists while travelling, for example, at a festival, or on a summer course, there are pieces you can play together straight away because they are known everywhere. The “Spanish Romance” is one such piece – crossing every language barrier.

A

Stephan Schmidt (1999)

Gitarre II II

3 1

8

1

3

4

2

4

5

5

4

4

2

2

5

2

5

4

8

5

4

2

5

4

2

4

4

2

5

2

4

5

5

4

2

5

4

2

2

4

5

8

2

5

Fine

8

2

110

5

4

2

4

2

5

4

2

2

While it is a wonderful experience to play a well-known solo piece in unison with others in a group, the effect of such a performance can be intensified with the addition of a second guitar part. This simple yet very effective accompaniment sounds particularly good if there are two or three other guitars playing the solo part together.

B 1

8

1

4

2

4

2

2

2

1

4

1

2

2

4

3

4

3

4

4

8

4

1

2

2

4

4

2

2

4

2

2

1

1

2

1

1

4

2

4

1

2

8

1

4

4

D. C. al Fine

2

8

4

1

2

1

4

1

2

1

0

0 2

111

Prelude

49

Francisco Tárrega (1854 –1909)

Arr.: Stephan Schmidt

This elegant little piece is an example of Tárrega’s endeavours to use the full range of sounds on the guitar. The piece begins with the high F sharp and ends with a D on the E string which has been tuned down. The delicate opening, ornamented with a harmonic note, is balanced by a powerful energetic concluding section.

1a

1b

4

4

2

1

2

8

2a

14 11

0

4

3

12

10

10

10

12

0

0

3a

11

4

1

3

3

3

6 =D

1

3

Fl. 10

<12 >

3

3

11

12

4a

2 3

4

2

2

1 3

8

4

1

1 3

0

10 0

11

12

2

2

3 2

4

4 0

2 4

1

4

4

1

2

4

1 1

8

3

3

4

0

5

2 0

5

2

4

2

8a

7b

3

1

5

4 3

2 3

1

2

2

8b

4

4

4

0

3

2

1

8 1

7 0 5

112

0

9 8

9

7

10 9

10

9

7 6

7

6

Tárrega was not only a brilliant virtuoso but also a dedicated teacher and composer. Especially in his later years it became increasingly important to him to see his outstanding gifts and his fascination with the sound of the guitar not as an end in themselves, but as a vehicle for genuine musical expression.

1

9a

II

9b

4 1 3 2

10a

10b

3

1 2 1

4

2 1 3

2 3 1

1

8

5 7

7

5

2 3 2

7 0

3

2

3 2 4 0

0

2

5

3

0 1 3 0

2 0 2 0

II 4

1 3 2

3

1 2 1

4

2 1 3

3

8

5 7

7 7

5 7

7 0

7

7

1a

2 3 2

3 3 2

2 3 2

0

1b 1

X

3 2 4 0

5 2 4

3 2 4

1

2 3

3

4

2 0 2 0

3a

X

2

1

1

0 1 3 0

2a

X

2 1 3

2

3 2 4 0

4a

7b V

2

X

1

3 4

2

4 4 3

4

8a

8b

VI

VI

9a

1

2 3

9b

2 3

10b 1

1

V

1

1 3

4 3

4

3

10a

4 2

1

1 2

2

2

3

3 4

113

4

Adelita

50

Francisco Tárrega (1854 –1909) This Mazurka, which begins in E minor and changes to E major in section B, is a good choice for an encore with its virtuoso passages. It begins with the highest note of a melody whose descending line has a sobbing quality. In bars 13 and 14 the motif from bars 9 and 10 is repeated an octave lower. VII 4

A

3

4

1

2

2

3 43

1

1

2 3

2

3 4

1

1

3 2 1

4

8

12

11

7

10

8 9

8

8

7

9 10

0

0

7

8 8 7

8

78 7 5

0

0

3

7

0

7

VII 4

3

4

1

2

2 1

2 3

Fine

1 2

3 4

3 2 1

3 1 2

8

12

11

7

10

8 9

8

8

7

9 10

0

0

7

8 8 7

8

5 4 5 0

7

IX IV

B

VII

34 3 4 4

1

4

2 1 3

1 2 1

4

2 3

343

3

3 1

1

4

2 1

1

1

8

4

5 4 6

7

5 6

4

7

0

0

7

5 4 6

5 6

4 5 4

7

0

0

7

12 11 11 12 11 9

9 11 9

9

10

8 7

9

0

7

3

4 1

2 1

8

2

1 3

3 3 2

1 1

4

6 0

4

0 2 2 0

4

1 0

0

9

8

9 11 9 8 8

4 1 3

1 2 1

1

0 0

8

9 7

8

9

D. C. al Fine

II

242

1

7

7

VIII

114

1

6 7

4 6

4 2 4 2

0 0 1 2 0

Adelita is the diminutive from of Adelaida and corresponds approximately to the name Adele – a word also used in Southern Germany as a farewell. This appears aptly at the end of our book, as the German editor signs off with the last of fifty pieces and a traditional salutation: Ade!

1

2 1

VII

3 1 2

VII

2 3

4 1 2

VII

1

V

2 3

3 4

4

3 4

3 4

5

6 1

VII

7 1 2

VII

2

1 2

VII

3

3

8 1

IV 2

3

2 3 4

4 3 4

9a, 10a

9b, 10b

IV

1

11b

IV

12a

IX

1

VII

1

5

2 3

2

6

3 4

4

3 4

13b

14b

15a

VIII 1 4

2

2

VI 2 4

15b

1

3 3

3

4

115