MEL BAY PRESENTS - Archive · 17/10/2019 · A number of prominent virtuosi attribute a large...

CLASSIC CiVITAR Compiled and Edited by David (jrimes

MEL BAY PRESENTS

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ClASSIC QVITAR Compiled & Edited By David Qrimes

MEL BAY PRESENTS

COMPLETE SORSTVDIES

David Grimes uses and endorses LaBella strings

2 3 4 5 6 7 8 9 0

© 1994 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.

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CONTENTS

Introduction to the Study of the Guitar ................................ 5 in Twenty-five Progressive Lessons

Opus 60-Beginning to Intermediate Level-Fernando Sor

Twenty-Four Little Progressive Pieces ................................ 27 to Serve as Lessons

Opus 44-Beginning to Intermediate Level-Fernando Sor

Twenty-Four Easy Exercises ......................................... 45 Opus 35-Intermediate to Advanced Level-Fernando Sor

Twenty-Four Progressive Lessons .................................... 77 Opus 31-Intermediate to Advanced Level-Fernando Sor

Studies for the Guitar ............................................. 107 Opus 6-Advanced Level-Fernando Sor

Twelve Studies for the Guitar ....................................... 131 to Serve as a Continuation of the First Twelve (Opus 6)

Opus 29-Advanced Level-Fernando Sor

2

INTRODUCTION

The studies of Fernando Sor have long been valued highly among the indispensable elements of a guitarist's training. A number of prominent virtuosi attribute a large portion of their development to the diligent study of these works.

Fernando Sor ( 1778-1839) was a leader of the "first generation" of guitarists who played instruments similar to the ones in use today (though smaller), and it is remarkable that he was able to penetrate so deeply into the technique of the instrument. Individual studies address an impressive array of technical and musical topics, including proper left-hand fingering, training of the right hand, interval and chord formations, scales, arpeggios, repeated notes, ligados, barring, natural harmonics, control of note duration, balance of melody versus accompaniment, and the handling of contrapuntal voices. A careful study of these pieces will lay the groundwork for a solid technique and allow the guitarist to build the control necessary for the expression of his or her musical concepts.

Andres Segovia, in his venerable edition of twenty of the studies, remarked that, "Not many Masters have succeeded in their studies for the gradual development of the instrument's technique in achieving the right balance between the pedagogical purpose and the natural musical beauty." Sor' s studies, so vital for technical and musical training, have a substance and beauty that suit them well for concert performance. Even in the simplest studies Sor was rarely content to limit himself to the formulaic repetition of an arpeggio or other figure. His beginning pieces show a serious and noble musical concept unusual in the guitar's student repertoire. This high musical quality makes these studies ideal vehicles for the development of such musical fundamentals as tone production, melodic shaping and phrasing.

Throughout his career, Sor' s music was much in demand, and he was pressured by publishers and the public to compose easier music that less accomplished players could master. His first sets of studies, op. 6 and op. 29, are relatively advanced, with later publications offering studies more suitable for beginning and intermediate students. Each opus presents its studies in a more-or-less graded order, and there is considerable overlapping among the various sets, but the general progression would be from op. 60 and 44 (beginning to intermediate) to op. 35 and 31 (intermediate to advanced) to op. 6 and 29 (advanced). That is the ordering adopted for this edition.

In preparing this edition, I have worked from Sor' s original publications, but I have incorporated some alterations that appear in those studies that Napoleon Coste chose to include in his Methode complete pour la Guitarre par Ferdinand Sor. I have also undeniably been influenced by Segovia's concepts of fingering, since his edition, Twenty Studies for the Guitar by Fernando Sor, was the standard during my own formative years. In a number of instances, I have corrected misprints (some obvious, some apparent), modernized the notation and rectified some inconsistencies. The fingerings are based upon Sor' s own, but I have altered and extended the indications where I felt it was necessary or useful, either to clarify ideas or to make the studies more relevant to the contemporary player.

Some developments in technique since Sor's day have been incorporated in this edition. Sor's concept of technique involved using the stronger fingers wherever possible, even when that entailed excessive shifting, whereas most contemporary players stress the importance of developing all the fingers to their utmost capability and reducing the frequency of shifting. The difference shows up most clearly in the studies in intervals ( op. 6, no. 6 is the best-known example).

Sor gave the right-hand thumb a very prominent role (often denoting its use consistently with down-stems), and the exclusive use of the thumb on a particular voice is still extremely useful in differentiating between voices. Several of Sor's studies are devoted primarily to the development of the thumb's agility. See, for example, op. 35, no. 17 and op. 29, no. 11, where the thumb is required to leap accurately from string to string.

Sor' s smaller guitar allowed fingerings that entail formidable extensions on a modern guitar. See, for example, op. 35, no. 20 and op. 31, no. 16. In some cases alternate fingerings are available, but in others there is no way of avoiding some rather heroic stretches without sacrificing the musical intent.

3

Sor advised the student to maintain each left-hand finger on its fretted note until that finger is needed for another note, or until a lower note is needed on that string. The goals of this idea are to stabilize the hand, reduce the number of movements and sustain as much harmony as possible. The blanket rule, however, is much too general, since the factors of harmonic movement and phrasing must also be considered. The proper ending of a note is vitally important, and often overlooked.

Sor' s insistence upon maintaining fingers in place extended to the systematic use of guide and pivot fingers. In some cases, this led to remarkably "modern" fingerings using "backward" formations. Examples are found in op. 60, no. 18 (line 7, measure 1) and in op. 31, no. l7 (line 5, measure 2).

I would recommend strongly that the student read David Tanenbaum's The Essential Studies: Fernando Sor's 20 Estudios (Guitar Solo Publications, 1991). This excellent series of essays not only provides helpful advice on the studies themselves, but serves as a superb example of the depth of study and attention to detail that these pieces deserve.

4

INTRODUCTION TO THE STUDY OF THE GUITAR in Twenty-five Progressive Lessons

Fernando Sor Opus 60

(Beginning-to-Intermediate Level)

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"For the harmonic sounds, the lower notes indicate the manner of playing, and the upper notes show the result produced. The 3 with the overline (13) indicates that the sound should be produced a little above the third fret, since there is no node directly over it, and below it one produces another a minor third higher." (Sor) These are all "natural harmonics" produced by plucking with the right hand while the left hand touches the open strings at the frets specified (down-stems). The smaller notes above (up-stems) indicate the resultant notes.

25


26

TWENTY-FOUR LITTLE PROGRESSIVE PIECES to Serve as Lessons


(Beginning-to-Intermediate Level)

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Tune 6th string to F Andantino moderato CUI

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TWENTY-FOUR PROGRESSIVE LESSONS


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TWELVE STUDIES FOR THE GUITAR to Serve as a Continuation of the First Twelve (Opus 6)


(Advanced Level)

131

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'~I· F J J ~ J J f JqJ J J J IF J j J j J t ¥ If J J ~ j J ~ J J ~ J J I

'~~ f J j ~ J J : J j ~ J J I i J J ~ J ) f qJ J ~ J J I! J J J J J ~ J J J j J I r r r r r ~

132

'~b ~ J j J j J f J j J j J I ~.1 j ~ J j f j j ~ j J I~ J J J J J ~ J j ~ ~ J I

'~~ ~ J J ~ J J ~ J J ~ J J I f J J ~I j J ; j J i j J I ~ J J 1 ~ J I j J I ~ J I

'~I· ? j J ~I d J; j J ~ d J I~ J j 1 ~ J I ~ J I ~ J I~ J j I ~ j ;#J j i ~ J I

'~~· ; J J ~ ~ J i j J i J J I § J J J J J ; J1j ~ j J I i J j ~ J j ~ J j ~ J j I r r r r r t

'~~. ~ j j i J J ~ J#j iQ j I? j j ~ 2 J f j J ~ J J If J J J J J f J~j ~ J J I

CIII

' ~b ! J J J J J r i I f ~~J =~=J ]~~ f .J~=~=~J =~=~ J~d I F Jbj J j J f 1 J j J j I r

'~b fiJ ; J J J i J J J J J I! J J J j J 1 J J J j J I ! J j J j ~ f J~J ~ j d I r r r r r

r '~I· ~ J~) .I d~J; J J i j J I~ J J I j j; J j ~ ~ J I? J J i j J ~ qJ J ~ ~ J I

133

'~~, ~ 'J J J J ~ d J J J J I f#~Jaf J J f j J J J J l,rJJ ~ j J ~ J J ~ j Jl I

'~~· f#J J f J J f J J J J j I~ J J ~ j J ~ J J ~ j Jtp4 Jsj j J ~~~ J j J J I

CIII CVI r==;:-======

4~ 1' ~ .~J ~~J Ja' 1 j i 1 j 1a~4!J,~] 1.f4J J j 5 J I~ .tJ i JJ ~-=j ~~a~~ !1

'~b ~ j j ~ JJ J ~ j J j JJ j I~ j J i 1 J i J j ~ J ) I~ J j ~ J j ; J j ~ J J I

'~~· f J j ~ J j cfj J j 1 J I ~4J j i 1 j r~ j i 1 j I f j J j 1 J ~ J j ~ J J I

' ~ 1 ' ~ J j ~ J J ; J j ~ j j I ~ J j ~ J ~ ; J J ~ j ) I ~DJJ ~,; ) ~ J j ~ j ~ I CHI CIII

f ~~, ~ j ]3~ j J ~ J j ~ j J I ~JJ ~ J J ~ J j ~ J J I~ j j ~ .t j ~ J J ~ .t J I

'&b 1 J #J a~ j J ! j J ~ j J ~i j ~ ; j J 1 J j ~ J j I

r r r r ,&1

' FJJ~~JJ~J]~~Jj I~Jj]9j~Jj]9j I~!J]Jj~fjjJj IJ II

134

~ &/ ~~.LJ~ *; J; I I I .. ~ - "" r. " v-

' ~ I t v - -

,-._ 5-... r r jjJS))) ~ - - - ---

r

,..-._ s~

2~)l ~ -~--..-~

r·

I l;...t~·;~ '"'

t- I t ~ ~ s~

135

- -p I p I

I I I - l..'SI

'SI

v r

•

I ... -r .. i

.~ 5,-, ~ 5,..-_

~ 5~

JJSSjJl -r -r

-~ -r

- -r ~ ~ ~5~ ~ 5,-, ~ 5,-, ,-,., 5,-,

2

~''rr ~5-- ) "'-" 5'-"

~ ~ ~ ~ ~ ~ -r ~~JJJj ~

~ I~ ~ 5

136

~ r ~ r ~

$& ~ ;JJJJ~ ~ p~ 931J~~~ It ;JJJJ~ ~ pt ~JBJ~ p~

~ ,..-..,_ 5r"\ ~

~&~ ~ 5~ ~ ~ ) ,..-..,_ 5r"\ ~

~&t ~ 5~ 1 ~

$& J§JSJ]J j§jSJ]Jl I~ I ~§jSJJfi j§jSJ]J &

~ ~ ~ ~ ~ ~

137

w 3

¢IV 3 n

138

3

3 3

cv en cv

139

I fJ

' ~ .UJt3 ~.a~ .u ~ n ~ n 1 ~-g n ~ n ~ n F ~ n 1

--- r·a m p (I m . a m p a m

. I I p p p

140

'2r ~ fj ~ fj ~ nf? ~ fj IF; fj; fjF~ET":p231 $ F; .u; .u ~ nra; .Y lr p fj p fj p n~rn I

'r~.u~n;nr=F~r~np;n;nf%1

$ f P n P n F·E~f?3 I j¥ ; n ~ n ~ n ~ p23 I

'r*; n ~ n P nEf!21F; n p¥ ~ n pEP n I

$ F p fj; .Y p nrz; n I~ p fj ~ fj ~ fj ~F I

'P~Jj~Jj~JjEf ~r;nFE~Jjr~F ~~ , II 141

Allegro moderato

STUDIO '2 I F 3 $ 20 ~·~ ~ J 5 J I 17 = = J'l ::ot = = -= : L· .{ =- = = ul· zq~ · J

~ ~ r f $ I' ~ ~ ~ 1,: lj J ' I~ d j r I~· r f11 ~ ~ ~ ~ t ~#i eJ ,J ~)IF •= n I~ ·~z[J lif; J ti I

142

LJ

~ (])

$ ~ r r td l#t f r ~r f l'f #r ~ i' I~ j $ ~ ~:J j j I

p i

' ~ l~t aE :{-:rr~j ~ a(j ~~~· aeg ~ce li; lT4~ 14r I ~ p

~

~ t .. LJ :J J

143

cv

~ ~ = -~ r ~

'~- u t}l~ 3

144

145


awkward page turns

STUDIO 18

146

CVIII

ST~DIO 'jbl'r¥ t ;Jr-¥ t ~tr% t r I'Ll r r$ 5 J J~ J J J I r r

,~l~~E f rii f [1~ f [11 ~1j#jjl j~ iKi lr C F;f) r F;o 5 F I

-~r·

,~#~~e f r r E E c ~~[+ E r 1;0 t r1[1 t r;P t r l~f) t r;rl t r;~ r r I

148

149


awkward page turns

Tune 6th String To D

150

cv 4

~-~~~ J ; J#tQ J I~~===~=; i~i~~ J l!'"rnf~ j I; : ~ J I

~ ## ~ J i j m j 1 ~ J i j m j 1 r.M ~ j ~ J J j 1 ~J ~ 5 PJ j 1

r EJ r EJ r r EJ

151

This study is entirely in natural harmonics. The numbers indicate the frets at which the sounds will be produced.

Tune 6th String To D

The result of the harmonics will sound thus.

- -- -1\.j,j. J J J J J I - I I ...., WI ... - - -..... 1l. - - - -I -I -'-"' • iJ r r· ~

, -f --

-

$~# ~ ~ ~ I~ : ; I; ~ ; I~ I r

1~: :J J ~ I~ j ~ j J

'

r r 152

:II

153


awkward page turns

~"'III Cl

CVI

JaJJ J 1m

CI ®

CHI Cl

154

2(!) j J j J 3

155

-r-td j~;-tf j '' d ~~::il ~ 1 ~ ':ll~~a ~~~~-IT ~q::(f a 1

~

156

CHI

'j fJ·e E t f~~pr f fr I ~ [ c [ ! c ? E) lti L C~f ~J h ( ~f I ,~ i 2~ i #~ J ~ J ~ i ~ i· :rT r [ !f r f L ff I ~· [ h [ fr ~· [ h [ fr I r ( L [ ff r ~ L f r F I

4J' ¢III

4J

r· J.

-r· 3

41 )! 1

159

harmonics

harmonics -------

... ________ _

12

160

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