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

Guido Santorsola – Suite Antiga

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. 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. The jazz or session guitarist of today is expected to improvise freely in all keys and also be able to read fluently all over the neck. To demonstrate them for oneself in this way is probably the best way to absorb them.

Using the fingering patterns given on the previously, try to write out and learn four other possible fingerings of this passage. The desirability of this arpeggio effect is to some extent dependant on the function of the G at the start of the measure.

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.

Vicenti Escudero, The Eternal Gypsy. The scale in bar 1 of Diii uses strings 2 and 3 and nicely accentuates the commencement of string 3, with the coincidence of it falling at beat 2 of this bar, on the note D natural. 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. Letters to the Editor. D4 refers to the 2 Octave Harmonic Minor scale form commencing on String 6 and shifting on string 4.


E2 works well with the slurs in these positions, as does E3. Here again, the “correct” fingering is a matter of preference. The evidence suggests either El or E2 as the most feasible alternatives.

More by Guido Santorsola

In the Courante from J. These articles are designed to be used in conjunction with the accepted classical guitar scale fingerings used for the examination requirements of most North American and European music schools, and to further the guitarist’s understanding of the guitar fingerboard and the immense number of fingering permutations available for a given idiom.

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

Figure 15 There are no slurs in Bach’s original, however the guitarist may wish to insert anttiga as I have added here. By this in-depth analysis of the interpretational effect of each fingering, at least the evidence supporting their uses, is now clear. In El, however the string crossings interfere with the slurs.

E2 is attractive from the aspect of balance within the fingering, as it has either a string crossing or a shift located between notes two and three of each scale triplet. This article deals with Chapters D, E and F.

They appear quite complicated at first but become easy to understand when attempted once or twice. In D3iii and D4a, we find an echo of the “pairing” and arpeggiation of the E major arpeggio in the previous measure. This causes symmetrical sequences previously not apparent, while creating a more cello – like timbre, especially on String 4. 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.

Suite Antiga: V. Giga, a song by Guido Santorsola, María Isabel Siewers on Spotify

Slow repetition with no mistakes is urged, until the patterns begin to flow easily. Introduction This is the second of a series of three articles. D4a has fewer shifts guid Diii or D3iii.


guiod D3iii however, takes the scale all on string 3, apart from the A note at the bar’s end. Using common sense, your musicality and the analytical devices santrsola 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.

Perhaps even to try to put antlga of the principles examined and explained above, to use in your own repertoire. With these articles I hope to equip the classical player with some of the tools of the jazz guitarist, which can help bridge anriga unfortunate gap between styles and allow anyone studying this work to gain better understanding of their instrument and the music played upon it. Scales All scales in the intermediate and advanced grades of most examination requirements for classical atniga can be considered as mobile fingering forms that can be performed at any position on the neck, thereby changing in sjite without altering in mechanical presentation.

Christopher Parkening, Young Virtuoso. In Diii the G blends in with the E arpeggio and apart from stressing the beginning of the new measure, has little other effect. Back to index Chapter F 2 Octave Melodic Minor Scale commencing on String 6 This scale form is normally performed with a shift on String 5 both ascending and descending as follows: 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.

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. The tone becomes darker also, which is in context with the nature of the overall timbre, of these fingerings.