Complete Giuliani Studies [PDF]

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CLASSIC CjVITAR

Compiled & Edited by David (jrimes

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COMPLETE (jiVLIANI STVDIES

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o

CONTENTS Studio per la Chitarra, Opus 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 (The Study of the Guitar) Part One - Exercises for the Right Hand Part Two - Exercises for the Left Hand Part Three - Exercises in Articulations and Ornaments Part Four - 12 Lessons Esercizio per la Chitarra, Opus 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 (Training for the Guitar) 24 Studies XVIII Le~ons Progressives, Opus 51 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 (Eighteen Progressive Lessons) 18 Lessons Studi Dilettevoli, Opus 98 ....•....................................... 111 (Entertaining Studies) 8 Studies Etudes Instructives Faciles et Agreables, Opus 100 ......................... 129 (Easy and Agreeable Instructive E tu des) 24 Cadences, Caprices, Rondas and Preludes Primi Lezioni Progressive, Opus 139 ...........•..................- . . . . . . 159 (First Progressive Lessons) 6 Lessons

2

INTRODUCTION The studies of Mauro Gíuliani stand alongside those of Fernando Sor, Matteo Carcassi, Dionisia Aguado and Ferdinando Carulli as the staples of the didactic pieces by the "first generation" of classical guitarists. The six-string guitar (what we now call the "classical" guitar) was a new development in the late eighteenth century, and a number of talented guitarist/composers set about exploring the capabilities of their chosen instrument and providing leaming pieces for students and amateurs. Mauro Giuliani ( 1781-1829) was one of the most celebrated guitarists of his age - -a brilliant performer and a prolific composer. He left an extensive legacy of corr1positions, and many of his works are heard regularly in recitals and concerts today. In addition to his concert works, Giuliani composed numerous studies and other pieces intended for students and amateurs, and these have been considered indispensable by generations of guitarists. There is often an indistinct dividing line between "studies" and other short compositions, and many composers have called pieces "studies" seemingly for lack of more suitable titles. Giuliani' s studies usually have clearly-defined pedagogical purposes. Giuliani also wrote a number of other works intended for amateurs and less-advanced players, calling them "divertissements" or "amus.ements," and these are listed with the studies in Thomas Heck's seminal dissertation on Giulianí, The Birth of the Classic Guitar and its Cultivation in Vienna, Reflected in the Career and Con1positions of Mauro Giuliani, Y ale University, 1970. Giuliani did not choose to call these pieces studies, however, and they have not been included here, although they are certainly recommended for use by all students. Opus 50, "Le Papillon," in particular, contains excellent material for begínning students. The studies and exercises contained in the six opus numbers here provide sorne of the most effective material in the entire guitar literature for building and refining a superior technical comn1and of the guitar. In this edition I have :Uodernized sorne of the notation and corrected a number of misprints. In Opus 139 and in the first three Parts of Opus 1, Giuliani provided detailed fingering instructions, while in Opus 48 and Opus 100 he indicated only position numbers (Roman numerals), and in Opus 51 and Opus 98 he offered no fingerings at all. Since these works are in tended for student use, I ha ve suggested supplemental fingerings to help sol ve sorne problems and to help lay the foundations for good fingering habits. Where Giuliani specified fingerings, I have tried to respect the musical concepts, altering fingerings only where contemporary practice offers s1moother and more efficient left-hand use. I have also omitted sorne of the superfluous fingerings in Part Three of Opus l.

3

NOTES Giuliani's Opus 1 is made up of four parts and constitutes a most useful summation of Giuliani's technical ideas. Part One is well known as the famous (or infamous) 120 Daily Studies that use various right-hand arpeggio formulae on basic C and G7 chords. These have been used with good results by students and teachers for many years. Unjustly neglected, however, are the other sections of Opus l. The interval studies in Part Two are among the. very most effective left-hand studies in the literature, and the studies in articulations, damping, slurs and omaments in Part Three are highly pertinent and useful. Giuliani' s meticulous and detailed fingerings in Opus 1 deserve el ose attention and study. In the interval studies it is clear that he preferred to keep the left hand in one fingerboard position, using finger movements across the strings, rather than (perhaps more "naturally") sliding along the fingerboard with the stronger fingers. The fingering of a particular passage in a piece to be performed is entirely situational, depending upon the musical content, and Giuliani used other systems in his fingering for other pieces. In Opus 139, No. 3, for instance, the original fingering calls for the parallel thirds to be fingered by sliding the first finger along the first string, in direct contradiction to the advice proffered in Opus l. Giuliani' s consistent approach in the Opus 1 interval studies, however, provides exceptional exercise for strengthening and equalizing the fingers and promotes smooth cooperation among them. I have revised the original fingerings somewhat in a number of cases in accordance with contemporary practice and to clarify the concept of efficient fingering. Giuliani also used the left-hand thumb to stop sorne notes on the sixth string, and this has required sorne fingering revisions. In these interval studies, the left hand should prepare both notes of the interval at the same time, training the fingers to work in coordinated pairs. The 24 short pieces in Opus 48 present an excellent preparatory course for playing and interpreting Giuliani' s concert works. They contain many of the figurations, textures and technical problems that will appear frequently in the performing repertoire. In fact, several of the studies in Opus 48 are excerpted directly from passages in a number of Giulianí' s concert works. Study 16, for instance, is identical (apart from a few inconsequential details and the final cadence) with measures 209 - 242 in the first movement of Giuliani's "Grand Concerto," Opus 30. Opus 51 is a progressive set of studies for beginning-to-intern1ediate guitarists. Several of the pieces are quite familiar to teachers, offering examples of technical and musical sitúations that will be found frequently in the music of Giuliani's time. As the title indicates, the eight pieces that make up Opus 98 are entertaining and pleasant, but have somewhat less focus as pedagogical material. The difficulty level is early intermediate. Opus 100 contains four types of studies. The first nine pieces are studies in arpeggios o ver chords forming typical harmonic progressions in keys with up to four sharps or flats. The next seven are short caprices and rondas, and the concluding section contains "Preludes to use as cadenzas befare beginning a piece of music" in the keys most commonly used in 19th-century guitar music.

4

The title page of Opus 139 advertises 24 pieces in four volumes "for the use of amateurs who want to improve without the aid of a teacher." Only the first volume (six pieces) is now extant. As noted abo ve, Giuliani' s smaller guitar allowed him to stop sorne bass notes by wrapping bis left thumb around the narrower fingerboard to the sixth string. In pieces in the key ofF, Giuliani occasionally wrote the final six-string chord (in first position) with an open low A, barring only the first two strings and stoppíng the low F with the thumb. On a modem guitar this causes an unsatisfactory deviation from good hand position and is no longer accepted in standard technique. In those chords I have replaced the low A with the C on the fifth string. (The final chord in Opus 1, Part 4, Number 9 is one example.) Giuliani was not averse to using "un usual" or "backward" fingerings when the occasion called for creative solutions to fingering problems. In Op. 1, Part 3, No. 2, for instance, a "backward" fingering (that is actually fairly standard) is seen in line 1, measure 2, where the third finger is left on the low C while the second finger plays the F on the fourth string. This is more efficient than reorganizing the fingers to a more "natural" disposition. In Oims 100, No. 4, a fingering problem arises in line 9, mea.sures 1 and 3. Here Giuliani would most likely have used his left thumb to stop the low F sharp in the last beat; the most viable modern option is to use a "slant bar," with the first finger laid diagonally across the fingerboard from the E sharp on the first string to the F sharp on the sixth. Many guitarists in Giuliani's time used ligados (slurs) for almost all scalar lines, and the general practice was to place dots above or below the notes that were not to be slurred. Such a dot attached to a note now signifies a definite staccato, and I have removed Giuliani' s articulation dots to avoid confusion. The notated slurs and the fingerings given are sufficient to specify the intent clearly. Giuliani applied sforzando signs to many notes.,that would seem to require only moderate stress. In most cases, these merely point out appoggiaturas or other dissonances, which should be given more weight than their following resolutions. He also used this notation occasionally to ernphasize dominant-to-tonic relationships. In similar cases in other pieces, the same effect is indicated by short decrescendo "hairpins." Either of these indications will help to clarify the musical direction for students, and both have been retained.

5

The original editions of Gíuliani' s studies contain relatively few errors (missing beams, missing accidentals, clearly wrong notes, etc.). Most of these are obvious and have been corrected here without individual comment. In a number of instances, however, I have felt that there were sorne not-quite-so-obvious errors, and the changes I have made are listed below. Op. 1, Part 4, No. 2 (p. 48) - line 4, measure 1: the third note was printed as C, not D. Op. 1, Part 4, No. 11 (p. 57) - l. 9, m. 3: the first up-stem was printed as E, not C sharp. Op. 1, Part 4, No. 12 (p. 58) - l. 5, m. 2: the last note was printed as E, not F sharp. Op. 48, No. 5 (p. 63) - l. 5, m. 1: in beat three, the first and last up-stems were printed as A's, not B's. In beat four, the D sharps were printed as E's. Op. 48, No. 16, page two (p. 77) - l. 5, m. 1: the first down-stem was shown as E, not C sharp. Op. 48, No. 17, page two (p. 79) - l. 6, m. 1: the first two up-stem G's were printed as B tlats. Op. 51, No. 7 (p. 97) - l. 2, m. 3: the sharp sign for the G was missing. Op. 51, No. 9 (p. 99) - l. 4, m. 2: the first up-stem was printed as C, not A. Op. 51, No. 16 (p. 106)- l. 7, m. 2: the last three treble C's were printed as E. - l. 9, m. 2: the sixth note was printed as C, not B. Op. 98, No. 2 (p. 114) - l. 7, m. 4: the first eighth note was printed as A, not G. Op. 98, No. 4 (p. 118) - l. 4, m. 5: the down-stem G's were printed as A's. page two (p. 119) - l. 2, m. 4: the down-stem G's were printed as A's. page two (p. 119)- l. 7, m. 1: the third up-stem was printed as B, not C sharp. Op. 98, No. 7, page two (p. 125) - l. 4, m. 5: the first up-stems were printed as B and D, not C andE. Op. 98, No. 8, page two (p. 127) - l. 2, m. 2: the sharp sign for the A was missif1g. Op. 100, No. 6 (p. 135) - l. 8, mm. 2 & 3: the Jast note was printed as F, not D. Op. 100, No. 10 (p. 139) - l. 2, m. 3: the first note was printed as D, notE. - l. 8, m. 1: the Iast three notes were printed as F flat-G natural-F instead of A tlatB natural-A. - l. 9, m. 1: the fourth note was printed as B, not C. Op. 100, No. 11 (p. 140) -1. 8, m. 1: the up-stem F's were printed as E's. Op. 100, No. 13, page two (p. 145) - l. 3, m. 3: the natural sign was missing. Op. 100, No. 14 (p. 146)- 1. 5, m. 1: there was not natural sign in the original. Op. 100, No. 15, page two (p. 149)- l. 6, m. 1: the second bass note was printed as B, notA. Op. 100, No. 16, page two (p. 151) - l. 1, m. 1: the fourth down-stem was shown as A, not D. Op. 100, N o. 18 (p. 152) - l. 1: the twelfth note (G) was printed as a sixteenth, not an eighth. Op. 100, N o. 24 (p. 156) - l. 1, m. 3 and l. 2, m. 1: the first three up-stems were printed as C sharp-F sharp-A ínstead ofF sharp-A-C sharp.

David Grímes July, 1995

6

Studio per la Chitarra (The Study of the Guitar) Opus 1

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Part Two

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No. 16

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Part Three Exercises in articulation, damping, ligados and omaments A note is sustained by maintaining the pressure of the left-hand finger throughout the value of the note. This should be observed rigorously for the bass notes in this example.

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Acciaccatura from above. To link the grace note with the melody note, pluck the former with the right hand, then pluck the string horizontally with the left-hand finger that held the grace note.

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Another omament with multiple notes (inverted mordent). A single left-hand finger executes an ascending ligado followed by a descending ligado.

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XVIII Le~ons Progressives (18 Progressive Lessons) for the Guitar

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91

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92

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