{"title":"What Next?","authors":"Christopher W. Berg","doi":"10.1093/oso/9780190051105.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780190051105.003.0011","url":null,"abstract":"The final chapter poses questions to readers who have successfully navigated material in the book in the interests of determining the steps best suited for their long-term artistic development: Do I have the foundational background to study successfully my next repertoire piece? Do I have the experience to make artistic and nuanced decisions, or will my ear be compromised by a struggling, exercise-like reading of a work? Am I only drawn to the type of music that comes easily to me, or am I willing to strike out in new directions? The answers may highlight differences between unexamined received wisdom and critical thinking. It is in these differences that a student’s development as an artist can begin to take flight.","PeriodicalId":225319,"journal":{"name":"The Classical Guitar Companion","volume":"130 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129750575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Slurs","authors":"C. Berg","doi":"10.1093/oso/9780190051105.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190051105.003.0005","url":null,"abstract":"Explanations of slur technique, known also as ligado, in guitar methods tend to be limited. This chapter looks at what Matteo Carcassi and Ferdinando Carulli called “vibration” or “´écho” slurs, which allow players to keep slurs aligned with strong and weak beats. Other composers, such as Felix Horetsky and Mauro Giuliani, indicated slurs that occur across beats as left-hand fingers slur all notes on a string within a position, regardless of the metric divisions. Music in this chapter explores both of these idiomatic techniques. The chapter concludes with an in-depth look at advanced slur technique by examining the relationship between where the left-hand fingertip contacts the string and the path the left-hand finger must take after the slur. Included are original diagrams and original exercises.","PeriodicalId":225319,"journal":{"name":"The Classical Guitar Companion","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126753490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Repeated Notes","authors":"C. Berg","doi":"10.1093/oso/9780190051105.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190051105.003.0004","url":null,"abstract":"Repeated notes are used frequently in compositions for the guitar as a way to provide the illusion of greater sustain or as a technique to add brilliance. Modern guitarists usually think of tremolo technique when they think of repeated notes, but tremolo technique is relatively recent. This chapter documents the practices used by early lutenists and 19th-century guitarists to play repeated notes and it provides material for studying the various ways these musicians developed their techniques. The discussion of Fernando Sor’s use of the right-hand thumb and index finger for repeated notes will be of interest to today’s guitarists. This chapter also explores the ways in which 19th-century guitarists played passages that modern guitarists might assume to be examples of modern tremolo technique. The fingering practices in this chapter are not covered in standard modern method books.","PeriodicalId":225319,"journal":{"name":"The Classical Guitar Companion","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132169305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Harmony","authors":"C. Berg","doi":"10.1093/oso/9780190051105.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190051105.003.0006","url":null,"abstract":"This chapter explores the harmonic resources of the instrument and builds upon the fingerboard harmony material in chapter 1. Playing homophonic textures on the guitar creates problems of smoothness and connection. Fernando Sor recognized this and provided rests between chords in his Op. 35, No. 11 and Op. 31, No. 20. Two arpeggio pieces of special harmonic interest are also included. This chapter challenges the widely accepted instruction that recommends the placing of all the left-hand fingers that are to form a chord at the same time, whether or not the notes of the chord are arpeggiated or struck simultaneously. This advice, repeated in almost every guitar method since the early 19th century, accounts for one of the reasons guitarists have difficulty performing convincing legato phrasing. The chapter presents alternative advice, the reasons behind it, and exercises to help develop this technical and artistic refinement.","PeriodicalId":225319,"journal":{"name":"The Classical Guitar Companion","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125042897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Arpeggios","authors":"C. Berg","doi":"10.1093/oso/9780190051105.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190051105.003.0007","url":null,"abstract":"This chapter offers material for arpeggio study suitable for beginners through advanced players. Arpeggio textures are one of the most commonly used textures in music for the classical guitar, and the number of arpeggio études in the literature reflects this. Material begins with simple right-hand arpeggio patterns that make use of sympathetic movement of the fingers between thumb strokes (that is, the right-hand fingers flex together or in sequence, and no finger moves in the opposite direction during the arpeggio pattern) and continues through increasingly complex patterns involving opposed motion among the fingers (that is, right-hand fingers are used more than once in a pattern between thumb strokes), sometimes in combination with an independent voice played by the thumb. The cultivated study of sympathetic and opposed motion will help guitarists design more fluid and coordinated finger movements to enhance their arpeggio technique.","PeriodicalId":225319,"journal":{"name":"The Classical Guitar Companion","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131137116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Counterpoint","authors":"C. Berg","doi":"10.1093/oso/9780190051105.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780190051105.003.0009","url":null,"abstract":"The technique required to perform counterpoint convincingly on the guitar is not idiomatic to the instrument. Left-hand fingers must be able to sustain one note while other fingers move to form other notes. In order to take advantage of the instrument’s contrapuntal capabilities, guitarists need to design meticulous fingerings that are connected to musical intent for both hands. This chapter first looks at two-voice pieces by Enriquez de Valderrabano, Mauro Giuliani, Marco Aurelio Zani de Ferranti, and Dionisio Aguado and then proceeds to explore pieces by Fernando Sor that make use of freistimmigkeit textures. The chapter concludes with a recercar by Giovanni Maria da Crema and four fantasias by Francesco da Milano, the latter being some of the finest sixteenth-century lute music. Music in this chapter requires increasingly developed left-hand finger independence.","PeriodicalId":225319,"journal":{"name":"The Classical Guitar Companion","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132017295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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