Pachelbel’s Canon This issue our classical maestro Bridget Mermikides transcribes a wonderful piece by one of France's most respected and celebrated 17th century composers. NITES @@ © © @ Advanced KEY: 1 Fetng hand sting TEMPO: SSbpm | bass with upper melody CDs Tracks 14-15 | feestroke scale runs THIS ISSUB'S CLASSICAL guitar column features solo guitar arrangement ofthe ‘ever popular 1694 Baroque orchestral piece, Canom in D by the German ‘composer Johann Pachbet (1653- = now known simply as Pachelbel's non, Pachelbel was a master ofthe harmonic devices of ci these fundamental eoncepts have ‘established much of how we construct irds and thelr progressions to this day ichelbel’s Canon was originally scored for 3 violins with keyboard accompaniment, ithas since been arranged, performed and recorded ona wide variety of ensembles from plano soo to fullorchestea, You may also have ‘come across Funtwo's 2005 viral YouTube performance of Jerry Chang's electric guitar arrangement ofthe pleee. "The piece works witha wide range of ‘ensembles, and although over 300 years old i fs very accessible to contemporary listeners from diverse backgrounds. “There are a few reasons forts timeless acessibilty. Firstly iis based on a simple set ‘ofdiatonie chords that is re songs talsois underpinnes hass (also known as.abasso ostinato) a ‘compositional device which sin essence a bass G6 Although over 300 years old, this great piece is very accessible to contemporary listeners from different backgrounds. 99 ‘ ‘TRACK RECORD Chock out Th harpsichord 36 GuitarTechniques May 201 beautifully for classical guitar and strings for The oi ey ich melodies and harmonies are Baro {i common in many styles from jaa to alto electronica, Thirdly, ofcourse this form, This is where an idea is namediatel imitated by ‘anotherinstrument or musical line. Although 2 ‘anon may be na very simple form like London's Burning (haiown asa ound), Ca ‘may include very sophisticated techniques. Pachelbel Canon is relatively simple, one ‘olin plays the leading melody and then another plays similar following melody, bars later. This simple eanonie structure makes loop upon foramesmeric and compeling listener ‘experience and has now made i posible for performers to emulate sections of ths piece ‘with a looping device. The individual pars of Pachelbel’ Canon ly simple, ing layers and technical and rhythmic ‘ground bass structure, this san exee study piece, as itean be broken up into looped 2rd bar sections for practice purposes, and the sections ean quite readily be rearranged and edited for performance as desired. ‘Theres some arduous workfor the fretting hand i this plece (used tuning) and one diffiult aspects giving the bass notes thee fll vale (holding them fora full beat) while executing the "upper part(s) at the same time. busy taking an stamina are needed in the fretting hand forthis kind of solo playing and can only be achieved through eaeful, patient practice gradually building up seetions of the piece. TECHNIQUE FOCUS POSTURE AND FINGERNAILS Two important aspects of playing asia guitar 2re siting posture and plucking hand fngerals Fisly, we it with theirs curve ofthe guitar paced cn hele thigh for ight handed payers), ‘which said by placing the foot on footstool. Thelower large boutof the guitar rests onthe rightnner thigh and the ght forearm ess on the upper bout ofthe rstrument This shoul hold he gutar securely in place withthe necks aiming Sghty upwards Theeghe hand should row atu andon the stings Goseto the Seund hole The fingernails need abe grown Shaped and fled smooth to pluck the stings. The length should each just beyond the figertip and the shape should folow the same curve Alot of players ike an ange down onthe lt ice back othe hand facing you) so that theall acts asa am and plucs the sting smoothy. A combina tionof es ofthe fngetipand nal combined seams ogve the most desrable tone yroque Chamber Orchestra's The Only Classical 60 Yul Ever Nooq. Thi lear and excaiont od string arrangement is worth listening to when learning thls piote, Also Cralg Ogdeh has arhanged Carton in itarist (2010 Classic FM Records).PAGHELBEL'S‘IEE ce Was Cre {Bars 1810 forge the drop D tuning! The round bass (bassline isstated__upabad habe that wl considerably hiner the development of your technique. Inslation nthe ist two bars Thisshouldbe plucked withthe thumb and Bat 1] Meretherhythmsubdiies agaln and we mor no semvauaers th omtnued 3s such teughout the whole piece Fomfere on there eavaration note There are ozaslonal places where the bass note has tobe ct of such 35 ‘over the same harmony every twobats At bar 3thetop woke enters andthsis the atthe end of ba 13 wo aecormosdste the melody but onthe wholes Ihamonsedatbars At bathe thythm subdvdes onto guaves eighth tes) possbieto keep thoebass notes consistent sd nyt At bar 1 ull bre athe ‘ere theupper line payed wiht stoke atenating fingers Becarta not Sth ets neededtor the ist bat alowed by a al barre on beat 2 Am t>ghe {Gralla theta of paying the melody Ine awh thesametinge’ as thssets both the upper notes and he bass Noes the flvauen this ba 0 A Bm Fim G@ DG AD A 8m Fim A —— a2 go feeds = * pimint pe 38 GuitarTechniques May 2012PACHELBEL'S °))))) Bd {Bar 19] Here we subdivide again andick into demi-semquavers(S2nd notes. vejump to ply’ then ts well nder the hands worth pending some ‘Ti section requis Some iency in reste Sale payngtor te pucting ume experimenting withthe plucing hand hrgering a these ast ans od hhandandtisagood ideato organise the fingering soMtworks ey withthe what works best for you, Stang ayou ae concentrating on aternating the st ‘rosing There nan incest plucking hand olwonin‘hsuarto give (and second nl fgets mas te tin hen you willbe on te igh ack Jes ofhow to go about doing the use te tard ngers) onthe opstrng There re ocasonal egos rs inaeatedin th coeton which ate Spon is ofthe sting sp onthe 2nd beotram thehigh Ato low Adoumasred Yowean ses more oles oF them shoul you ih 2, a om Fim oe ° oe A on 20? 07 Te) imimimimt mimtmimimim e °, 4 Bm Fim ° ° ° a oP eee aaa eR TIE TO —— (May 2012 GuitarTechniques 39onTHE CD (@ TRACKS 14-15 aes {ar27.301 br theehymchangestoaone estmotthatrepestsin rein Inboth hands. This, Hexecwedclenl shoul rete ace ‘xquencts ry toeep the hythm cep andclear ere Aginthereiramiure (Bar37]On best tof Bor lsvery atest ply the de nthe Cflgatos andnon legate verionsoftsrhyt at epentonerpetaion. _susaning the bts noe Fis povble however by flowing the Rngering ‘nbeatJoftars0themeloay tne lelayedacosstvee sangrwinaested Ineatednettothe notation and piotng onthe vangerimardertog%e 2 ©, a on Fim e ° e a {40 Guitar Techniques May 2012PACHELBEL'S °))\)\\ Bd Ces ‘the & (second semlavaver hs roves tobe oo awkward topiay.thelower {Bar 43 tend] The ral sections most chordal and requires recive postion {ois oft rcrevenjtneEonthe andvemguoercanbegappe. ma efthefetng hangin cet sound 9 Deptt wh ean pet grestbsiewrnchetngor making slghyenerwher possesolngssit matateyour te, Dor forget tarhs pce cone ly ‘Soemstcompromse nthe mney ofthe muse rterbypctng snd coring you own et of preted bar sections ° 4“ Bm Fim ° ° e a 7 * 5 ° . ° ® Bm Fim ° acai a a siti aa, roe fF f r roiropo rf (May 2012 GuitarTehniques 41