Practice Routine

Exercises, Studies and Pieces

In termediate Level

Dan i e l N i st ico
C Major
“A pure, certain and decisive


manner, full of innocence,
earnestness, deepest religious
feeling.”

“Completely pure. Its character is

innocence, simplicity, naïvety and
children's talk.”

“State of nature, virginal chastity

and purity, lovely innocence of
youth.”

Chords and Rotations

L’Innocence - William-Adolphe Bouguereau
(1825-1905)
3 3

VIII VIII

    
 2 2 
3

   
1 4 1
 2     
2

 
0 0
  

4 4

 
1 1

0 1 3 3 1 0

 
0 0
4 
2 2 0 0 2 2 2
3 3 4
3 3
4

3
V3
 
V
 
4
II 1 II 4
0   
1
1 1   1
2 1

 1   3 3  4  3 
3 3

 0   21   0 
3 0


  3   
2 2

1 
2  2 
1
   
0 
4  1 1 
4 4 3 1

   
2 2

 
4 4


2
 2 2

2 0 1 1 0


 3 3 4

4


1

3 3

0 0 0

 0

2
4
0
2
Harmonized ScaleX4(Rule of the Octave)
V3
 4  V3
    
III 3 III3
    1  02  1 4
 2   4III 
4

 2III 1 


4 4 3

1

VIII
 3 
2 3  243
 3  003
6 31 4 3 1

4 00  20   2
2 
0

 0 3    3 
02 
 
4 3 4


0 21 001  
2 1

12 0 3 1  
  
23 2 3 2
 

0

  


2
  2


0 1 3 3 0 31 3 0 2



0 0 1 0 3
0 3 0 1
0 2


XIIh4
  

 4 322    0 
4
4
3
VII 41
 2  
VIII

1 1 4
 400  4  00 1 0 
34

 0
0
21   
2III 4 1

24


0
 
2

2 2  31   
0  3 02 00  
    
3 3 3 4
 
3
   2 0030 21 
0
 
13  0  1  01  
 
 2  
1 1 2


40
21 
4



0 0



3 3 1 0 2


2


1

0 3 0 2 22 11

 
1 0
0 0 33
2
1



2

 Etude no. 13
From 24 Very Easy Exercises, op. 35
Fernando Sor

3



4



5
G Major
”Everything rustic, moderately idyllic and
lyrical,

each quiet and satisfied Chords passion,and Rotations
each tender recompense for sincere
2friendship and true love; in a word, 3each 3

3  be of the Octave)

VIII VIII
gentle and serene Harmonized
motion of theScale  can
heart (Rule
4
1 2  41  0 
1 0 4 2 2
 2  02  02  0  3 3 1 1
0 0 0

expressed splendidly in this key.”

2 2 2
64 

  3
  4
1

 2
III 3  
3
 
4 VIII
III
4
3


    sincerity 
    4


3

    
4
“Favourite
  key 

1of youth, 
0expresses
 
3 
3 3
 1


4

 calm
 

0 1 3 3 2 3 1 3

 13  simple 2 1
3 2
0 V V
3 3  0 
0 2
of faith, quiet
4 II
4
love, meditation, 1 II 4
0 
0 2

 1  3pastoral 3
 and 1
3
 2 humour 2  13  1
3  1 
 VII
grace, 1 life a certain

 
2

 2      
2 2
4

2 2
and VIII
4brightness.”

4

4 2  3  1  4  4 0  1 
4
  2 0   1  4
4 III
   
4 4

 0 23 21    13 0  12  1 
3
1 1 
4

0  2  20  dinner
  
  0 

   01
4


0
0rustic0  03



1
03 
0
4
3

The - Samuel Palmer
 

1 2 02
3 2 3
0 (1805-1881)

V3 
III 3
3  4
4

 3 
III3


X
      1
1
V3
 0  00  0 1
0  3  2
 4 2 4  24  2  2
 0 0  V0 3
 
4 3 4

  3 0  0
 2 20 12 2 
     0 1  0
  24 1 2 12
2
    




2 0
 

0 1 1

0
     
 0  12 0  1
1

 
1
3  
0
3 3 2

12   
4


    
 0
 
3 0 1 3


0 0 3 1

 43  1 
3
0 
4 3 3 3

2 3
0


1 1 2 0 3

1
2 2

0 1 2  2 1
3 0
0 0 3  0 0
 2  02    0 0 021 
2 h4


XII
0
2
 
3

3


  1

 
2 2

0
 3

0

       
3 2 2
 
4
 
V 1 1

3  3 3 3   3  
4 4
  
1 
3

0
     0   4  3 0 0 1

4 4

       
4 4 1 1 4

  2 0  10 
4 3
0 1 

0 0 
0

0 2

21 

4

1 
 

0 2 2 1 0




0

2 0

3 1 2 1
2 1
0 3 1
2
2

4 2 
3 3
  1 
II II

 006    40   4 41
 3   2  0 
1

  1  13  0  13  0  2 

44

 2 
 0 
 

 4 1
4

  4 234 43 
0


2 2 1 3 3 31 2
1

 3  3 1 
0

 10III01   
2 1 0 0 III 3

23

3 0 3 0


0

42 4 2

    


1 1 0
 
3

      2 
3

01
0 1


0
  VII
2

2
4


0
02
2
 32
1
4 31



1 0 3 3 3

1
VII
VII 42  VII4
4

  1
4

0 4
   2  2 II 
4
3 3
  0 3

1

   24 
 1  3  II44 3 1 1
4    1 2
II
 31  4
2
 
2

III    
4 4 0
 
4 4

  21
1 4

0123
2   
2 0

  430 
2 2
    2 3
 13 0  
 2 0 
4 2 1 2 2

     
 32 

2 1
 

 
2


 
3

1  
2 3


3
42
0 0

001

0 1 1
0 1 0
0
2

3 h4 3 6

 
3 XII
VII VII V3
 4 34  
4 V 4

 
II II
1   
1
4 4 3
3 44 1



7



Etude no. 05
From 24 Progressive Lessons, op.31

Fernando Sor

8



9
E Major
“Loud

 shouts for joy, laughing pleasure,
and still not altogether full gratification lies
in E major.”

“The brightest and most powerful key,

expresses joy, magnificence, splendour and
the highest brilliancy.”

2
A Merry Party - Jan Steen
(1625-1679)

IV 3
  
IV 3
   
6 2 6
 2 2 
II 1 1 II
   
1

    

4 4


3


   
0 3 3 0


0 0
  

1 0 0 1

 
3 
3 1 1 1 1 3
2 3 3 2
3
5
IX3 IX3

    1
 
  
3 4   
1 4 1
  1 3  
  
2


   
2 2 4 2 2

 

3
4 IX 4 4

4 
1

  
1
 
1 3 1 1
2

2 2 2 4
  
4 4 4

0 1 
3 3

0 0   
4 4 4 4
 1  2 2  1

1 1 1 
1 0


0


2 2  2
0


3 
1 1


0 0
1
2
3



4
3 3
VII VII
  
4 4

IV IV
   0 
0   4 1 23  43 2    3
II 4 3
II4
 
II6
 0  0  II 6 
4
 0 1  
 1 
 
1   
1 1
 4

32 41   
1
1 01 
4 2

 3 4   
  4
4

13  3 1 3  
0
1
24 2

   
3 4 
32 3  1 1  
3 1 34

0 0


 42 
1


1 3 2
31

  4
12 1


0
3
13
3

3
4


0
2 4 2
4 0

 
IV4 6

6
0 
IV II
 

0


4

 
32 
 4 4 
012  
 3
4
 IV324III3 1 2    
 
1
32
1 1
3 32
34
I206
III 1 3
14  41  4 
IV

   4  4 13  4 4  2  2 
I6
2 2 
  4 1
 1
0   3  0 3 
2  33 
1
2
3 3 
1
2
  13  0  13  4 0  0 
 4 1  
  0     1  4 3 2 
2
 1  1 1 1 
  
1
3 2 1
3
23
 10



11
 Etude no. 23
From 24 Progressive Lessons, op.31


Fernando Sor

12



13
   4 
  43 1 
III
4      
 3     
 12 2 23
4
  1 Chords
23
 and Rotations
1 0 3
02

 00

0 3

E Minor 

 VIII
3
 2 1  
VII 4
43 43 
VIII
3
VIII
4

3

        
III

23  13 10  01 
 4 2 2 2     

4
“Effeminate, amorous, grief,
  3    1 100

 2 01
 24  23  restlessness”
2 1 4
 0 22 2 0  
 
0

0
1 0
2 
4

3 
4 3
  
3 1
mournfulness, 1 0 0


0 0
2 2
3
3

4
1
“Grief, mournfulness and restlessness 3
of V3
  
V
 3  2  0 
4
II II 4
0 
1
spirit.” 1  
1
 13   
 1     1
3


3

4

2  4 2  
 4 4
2 2

 
1



3

 
2   4  4 
3 3
3 1V
       10 3  
 0 of
2

   
  1 3 1 
2 2

12 passion, 0 0 2  0
 and 
 0012   0 3
3

0 
4 4


4
“Full
2
1 painful  palpitation   2 12

 12
0 1 1 0


0 0 0

3 4
 
1 4 1

1 1

Contemplative
0
3 3
4 

2 0

 0
 autumn. Falling leaf and the
2 2
impetuousness.0 2 3 3

character,
bare-coming branches.”V3 III3 X4
V3
 4    3 4 1 
V3
3
  3  4 3  34
00    
III
  
3 1  120 0  12   21  1 42 42 43   4 0 

    42  
4
  21  0  
 2 0 002 0 2  3   2 3  1
0
   
3 0

1 1     
   3  0  1 30 

 
1 1
 2  - Peter
 10 03 
 0 in aLandscape
 
1 2

3 1 1
2Amorous 0 1
33 Couple
2

0   2 

30 2 2 0


2
0 0


3 3 0 2 0
Lely

4
 1 
   0 
h4
 0 1 2 
XII
4
1
0 0 3  00  0
3

 2  6 02     4 0 021 

2 1

 1 3  2 4   43   
2
0 

3 3

1 1 
3

13 III
0 1 


2
 3  4 3
2


3

 023 1  
4

1 3
0

2  0 2 2 0 
4 2III

 0     
4 2

1
      

 4 1  
4 0 3

 2
 1 2

01 0

0


  143


0 4 1

2
0 3

0 2
1 0 0 3
2 3 0 2 2

 2 
4    413
3 4
  40
2 33 0 
III II
1  3
 0  
4

 40 
34
   
  41 1   
1
  
II 4II
23  13 0  1  
 10   
40

2
 
3

  
2  2 2  0 3 0  00121  01  213 
2 0
 
2


4 
 
0
 1 1  
0

1 1

  3
0

1 1

 3
 
3  32  2  
0 0

0
4

4 4

2 3 3 22 0

  
23 1


1 
3 3 2
0 4 0 0
3 0
1
4 4
VII3 VII3
 4 14  4 
VII VII
4 
3 3
  12   2  
II II

 01   42   31 2   43    2  1 
 020

20 
14

0 0
1   
 0  3
4

 3 
 3 
23 4   4 24 
2

0 0 
4  3 2

0
 
2
3
1 41

 211  
002   
1
  
2 0

 
0
0
01 4 1  
0


2 2


  13
0 0 2 0

134
0

2 2
0 1 0

2

1 1 2
1

3 h4 3
VII XII VII

 1 1  0 V 3 41 4 4 1  41
 
V3
1
 2  0 2  3 34 
3 43      3 2 0 
4 4
   3 0  1 3 3
  01  0 
 0

II II
  00002  
 1
0

3  4   2 
43  

  0 3     
 2  12  1 13 

  
   
0


0 0
2 2
23  23  0  



 
0

 
2 13
1

3 1

4  4 
3 2

13   0
1


1 2 1 0




2
3 3
14

II
3
4  II
3



15

 Etude no. 11
From 12 Etudes, op.6
Fernando Sor

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20



21
D Minor
“Expresses a subdued feeling of
melancholy,

 grief, anxiety, and solemnity.”

“A pensive key full of nobility and refined

feeling.”

2

I 2
 
6 I 6
  
III 1 III

       2 
3 3
  
4


  4 
  3Czachórski
1 4 3 4 1
 

2 2

3 3  (1850-1927)

2 2 2


2 2
4 4 4
3 Pensive - Wladysław
6

  
  
4
3   
X43
  0 1   4    124  14 
1 1

 2  3  
4 4
1
 2 
 1  1 3 
2 2 2 1

 
3
 
3 3 3 3
4 1 1 1
1


  

1 2 2

 012  3 

1 2 2

2 2
4 4 4 0

 4

3 1 0

 0
3 3
21


 
2

1
 
1
4 1 1
3 0 3

4
4 4
 
III III

1
  1   
  2  
4 4

  20  2    
4 4

   
3 3 1

0 

4 4


 
2


1 1 2

1 1
 
3 3 0
0
0 0





V6
 
   
43 4

X



6

 
  2 23    21
2
  23 21
4 3


4
2
3

 

3 3

  4
6

X
      
V6
    
 42 
4

21  32 2 23

3

 21 1
3 3
  2
4


4

3 

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27
28