Pyotr Tchaikovsky Bridget Mermikides returns to the work of the Russian great, Tchaikovsky, to arrange and transcribe this famous theme from the equally famous ballet, Swan Lake. ‘dramatic, perfectly capturinga swan-like GluTeRR Ari elegance, dark sorcery anda deeplove USING YOUR NAILS @@@ © © Moderate doomed to tragedy. ‘Classical guitarists pluct the stringsusing the This theme ban evergreenfavourtefor | fngenaistTheseneedtobe ep nartsy- 2mm MPR clocseal musteloversardthe general plc, | abe thelngeo: anand carer 0 at KEY:Em 15 Nelodic rosin and is often played as an orchestral work in its. | they steatea good plucking actionand the best MPO: repent ‘own right. Youhhavealsodoubsless heard icin | Pesbletone Every sous layer topes varity of [SRR erin. acmeatkmpercte nay ato duis ant 110 | fies a buffers - abi fevoure syr newet CD:TRACK 28-29 Melody wth chads numerousfilmsand TV shows,suchasthe | ony sanding paper This cusedto emooth off roviglasceneofBy Et athougine | seeeyendnd ec T bento moto THISISSUE MARKS urntothemunicot | pectrowncnanetvitthet foresee | usenet ana hen bud the phenomenal Russiancomposer Pyoir | artistic licence!) As always, reducing an Tehaikovsky (180-1803), whose DaneeOt | orchestralworkdown tosixstingsand wo | handsis.a challenge, but Tehatkowsky's ‘The Sugar Plurn Fairy [arranged back ‘melodic writing isso powerful that it in GT92. Tehalkovsky hada ineredibletalent for composing widely accessible, technically astonishing and perfectly judged evocative hemes for orchestral works and the ballet. Infact, his ballet works, havea lifebeyond their functional origins, and inchudeamong them the mostloved and recognisable melodies in ‘classical’ musi Inthis article, 've arranged the stunning theme Act2 Na.l0 from the baller Swan Lake composed fiom 1875-76, The ballet—adaptedfrom Russian folktales ~ enacts thestory of Princess Odette (who takesthe lead ballerina role) who has been sransformed toa swan bya soreerer, witha deeply tragicromantic conclusion. The openingof Act 2 epics the other protagonist Siegfried, hunting forswan ina moonlit frest clearing, and finding Odette — whose true identity asa beautiful young ge trapped in the vision of aswan is revealed tohim, Tehaikovsky’s accompanying sic (Act 2, No10 Seéne — Lakein the (Moderato), also known simply as Scene) is both romantic and translaces very well {'ve transposed theoriginal key of BMinor downa Sth toF Minor, to utilise the range and open strings of theguitar more idiomaticaly, and ‘captured the orchestral gesturesas bests possible with arpeggios (and from bar 48, the use ofthe remolo technique) to mimic the tremolando used by the orchestral bowed strings. ‘Asever, ake your time to getthe varioustechy fingers, referringto' forthe ticki Youtl want tohavea technical flueneywhea coming to perform this, asthe piece requires afluidand ‘expressive control of tempo for to sound ts best. G6 I've transposed the original key of Bm down a5th to Em to utilise the range and open strings of the guitar 99 NEXT MONTE: Bridgee arranges a section from Bizet's Carmen ‘TRAGK RECORD There are many powerful recordings of Swan Lake, but you can do far worse than the 2004 remastered EMI Classics ped two-cd eat of Sawallich and the Philadephia Orchestra. Fer a more contemporary recording of Sofne, among other stunning ballet ASB avearites, cock eta callection suchas Tehaikosh:Baet Sues erlierPiarmorier 198 Deutsche Eranmaptn) 50 Guitar Techniques Sepreriber2014Gras nr: {81r21 After the fst chord the famous melody beghs rgficaway in bar technique siouldbe wied tyoughout. On beat 3 of bar 2, hold the ¢ chow 2. Ive hid to imply the orchestral harp appeggioatcompaniiment alot as long as physically possible so tsustans urder melody. Thesame applies ‘tomekeit plyablean the gute: However thehermany stil itectond on best 3olbor4withthe C7 chord ~ th serve prniple should beused ths main focus needs tobe onthe tune s9 bring outthat op lire with rest__throughoutthe piece wherever there sa minim [two-beat noe orchordin stokes where posse. There's somrenetcated fingering rbot hands the accompaniment. forthe fst ccupleof bas to get you started: ater that thesamekind of [Bar 13] full bares needed forthe F chord and againat 17 fo the F chord crepe Em 3 3 Amie. om am ie rt Emve 2 Ame am am ene F FIie> tlc 8 September 2014 Guitar Tectniques $4Ga coe #10] Herethe famous mai theme is epested-In the original version ramaticaly than a the stan; While the guitar cant réceate an chest’ ‘Is mucr mote fll orchestrated ai this point so canbe played mote sze and power, thas iis own dymamicsand we mest captalie on hese Em ce En cree em amie om am cig Ca eve Ame 52 Guitar Techniques September204Gs a nr 24)The piace changes gear int crotahet wplets andbegirs to build whereltcalme and slows down unl theand. Theses plenty of room for ‘nintensity until it hits the tremolo at bar48. Thee sa gradual uccelerande expressive rubatoin ths piece, s0dolsen tothe recommended orchestal. ‘through this section, ang aster tempo maintained unt around bir 60, reeardngs or inspiaton! F a7. 87 F ene a7 Io 34 mI 4 F AmerE 5 Bras 87 B73 87 B73 BT pemipamipemipaemi September 2014 GutarTechniques $3PLAYINGTIPS Sere Ema Ems Em Get Learn Watch more how to play free video recording tips better at tutorials at musicradar. _ musicradar. _ musicradar. News Reviews tution Nens-Reviews tution NeyesReviows Tuition Samples Forums Samples «Forums "Samples Forums ‘Community Community Soren 54 Guitar Techniques September2014EVA onmusen mens 20.28 Edvard Grieg This month Bridget Mermikides creates a simple butlyrically beautiful arrangement ofa piecefrom TECHIMQUEFOCUS Grieg’s magnum opus, The Peer Gynt Suite. ‘An important aspect of technique in close guitar yng is adoptirg the Correct sting posture, Thegut spaced roman! instrumental works drawn from the | nthe le thigh for sgh-handed payer) Incidental music werk as independ wane sed ypscng te foot on ¢ © © © © Moderate ‘andhuugel popular~ concert material. | _foobtool The let kne should be porting ) Tathelyricsthechaactr Solveig sings forwards and the ight knes tothe side 0 | about lover, Per Gynt whohas the utr restson the nace of te right Tisai wey pink || sboodaneduer™aod declesthat sew! | Hogi Thequiar shud bepastinest. Bass-mmetody separation wait for him and be reunited, even if only in she ieee Seana al CDITRACKS 262 ltiepernueomantcveds| heaven. The melanchaynaturecfthelyies | upwards and the ight forearm est onthe me isechoed in the beautiful melody built Jaeger bout of the insirument, This should THIS MONTH WE return tothe workofthe mainly on amincr seal. hole the instrument securely in place and ‘Norvivgians Romantia adm peer Eavasd ‘Tvetransposod the piecefromthe original | Provide esse offaciliy for both hands. Grieg 1843-1907). Greg adopted ‘anny Norwegian llemsie ee ‘ements and blended them’ the prevaiig rh century style, and assuchis an excellent example ‘fa nationalistic eomposer. He also happens to be one ofthe frst fompasers to have their work recorded intheirlifetimes, and in fact achiveaudioreeerdings exis of him laying the piano, Thefolk elements in Grey's give ita very lyrical and n ality 1salso highly programmatieand aceesibh explains itsextensive use in TV and ‘lm. Bere Te artanged a piece from CGrieg'sincidental musi composed fom 1874-70 for Henrik Ibsen's play, Peer Gr ‘Solveig’sSongis trom Act 1V of the play, and the last piece ofthe Poor Gynt Suite No.2 ~asetof 4G Ive transposed the piece from the original key of A minor down a 4th to E minor, so it sits better on the guitar. 99 ‘TRAGK RECORD The Peer ynt Suites performed by Berlin Philharmonic and conducted ty Herbert von Karan 1983 Deutsche Grammoohon) mw ‘sa goud refarence point from which to learn the plece; fora version with the melody sung, check out the Estonian Katioral Symphony ‘Orchestra with Paavo Jarvl conducting and soprano Caria Tiling singing with etoreat Beaty: Peer Gynt Grieg (2005, Warner lassie), minor (and down rom A majortoE major during the waltz sectiens ‘which modulate tothe parallel major seale)so that it ss beter on the guitar, Athough some ofthe ‘orchestral parts have been dropped, y {the Eno using theft ager afl bare but ihetipof the fngestays off unde breif ff on bet 3 fo the open Enotebut the tipo thesinge! ‘the sth eing soar not to mute the bw The fiogerstheninrasdy pice rmainin pace.on the hase note b to kaep kt sirtained tothe end oe Bac 1-148 appeoe om = a A710 om Sane a 4K ome em? a A em A erm A ema A GIA A ETA OA ‘Sprig 2014 Gutan'Techniques 49PLAYINGTIPS ener) 6 ce — fom ao 7) rf We 11 ss COOP eer) cherceer eres 8 ce F Foust Bisus2 FIA Spring 20)4 GuitarTechniques 51PLAYINGTIPS en {Bes 77 to end} The chords at bar7 aeplayed with a downwards sum whichever works best Throughout the west ofthe piece tere ae various swat the backot the Mgernail- either themistor second inger'sfing, ‘ts ofMngeting adviceteeip you and hopetly theres: wil fly cea, rset sun "RA, A? arr irr 1 cme om yg ' fant ns 1 Foust absus2 FA > om bm cme)PLAYINGTIPS ace a om ~ AiG evr a AN pave sir aug 8 eS Spring 2014 GuitarTechniques 53A cyl Carcassi Opus 60 No.10 ™\, Bridget Mermikides continues her classical \ } guitar series with a look ata piece by Italian \ guitarist and composer Matteo Carcassi.. AAT eoe Moderate InFo WILL IMPROVE vouR KEY;D ‘aHanmer-ansand puts TEMPO:155bpm Finger stength&techique CD:TRACKS 5559 Postionsiting WELCOME TOTHE third in our seriesof intermediate lessons exploring the music and technique of the classical guitar. Th lossons present pieces and studies by lassical ‘of the 8thand 19th ‘centuries and demonstrate useful and ‘common techniques ofthe style, és month I'l introduce you to the ‘guitarist and composer Matteo hieved fame in his lifetime both as a performerand a teacher. His Complete Method For Guitar remains ‘valuable, relevant and widely used today. His most famous works are his 25 Studies, Opus 60. These pleces combine important technical sills with stunning romantic music. They are perfect for building technique and manageable repertoire, and are used by countless classical guitar teachers and students aroundthe world, Acquiring your own copyis highly recommended; here is simply nota bad workin the book! ‘The piece inthis month's lessons Number 10 from thes studies and it focuses on fretting hand slurswith particular attention tothe fourth finger, Alotof players in the early stages of earaing the guitar ‘experience feeling of weakness inthe fretting hand's fourth finger and will even avoidusing it in favour ofthe third finger ‘wherever possible But the fourth finger shoukl not be neglected and this piece is very tsefil for addressing the issue. oN THECD ( TRACKS 55-59 This month's builder exercises are designed as preparation for the Carcass study but more importantly tohelpachieve perfect harimer-onsand pull-ofs Before launchinginto Exercise 1we need toexamine the basiefretting hand function and check that iis working economically and eficiently, Begin by placing the frst and second fingers on the first twonotes: 7th and ‘ih frets, first and sevondsteings, The hand should feel comfortable and stable, fingers carlingal togetier towards the fretboard, Next, place the fourth finger down atthe ath fret (Ce onthe first string) so the fist, second and fourth fingers are now all pressing down simultaneously. From this, point keep yourfirstand second fingers pressing down on the strings and slowly lift the fourth finger on and off the fretboard withoat makinga sound. Do nat move or rotatethe arm, wristor hand and da not straighten the fourth finger when itis off the siting, simply lit iton and offthe string keeping itscurled shape constantly intact. The movement comes from the knuckleoint ofthe fourth finger and there should be slssolutely no tension ata ‘Next, increase the speed ofthe finger movementin itsdirectiontowards the fretboard soit gently tapsdown on the string and creates a sound, Don’ usetoo much exertion, asthisaction should not tre the fretting hand orarm, Thequality ofthe movementwill determinethe quality ofthe sound produced. Repeat this process foreach ofthe barscontaining slurs (hammer-ons) until a good level of comfort and a eompetent hhammer-on is achieved. You will then be ready to execute the exercise. Stat slowly at first, and work up to tempo gradually. by placingthe first, second and fourth fingers on the strings simultaneously. This time we are preparing fora pull-offso itis we need to think abeut ce sure the first finger is holding ‘the string down firmly and then ‘pluck’ the stringwiththe fourth finger ata right angle toit. The pull-off should not be tense or forced but should havethe quality ofa ‘atisfving bite' when exezuted wel. Tryall the pul-offs individually, perfecting this technique, before playing the exercise. 66 Alot of players in the early stages of learning the guitar experience a feeling of weakness in the fretting hand’s fourth finger 99 as with Exercize , begin ‘TRAOK RECORD Award! winning Devid Tanenbawon is char ofthe guitar degartment at San Fransisco Conservatory and has been artist in residenceat the Marhattan Musi School, Alon with many rectrdings featuring modern classical gitar repertirehe has also produced aFULL PIECE, Freting hand fngerng hs been suggested throughout andyoult fndit purpose beind ths pecstestrerathen and mprove your fouthfrger manly faourthefeting ones fourhfrgerfrsuringrhenmer ons Secnique Abo, because the burn anger angle more pependclrt the ‘and pull-offs. Although there are places where the third finger could be used fretboard than that of the third finger, itceatesacrisper pull-offonce't has (forinstance inbar 9 the fourth finger is recommended, since much ofthe gained sufficentsvength to perform it correct. = 155 jas r ee ‘82 GuitarTechniques June 2010[Bars 14 and 15, previous pagel kis common and important techniquefor ‘he pking hana thumb to damp unwanted ringingbass notes Atha Very fndbar the peng hand thom sould er euleky mute (using he pad ofthe thumbs the open fourth sting befor paying he open AN bat 15, Fnmediately after playing this, the thumb should Bounce back and mute a7 the bw Ei just fof bar14). thot See ron a bscuring thethre ox stngsnl abe rngig Schciescieraateegtgemenme yu a dlficulttoignore them anddamping unwarted notes becomes a must wot fF Fi de fwd)? ete = = 7 Pr r T T — a a if 10102 10— 1612104 — “June 2010 GuitarTechniques 83PLAY: CLASSICAL SBach owHeco Track21 This month our classical maestro Bridget Mermikides transcribes a much loved piece by the one of the greatest and most influential composers of all time. Pee TOT @@e@ © © Moderate KeV:D a Arpeggios ‘TEMPO: 65\opm SB Freting hand sus (CD: Track21 aoquereperlre INTHIS ISSUE'S classical colamn we retum to the work of Johann Sebastian Bach (1685-1750), without Aloubt oneot the greatest composers ofalltime Bach wasa malti- instrumentalist andhugely prolif composer, wholeft us a legacy of hundreds of astonishingly besutifal works. His command of counterpoint, harmony and melody was utterly ‘masterful, andthe compositional sills heemplosed inereating what seem absolutely perfect works has kad a huge influence on the developmentof Western classical musie-and indeed Westem music ofallkinds, Anunbelievable quarter of millennium after his death, his work still has an influence on, andis hugelyadmired by, ‘musicians from practically every style, om Jazz to electronica tometl Every one of Bach's works of the absolute highest quality, but several haw also found their way intothe mainstream and are widely recognised. One such piece, which I 66 Bear in mind that any work you putin now will be rewarded indefinitely as, once learned, you will never tire of playing this masterpiece. 99 have arranged here, is hiseverpopalar Prelude from Cello Suite No.1, Partofa series of works he composed forunaccompanied cello, they werelikely to ave been writ sometimebetween 1717.and 1729, duri of Bach's happiest and most productive periods under the supportive patronship of Prince Leepoldin Kathe ‘The Preludetrom Cello Sulte Noa isa hugely popularcello work but,asiisthe case with much of Bach’s music, has been adspted with great success to other instruments including piano, trumpet, violin and both acoustic and electricbass. Howeverthis piece ‘with is sur and singing arpeggios seems perfectly suited for the guitar. Tyetransposed the piece from the “originally ey of G major to the much more sguitar-friendly D major (also using drop D tuning) and, asis popular with guitar arrangements, added some bass notes to ‘the original cello composition. Incase youare in any doubt this piece, sis the case with all of Bach's works, is absolutely exquisite and a masterpiece of compositional techniqu bearin mind that any workyou patin nov willbe rewarded indefinitelyas, fonceleamed, you will never tre of playing this masterpiece. Read the tab captionsfor the trickier sections, enjoy learning the tune and see you next time when we'l be going through another great classical work, TECHNIQUE FOCUS PICKING HAND TECHNIQUE ‘Thetechrique ora dlassial guitarist’ pick ing hand uses the frst thre fingers and the thumb. Aca goneral ule, the ngers play the tebleor melody notes andthe thumb takes careof the bass notes, Animpartant partof technique sto always aternate the fingers when plucking from one noteto the ret in particular th fist() and sean m) fingers, and tis should become standard and. autematic When playing arpeggios (oroken chor) winere al three fingers ae usd, you ‘should aim to play fngersi,m and aon the third, cacond and fit tings rtpoctivaly, (emeeeenaian tai Wii atone nak be Aho lena ial titan Fliamastnan Waitt i eemnknnt Maeitnd ie ode © fis aadGees COTRACK?1 Generis Preideoiginaty inthe of Gbutvecherged ttoDand then wich othe th et. on the ax best. forthe next couple fbr threo Used dep 0 tning D ADGBEYforalbvely rich resonance onthe gata. Peking nanafiigerng ndcated top you steve afd performance. {Gare -4'Thecpanng four bar aretecnaly ex and inde some picking [Bar 7 The ftng anc fingrng om tha at bet far fest rt finger hiding Kw benoterioingihohotheebanandwburster lsndanodhiyanhetatet bel burt Tere gt edn ‘tos the topo Sings ogee wh hers age ‘Many placesand these we aed sa moter of personal mesial ase The Use ier si Sty win eit gery dean et ort inthe bewsof ar cautinth pee eno age and can voy on peo payer o oo a 1 =65 wor Popp platelal am — 7 Tmt omipmpmpmpm | p etal pimam int mimimt ‘48 Guitar Techniques Spring 2013Gees Coe Iter) More pckinghandfngeing sndisted nba Bandshows tow much (Bar 1} Onbar 1 bares neededatthe ath etbefon a quckomp backto the ‘feast gutar paying volves aerating the and Anges This revtes fet From haveon fe fingering ana technique contre: much he sre wa ‘smooth uy and good achnique=do ne get tothe badhabitof repeating atwaysihinkaboutthe ping mand fagerng and wor out what yu are ding ‘hesame finger overand over. ‘ater than levngltocanceas thw ep todevelop goad tecnigue fr am act w mimamem > ere} as Spring 2013 GuitarTechniques 49es Se Ier31) Abarat there ne wo-pat logue where the moving melody nels fhgerTolow the pckng hand fogeing athe beginning ef bes 32, 93and 35.1 Pliyedvwiththe thumb andthe pedal epested = notelsplayed withthe second hope you have funand enjoy aringtisfantat place of music 4, ar PmPMPMPmPMpm Impm impm Pe PB a Djm Em EfaFinGm Gin An_A7 | ‘Am Alm Bm Bim Chm Det 10-10-1010 191 ps tate 7 rer a . vp ‘50 Guitar Techniques Spring2013UVa eS Johann Strauss Il owTHe-c0 (Tracks 20-21 This month Bridget Mermikides reckons we should look at a piece in three-quarter time. And where better to start than with The Waltz King himself, the venerable Johann Strauss Il. @ OO © © Moderate KEV:DropD a Piging n3/4 ‘TEMPO:138 bpm m Pat sepzation (CD:TRAG 20:21 lying in 6tsand 3s THEAUSTRIAN COMPOSER wrotesomany {ng and popular waltzes(as well as other anes forms) in thelate ith Century that he became knownas The Waltz King, Growing up ina family ef composers, Strauss hada hugely busy, occasionally very stressful and fabulously successful musical career. He was essentially the premiere pop songwriterof the day, contributing significantly to the huge popiarity ofthe Viennese waltz. Taere san anfussy elegance tohis writing that seems accessbleto all, which might explain why his music hasbeen used in several filmsand'TV shows every year since 1930, Including Titanic, Amélieand most famouslyhis Blue Danube Waltz in StanleyKubrick’s2003: Space Odyssey Here I've arranged his famous Wiener Blut hich translated as Viennese Spiit,or ‘Viennese Blood, and popularly known as the Viennese Blood Wal First performed Dy the Vienna Philharmonic Orchestra in 1873, itis in the light 3/4 waltz feet popular the time, and actually includes a number of themes, fromwhich I've selected and arranged the famous Waltz Iwhich has an extremely simple yetstunningly effective melody ‘Originally written in Cmajor (with a . ‘TRACK RECORD To hear Wie ~ ard now remastered - recording with the Vie middle section in the key of G major), 've transposed it upa tone toD (with amidele section in A) and used drop D tuning so wider range ofthe guitar may be use, ‘Technically this arrangement requires the ability play abass and chordal accompaniment using frettinghand thumb and fingers. This should bave light walt fe! tundemeath the melody, whieh is occasionally voiced in grds and 6ths. The challenge isto keep an effortless lilting rhythm while 6G) have ‘cheated’ by allowing the first bass note of each bar to sustain more than just one beat. This makes it easier but still retains the character. 99 retaining the Iyrieal simplicity ofthe melody ‘Those of you who caught our recent Classical Harony artic (GT226) should recognise a wealth of diatonic harmony and secondar funeton chordsin this work. firmly believe that atheoretial understanding ofthe basic progression ean realy help memorisation, This arrangement is a good example of playing in three parts: melody, bassnotes and middle aecompaniinent notes. When playing, asologuitar arrangement we have the technical challenge of playingail pats where an orchestral playeronly ever has one part to ‘ope with. Ifyou follow the score along with my recording, you may netice that Hhave ‘cheated’ by allowing the first bass note of ‘each bar to sustain longer than just the one Phitharmor beat as written. This is delberat rucheasier to play withoat werrying about ‘excessive ass note muting; the best thing aboutit is that itmaragesto retain the araeter of the musi Tdo hope you enjoy playingthis splendid ieee. Why not practise ito Stritl. wth the sound turned down of eourse? Bi TECHNIQUE FOCUS Use your nails Al potesstnal asta outs pluck the Sopa terroir nec Tarkan eee aa eras corey thatthe conte good puking ction andthe aay ity baton oy fou yo oay aan ete al tosroatho the edges ofthe als andeep them butediov nepolsThebete te as the beter he tne sine! lut alongside other Strauss waltzes including Blue Danube, you can't do better than Decca’s classic hann Strauss Waltzes (Decca 2000). To dig deeper into Strauss'sIGTIPS or clay separatig the oor smphassingthewalechorstera tog acto he second {sei tA gg 8 I | 5 “ a7 am) em BMA ‘rotes)- Listening & theteack ll hopefully make Ws at Bim aries bia A ea > DIA em Fim 0 DA FE ‘am 46 GuitarTechniques March 2014PLAYINGTIPS ‘tthe tart, picking hand fingering Sindzatedtoa give asuggestionof _butthsisa sensible start Where gossibe usa ret stcke onthe melody thew to argonse the finger There oe vaiing solutions alow plckihis (hee seoke dhumd)~ an exemple elngthe melody note Gin bar 9, BmiA FE > Fim ATE cs oF ave 6 cu ar ee € e Fm DF Fim Maren 2014 Guitar Techniques 47Ga Gee ‘Myou listen toany orchestral ecordng ofthis you wil hearthatthe tempo followed by it itardando or slow down) in bar 8 to ease you back to ‘often changes que dromaticaly fom one Section tothe aexk Inevekept he man wal Uemme As aellively simple plece to play the ley iin Your ‘tatafarly even tempo throughout- with asightspeediog upatbar6S expression, so corcentate ol yourfeel and dynamics throughout ’ DIA a etm Fim J co 4 DS.a1 Fine DAVE MANN MUSIC THE SERIOUS CHOICE FOR SERIOUS GUITARS ———— Signature Crossroads Martin Eric Clapton per rely NOW AVAILABLEGeorges Bizet This month, Bridget Mermikides arranges u and transcribes a beautiful aria from Bizet's a groundbreaking opera, Carmen, for solo guitar. brilliant arranging and orchestration that eally brings it to life. From a performance TReretsined theoriginaliey ofDm _Standpoint you'll want to keep odulting to D major drooping thesixth ica Stingtonébrndtepsevons Was lyricaland legato a5 YD min/ Daj Bxsimelyindependence | surprisingly well on the solo guitar. The TEMPO:53 pm Bs-stigmutng rhythm wiich opens the piece ~ and COAG IS stop Ttmincprominontthenghest tas Sill. you through. 9 2 dstinetl Latin fed. Itis based on a agth Century dance known asthe THERE ARE COUNTLESS and Contradanza or Habanera diverse musica eutures andstyles outside its native Cuba) and has ‘throughout the world, but one ina a wonderfully evocative whilea compose hits on a work tango-esque avout. This that seems to speak to just about shouldbe played as snappily as very listener. posible, andif you want this ‘One such piece is Bizet’s piece to sound itsbest,youll Lamour st Un Oiseau Rebelle hhavo to workto mate the bass (Loves Rebelioas Bird), better notes, keeping them at their ‘known simplyas Habanera. An length (see thetab instantly recognisable piece, vions for moredirestion Habanerais the opening aria from This bass rhythmis coupled Act I,seeneg of the opera Carmen, , ‘with the famous, znd gorgeous, the most famous opera by the descending melody line. highly successful Freneh romantic : roma performance composer, Georges Bizet (1838-75) standpoint youl vantto keep and indeed one ofthe mast popular thisas lyrical andlegato as opera moments of ll tine. The ? | possible again, the tab aria is sung by the sultry gypsy ~ captions willguide you through the eponymous Cannen ~ ashe thetrickir stetions seduces the hapless Don José. Finaly, u'll wantto There is something in the insistent cemalatethe drama with the Latin rhythm, the infectious stabs inbars36, 40, 52, 56and descending chromatic melody and F 60,s0 aim toereate as much the pedal D underneath the dynamiccontrastas possible harmony which weaves he perfect haere. Working onall these atmosphere for thescene. details will payoff in the end ‘The melody itsefisin fact not and youll berewarded with a original (Bizet thought it wasa ‘wonderful piece to addto your traditional folk tune butt had actually been written only a few years bya Spanish composer) but t isthe man’s ae workingrepertoite, Ue NEAT MONTH Bridoee tabs Book's ead © Anna Magdalena Minuet ‘TRACK RECORD The opera diva Maria Gallas delivers a classi performance of Bizet's Habanera on the 1984 EMM recording Carmen: Highlights, But you might prefer a more restrained and naturally voiced interpretation, and in that case I'd recommend theEd Se {ars 1-2) Theopering thre bars urtate he pieecao cellos ofthe ongina! ‘orchestra version an! recommend playing pm muted and pluck wih the flesh ofthe thumb fr te desired effect ge staccaxo onthe Fnote ml Set the scene ofthe habanera style. When the melody startsin ba 4,8 n0 longer fessbleto ple the bass notes muted, so sich to norma pluck and try toget asubtie blend oftane fiom mutedto non muted by not lying the banes to loudly. The melody can bx played mn est tke fo give ta worm flltone. Theres some indicated fngetingfor Bath hands fo haip you, 20 do flow itcarefuly.Adificlt aspect heres the aticulaion ofthe bas line theproblem bsing the low D onthe frst beat of everybar, which once plucked mill matualy sustain fr the whole bor unless we do Something to mute ic Muting bass noes isa huge part of classical guitar {ecinique and something good playe’s wilde withou thinking. nthe abunera the moment inthe ba to mute is immediately afer he second 1 =58a0p10x Om sistmg=p PP PPP ee ‘beat sna he fow 0 sno longer audible during the second haf of the be. [ar 4} For example, in bars dand 5 mute the low D with te pad ofthe ‘hum mediately after plucking he bess nove F(t seing, Bh Fed by ‘gettingthe thumb to ‘spring back’ and mute the sixth string before plucking {hebosi ote A. This acton ofplucting and mating happens inane sory and effient movenentof the hun. [sar 6)9a 6has the added probler of both the O and the A bass nows singing through the ba-because the bass not Fis now payedon the ‘fourth ring insted of he fith. Tes time mate the fithand ous strings ‘simultaneously byallowing the thumb to spring back tothe Ain the same ‘vay asi dor the low Din bars 4and 5, but Ue thumb aso lens back Slightly itssde touches and mutes thelow Oa the same time. {ars 8-10) 90758 9 ond 10 we much easier for thebasseticuation because the Bb, played on the sixthstrng, cuts of the low D automaticaly 3 En7s0 November 2014 Guitar Techniques 49Ns in {ar 20] At bu 20, ne aren Dmajor anda alfbartelsneeded here ne followng te suggested feuing hand ingerag upto ba 27 -al the while ‘melody startson beat wo. Ain to make the toplinesmonth and legato by remembering fo tink aboutexpressionand nares ioe pie we bs Diy Omi7A 07, DE Oma Dada sre OI Em 2 aro, AT AIG A $50 Guitar Teshniqies Noversber 2014Gs {or 28) The next section staring on beat of bar 28 leads up theend tee with ait of uboto (pu backon the timing atyour own esreton) And shouldbe played wih mere definition andaccentuation. Take some tars 39and43 listen tothe CO if rede) por fer Ur feo ° DIADIFE ASD DADA AS DAS DR ATO Dm A a0 mB 85 Em Ems BS Em OS aun A 5 Tle \—2— 06 0 November 2014 Guitar Techniques 51{Br S9]For the sured vpletleading intothelast ba, Iiletouse the fammer-onand pull of as fn itmakes the shift thechord easier, Good fourth finger rather than the third) of thefrettng hand toexecstethe luck Ihope you enoylearning this legendary piece of music. DR yp_AB DOIN gg ABO OIAy AT __COIA GEE DIA. Em Emi eg SVB emo AIA sp ancy as 0 DUA ove wo EmB. Ewe EWD Ema Ene ASD . DADE AS DAS Om A? DADE =i 7D Emme ema - mia '52 Guitar Techniques Noversber 2014UV Erik Satie Bridget Mermikides arranges a piano piece by Erik Satie, a true innovator of classical composition whose work influenced a host of later composers, across countless genres and generations. eT Moderate KEY: ‘Open’ key Nod oer chords TEMPO:SBbpm 4 Useofarifial tarmoxcs CD:TRAC 18 Fingering patterns IN THIS ISSUE'S clssical-gutar column, we return to the work ofthe highly influential French pianist and composer Erik Satie (1866-1935). Although Satie received mach, criticism in hisday ~ dismissed as dull, talentless or bizar m8 music hasgone on toinfluence a huge rangeof composersand artists ina rangeof styles fromijazz and ambient to ‘minimalism and electronica. Ata time ‘when composers were writingromantic music of increasing virtuosityand harmonie/textaral complexity, Satie chose the quietrebellionof simple, sparse, seductive melodies, He often Arewon exotieseales and modes, and created musical atmospheres that were both accessible and utterly transporting, vothelistener. Here, Tvearranged his gorgeous Gnossienne No, 2 from a et of three short piano pieces composed around 890 and published in 1803. These haveappeared in many'TV shows and films, inelading Scorsese's Hugo (zon) and thesoundtrack tothe Oscar-winning documentary Man On Wire(2008). GaossienneNo, 2is written without bar lines, but I've included them and ‘writen the piece out inthe implied 4/4 moter, with triplets in the melody, fr clarity. It couldalso be written in 12/8, and this metricambiguity predates mila ideas in minimalistic omposerssuch 4s Steve Reich and Philip Glass. “The plece isalso written in an ‘open key’, so with no preseribed key signatures, and the chord progression wanders enigmatically through various and diverse modal centres, including G Dorian, Phrygian, A, Fand F# Ionian, A Lydian and the exotieD Doriaa by, and D Loerian nat.2 Interms of chords, Gmand Em are key resting points, and they respectively start and end the piece. Ive kept the tune in the original transposition and very close tothe orig ‘composition (switehi onTHe en & Track 18 | 6G Satie chose quiet rebellion: simple, sparse and seductive melodies, drawing on exotic scales and modes. 99 recesiary). However, to make the piece idiomatic and sonorous for the guitar, the ssxth and fith strings are both tuned down a tone to Dand Grespeetively Even atthis slow tempo, it wilt work o create an appropriatelyricism inthe relody, a balance ofbass, melody and chords, and a clarity i the atifien harmonies, sorefer tothe tab ca tohelp guide you through this wonderful piece. I've put in translations of Satie’sovelyand bizarre performance instructions (which include with astonishment, don't leave, with much Kindness, nd ‘without arrogance) foryou to enjoy, andeven somehow fllawt ‘This enchanting piece comsstsof three parts: melody line, bassnotes and supporting harmony in the form of two- and three-note chords. The opening ‘wo melody notes can be played rest stroke tostand out,and the high E needs tobe held and sustained over the followingaecompaniment chords, the second of which needs tobe held and sustained underneath the melody triplets. The same exact sustaining techniques apply throughoutthe whole piece where longer melody notes or chords occur. Some frtting-hand fingerings indicated inthe first few barsto help you. NEXT MONTH: Bridget arranges Bizet’s Heabanera, from Carmen ‘TRACK RECORO It's always worth listening to pieces in their orignal form, on the instrument they were written for; ths gives brilliant clues as to dynamics, emotion etc. Aldo Giccolin's 1982 doubie-CD release: Sate: 'deuvre Pour Piano includes an excellentGs Go {ar 3} bar3,thesecond melody-note Bis phyed as hurmonicusng the _plucksthe sting to sound it. This typeof harmonic occusa few more times ‘ickinghandanly:the fret fnger ofthe picking hand touches tho cecand tn the pecs but at a 3, the A ne ic eld en the hid string, Ind fet and Sung deect)overthe 1th et andthe third fnger(a) ofthe same hand flayed by touching thestring at the 14th fret and plucking thesame wa MW yah: ‘am sting = 10—12-————~3-10-s 10-81 bain 5 Emo emm eh 2 3 2 (Cctober 2014 GutarTechniques 49GN Dien [Bar 15]Atber 15, use fve-sving barre, andveleaseitonthenext bur. the point about piecesike this is that they give youspaceto add your own [Much ofthe pecs rom heraonlsrapanted Although elavalysimple, __eynamict and emation. hope youfind & anjeyableto leur are to play cia a A (Lycian) 3 Wt sig insmacy ow oo Tea. $50 Guitar echmiques October 2014‘mou aropance 870 poe Pras z + f f ot = f = Fett NH-- NH 46 an (ewe SS = i 3 OS + : i —— 3 ft ney FO) gm 10 tw © & Hi Co ee ee Ultimate Guitar Tuition & Practice Bye) MeL (=) Learn, play, [rere improve your uit playing... perfectly Study Scales, Chords, Arpeggio, Rhythm, | “Evrynewandthen Grcomes Theory, Ear Training, Sequencing and more “%#?2sew produc thasiss0 ‘900d, wehaveto tell everyone © One otf purchase fee ‘bout Thisisthe case with | Includes aver’00 practice routines ‘Guitar Prcticed Perfect, a PC + Structured Tuorialcourse tosuitalllevels of abiity __jemmmegppliton shit hve outcd geting eat "* Practice in an order that you speafy and can change results with your playing, fast!” 613468 ee ceria eens ons ee ops GukarFechniques totic CF www.guitarpracticedperfectly.comMEEN ee Esmee {ars 1-2} The start the piece sets up thearpeggioacompaniment gure ‘ahs svalghor war bos notes af pucks wth the Cum and Ee aegOS ‘ates wih ma Keep the volume lowand tc hepthe melody standout rom the Secompiniman ret -ohe canbe ued A barra nesced st oar Tebut can be “roppeconthelasteat when te Eb melody note comes, ‘Adngiesostensto ‘an Za. Sey 8 2 2 “Tae barrels backatbar 12 butshoulabe placed on thelast th net ofbar (On beat 2 of or 12 we urfortunateyose ee fulenget of the melody note EE when reaching down forthe ote G Howeve! the ear mnagesto stl eat ‘emelady rate een thaugh t doe: not artimanditsoee not mar he aver Blectot epee. ” Abie ow: 07 Deecember 2010 Guitar Tetuiques 37es Eid {ars 16.24) Tisisechy andthe feteng hand felsalitlesquashedatthe good slution for eeping the wipes MuestA burr sould be placed on thelist ‘beginning ofthe bat Alsothe melody noteisunfertunaely ston beat2in_ sth neteof br 24tokeepthemelody connected. ‘order toaecortmodite the acconpartmentbu the Angerng indicated heres combs cm | * - © a - a ; Ss : f ° xan set om one a con isin OWA TICE am Dns Diam 38 GuitarTechniques December 2010Ges E fete) {Bars 16.24) Tis vicky andthe fetenghand felsalitle squashed atthe good saluton for eeping the wipes Muest.A bute sould se placed onthe lst beginning ofthe bat Alsothe melody notes unfertunaely ston beat2in_ sth neteof bat 24tokeepthemelody connected. ‘td toatcortmodite the accompaniment bu the fngerng nde ere | * © a - as ; SS : f ° xan set om one wa cont om Gidley OWA TICE am v6 Dédimr 38 GuitarTechniques December 2010EEN {are52.57 nbarS2wehavethe aks fettinghandisvengainnherethe ST we getthslovel descending sequnce snd fost teallow the per fingers fa squsheinfoocovetogetner Wis puneveranceitdoe wens! Atbat_ melody ntestosutln eve exhale Bare. om o © Ams Bém = ETGE Am 40 GuitarTechniques December 2010oe ba corse adeted hh ntepssitent PTT RSL UU) ese ieeeISIAG ALBENIZ Isaae Abéniz Poaceae ayeM ‘46 GutarTeehniques August 2013, Despite elazed ard oxy soundingfeel, thi ple tetomethingofs __Onthe asthalfheat of bar a bare acroxs five stings needed ad ute chalengeto ply to performance standard. The best approach tolearning__therhird fngeron the ast of the bar in order to sideit pa fetto the ‘twould be to break down into sections and werk arefulyon ore bitat__In br 6. The ADchord on th thie hal beatof bare preacupuard ing ‘tine. Afer the two-barintrothe man melody beginsinba'3-Pley the thehumb to diag through the tno lower nets as indicated. Atbar 17 uie a frstthreeF notes est stroke sotheystandout Using he second finger on barwe at the 7thfat fortwo ands haba. On th net note of bar 121 we ‘thisnote anchors tan the string asitmoves up a fet forthe Gleaving the a"hingebare'-keepng the frstinge straight ard pressing the B withthe {fourth and frstfinge fee forthe grace note Athen FA) Thesecand ide ofthe ger, ceatng s month ink tothe barre onthe fst chard of finger netds tobe solid onthe Gnoteto caerforthe giace rote pall-of| bar 1é.[dothesamethingon beth C#notesin ba 16 tohelpprepare forthe andthis can tale practice o make come out crip and clean, ‘hoids tofolow youve rot used to hinge acres thie wl tke practice, eu) ame a uct ATwuete ATE 80 Es chy OPAFEPmOD AE FimEUS COnthe fist chord (F178S to Fa7)of bar24 barrels needed and ifyou fellow — tur outto be) From this point up to bar 40 ther Isa degre of technical ‘merrettng hand fngering, the second ane thirdfngers may feelike ey _awtwarcness and this s why I's so challeging to make te muse ow _atethe wrong way round. However ifyou ty it you wil hopefully discover Werk on very small sections and gradually lecethem together, asthe that itis he most comfortable wayinthe ong run as hese thingsoften rewards having sucha fabulous piece your armoury, go without saying. Bo Ems FAT ANG Gm FAT » ‘August 2013 GuitarTechniques 47°or} on ay 3 opmt 2 or ° pa amt amma poet AT_ Aww ‘48 GuitarTechniques August 2013ISAAG ALBENIZ 1014 GitarTehiquesGes Eso This pieces as, smooth andlegato in its orginal ochestal form, Tomate thechords sound bigger Ihave played quite a sumber of them somethng har toemulate onthe cassicl gull becauseoncewe have spread’ this means roling the chords from fow to high, he bass note plucked ur sings the rotes de quite quickly. Ty therefore to makethe thumb st, then the firgersolloning, This spreading ofthe chords should ‘chords stain by hanging on to them as ong possible. Ofcourse, doing rot beaverdones i's possible to start ose the pulse. So Keep some of ‘ths means tha efficient chore changes wil ao needto be mastered. the chords salght but alway aimto keep the melody lie tac. lew? ow DIF; Asust a7 ° Bm ENB A mali a7 approx . d ah Low sringtuned oD ° E9D cim Fic EVI DBA ENG: = ET EZIB oe Or Z a P) in i >. oe DIF Asus AT . Bm E78 Amaia AT J 4 4 £46 Guitar Techniques nuayy 2014Ges Cen Inbars 8,28 and 40the 0 chow is played spread with he thumb plucking ill underline thesound andget into your head the tab ané notation will, ‘ice inquicksuecession on the twe lowest Onotes.Listeing totheaudlo then help youto artcate the piece ° Gmaj7m ATE OIE OB a Ao AIG (OIFE Omer ATE Emp AIC D8 Fu: Emaddgre Alc: ces DAA? bia emo AQICE ASE A BIG Da we Dia 6 ‘aouay 2014 Guitar Techniques 87GENO So Toget apiece ike this sounding a5 cood as possible clealy artculated without mistakes, take sometime to addin something of your own playing chord changes are vital, Once you'velearat themusicandcan pay it Fleceslie this convincingly, sal boutexpressionand fet Em? Am amg act =A GA AT DIFEAsuss AT d . en Em maja AT > Gmaymm ATE OI} Wo i a Awe a7 DFE Omer ATE Emo Ari} ATE em ance Ar Gmp ACHAT AAT OF Asus a7 ° 48 Guitar Techniques wary 2014BOCCHERIN! Luigl@oceherin’s Minust becamea surprise big hit February 2014 GuitayTechwiques 45GE onze {821s 1-161 The Minuetc beans with omamerted semiqiavers These require aive-string bare -tissalso neededon the lastbeatof bat? to ‘race notes need tobe flayedlightlyandcleary-agood opportunity © support thevrl The next section staring upbeat nto bar 18s reasonably ‘@amine your second tofourth finger hammeron and pultoff"The fist easy fngering- wit, but will oun realy id yourute the bass notes in please nicludes some rettinghand fingeling ideas fo ald smoothness. The the Cvrect places mote the A (wath the thumb) from beat 3 ofbar Taft! _second phrase begns with the same embelshment-again alm io play you pay theow Eon beat | ofbar 18. Tuen mute the Eater payingthe A ‘rbply and clay The final semiquaver of bar é shouldbe played witna Gn bea3ofbar 18 andso.on Thismay 2 alFine i 48 Guitar Techniques Febauiry 2014BR Mn NN Re Peseeeg i rey eeGMa {Bars 1-2} The opering brs line jumps octaves inthe eginaotchestvalicre ote onthe Fst sng sl keeping the bas note sustained. Sustaning the bas Eaonase gui verydimastorccentulyachiretnsinconbmaion notes ful ss ponsbles akeyconponeat i attevingacanvinng wna ‘with playing the upper armor, The bass notes aie theeforesmply epested, ths lec sohang on othe andr to oid cppingthem shor. ‘hich tnatietenonable compromise nce he harmene progrestoniewell [Rare Ya-a)inbara when moving ono tha at bet ee three-ring bare so Imsintalred thatthe Gmelody note cn besustaned wine etching the Sb onthe lath Inbar? hep hold ofthe fist bas note of Fue retctng ethe Anoteon the beat ofthe br Ba anaes usta an the high A nate and the retin hand fist srg Immediately flow by placng down sarreatiheTstfecfor tne gering designed toFelpceate asmooth melody ine overall, © cm Am Amana ome s on . o ~ + £: ; — ep whe ens Ac} kaw Ames © cm mare ors Am vm o7 Act AME_AvMAT On ome £78 @ntiGA Am Oma EL OMA Em EME 56 GuitarTechniques March 201)JS BAGH: ed AA