Bridges A Comprehensive Guitar Series GUITARRA HAMAcknowledgements For their dedicated efforts in the creation of the Bridges®. A Couprebensive Guitar Serie, The Royal ‘Conservatory of Music (RCM) wishes to thank compilers Dr. Jeffrey McFadden (Senior Lecturer in Music, University of Toronto, member of The Royal Conservatory College of Examiners) and Robert Hamilton (faculty member, RCM, member of The Royal Conservatory College of Examiners) In addition, The Royal Conservatory acknowledges the invaluable advice and suggestions of reviewers Patrick Feely (RCM), Patrick Kearny (Vanier College), Murray Visscher (Mount Royal University), and Andrew Zohn (Columbus State University). Cover and interior design: Fist Image Cove istration: Jake Pinkava ‘Music typesetting: Dejan Badnjar, Musette Desktop Music Publishing © Copyright 2011 The Frederick Harris Music Co., Limited All Rights Reserved ISBN 978-1-55440-309-7 2191 IT GIS 14 2345678910 Attention Composers, authors, and publishers rely on revenue from sales of this Book to contribu their livelihood. Photocopying the contents ofthis publication deprives the eeators of ey due compensation. For this reason, the material inthis publication is protected by cgogt law, Please follow the intention of the law and do not photocopy. Reproduction of sre of this book without the permission of the publisher may lead to prosecution ae The Frederick Harris Music Co,, Limited 273 Bloor Street West Toronto, ON Mss 1W/2 (416) 673-1426 www. frederickharrismusic.com Printed in CanadaGuitar Level 2 Repertoire and Etudes Bridges’ A Comprehensive Guitar Series [FREDERICK HARRIS ris Mule Co, Limited KARREBridges” A Comprehensive Guitar Series “The Guitar Series was originally published in 1989 to international acclaim. The second edition (1997) and third edition (2004) built on that strong foundation and the present fourth edition has been substantiall updated and refined to meet the demands of modern teaching and learning. ~ Suef th eae var of net els femmes mos coins provide eth eclosion ute we than 300 year! worth of guitar and lute muse Each poet hn ity specifically relevant to the repertoire ofeach level Te experience with a wi the series editors have drawn on mor ‘compositions from the Renaissance t ‘will gain a comprehensive overview of chosen for building technique and musi land conceptual challenges are progressively intro development of musical sills. Technical steady “The guar student who works carefully srough tis erie under the guidance ofa Good eacher wil Fa poe profilency but also artistic maturity and broad overview ofthe instrument’ we Be a tour and studies/erudes at ay given level fall within a carefully ok 7-8), students canbe assured that their ea se iace and early advanced levels (Levels 7-8) that their learning path wi bbe well rounded and complete, [A Note on Edlting and Performance sad thorough approach to fingering is fundamental a students sucess in earnin 1 arpurenings in this series have been designed in accordance with meee io ensure natural playability and musical integrity. The use of finger sea A.systematic play the classical guitar fagogical principles an eh Pe eoa teoughout te nine Reet and Suds books and the Guitar Tabu book is intendeg inp amevor forthe development ofa musically Tuentand feb guitar tec redundant markings. Students are encouraged to know both the right. without the clutter of 1s inthe score in consultation with their te fingering for the entire piece and to mark fingerin none are suggested, Faithfulness to the composers intentions, as reflected in the source materials, has guided the g avons conceming the inclusion of dynamic markings. It should be noted thatthe Seah editors crsckings inthe scores does not imply thatthe music should be performed without dyna That no markings were given in the source materi CE Of dynamic mic contr 3st, only, Metronome markings for the repertoire and studies suggest tempos within accepted stylistic 4 and technical considerations. A tempo range is given to accommodate individual interpretation’ a Jerest of personal creativity, teachers and students may wish to alter the given dynamic i ‘metronome markings, or to employ alternate fingerings ations. In the Indications and For assessment requirements of The Royal Conservatory and the Music Development Progr refer tothe Ganlar Syllabus, 2011 Edition please Robert Hamilton Dr lefrey MtcFuuddewSymbols and Abbreviations Pima right-hand fingering 1,2,3,4 left-hand fingering @ string number 3 guide finger in left-hand shifting slur: a left-hand articulation of the second note of a pair-either a “hammer-on'" (ascending pair) or “pull-off' (descending pair) 4 partial barre: the top number of the fraction indicates the lowest string stopped by 2 the barre; the bottom number indicates the number of strings (including the lowest) that are covered; the Roman numeral indicates the fret number ou full barre (cgjilla): indicates that all six strings are covered Piv. I pivot barre: prepare barre by stopping the string with a segment of the barre finger or place barre while continuing to hold the previous note with finger 1 md. mano desta: right hand arpeagiando: play notes one at a time from lowest to highest (or in direction of the arrow head) d harmonic h. 8va play a harmonic sounding an octave higher than notated ah artificial harmonic pont. sul pontcello: play with the right hand near the bridge to produce a brighter sound tasto sul tasto: play with the right hand near the fretboard to produce a softer, fuller sound nat natural: follows pont, or taslo and indicates a return to playing in the usual manner rasg. rasgueado: strum the strings using the back surface of the right-hand nails tab, tanbora: sound the notes by tapping on or near the saddle in the rhythm indicated using the right-hand fingers or thumb golhe a percussive knock created by hitting the guitar body with the right-hand. fingers or thumbContents Repertoire ‘Traditional, Renaissance, and Baroque Repertolre Liynn Onn (The Ash Grove) Early One Moming Espanoleta Allemande ‘There is a Lady Sweet and Kind Good King Wenceslas Bourrée What Is a Day Bransie Gaillarde Coutances Packington’s Pound Pavaniglia Canario ‘Scarborough Fair igue “Traditional Welsh, arr. Paul Gerrits Traditional English, arr. Richard Summers. Gaspar Sanz Gulllaume Morlaye, arr. Jeffrey McFadden ‘Thomas Ford ‘Traditional, art. Jeffrey McFadden, Johann Sebastian Bach. arr. J. Andrew ‘Creaghan Philip Rosseter Guillaume Morlaye, art. Jeflrey McFadden Guillaume Morlaye. arr. Jeflrey McFadden ‘Thierry Tisserand Anonymous. arr J. Andrew Creaghan attr, Carlo Calvi attr, Carlo Calvi ‘Traditional English. art. Norbert Kraft Johann Anion Logy S 6 Classical, Romantic, 20th-, and 21stcentury Repertoire Ecossaise. op. 33. no. 11 waltz. op. 241. no. 24 Andante, op. 44. n0. 1 waltz Arietta, op. 168. no. 43 Allegro. op. 50, no. 13 Allegretto, op. 44. no. 2 Andante, op. 241, no. 18 Andante, op. 35. no. 1 waltz Andantino, op. 241, no. 20 Romanze Lesson, op. 31. no. 1 Andantino, op. 35.0. 2 Tango pour Mario Lesson 13 Amusement, op. 18.0.9 equilibrate Balance) Klangbild 24 (Sound Picture 24) Ruseello A 100k) Nostalgia Ancient Drums calmes A Memory even Mauro Giuliani Ferdinancio Carulli Fernancio Sor Dionisio Aguaclo Joseph kafiner ‘Mauro Gluliani Femando Sor Ferdinando Carulli Femando Sor Ferdinando Carulli Ferdinando Carulli Johann Kaspar Mertz Fernando Sor Femando Sor Gérard Montrcuil Femando Sor Felix Horetzky Carlo Domeniconi Carlo Domeniconi 20 Carlo Domeniconi 30 Carlo Domeniconi 3 Norbert Kratt 4 aime Zenamon 82 Richarct Summers a Shawn Hell Ba 4study study study study study study’ tucly study study tcl study: study study study study, no, no, no, no, no, no, no, no, no, 1: Birst Exercise in ths. 2: Exercise No. 10 3: Lesson 75 4 Study in A Minor 5: Andantino 6: Andantino. op, 241. no. 19 7: Moderato 8: Moderato, op. 59, part 3. no. 11 9: Study 10; Study in Imitation 1: Semplice (simple) 12: Folk Song, 13: Very Scary Bass Study 4: Lesson 65 15: The Blue Knight Studies Fernando Sor Dionisio Aguacio Julio Sagreras Dionisio Aguaclo Fernando Sor Ferdinando Carulli Ferdinando Carulli Matteo Carcassi Norbert Kraft Pierre Gallant Carlo Domeniconi Richard Miles Jackman James Brown Julio Sagreras Michael Coghlan 35 36 37 38 38 Bese sy 44 45 46,Lynn Onn The Ash Grove J » 4 ry ie . : OFf, 7 Espafioleta* aspar Sanz (fi ca 1650-1710) $m Grazioso J = 104-116 ; a a P—T 2 tne pe Baa in fain in a ond in Tce Sth le Sen tne ea poe Allemande Guillaume Morlaye (ft.ca 1510-1558) arr Jeffrey McFadden iy 8 - - i Cn Lite, Missa, Ontario, CanadaThere Is a Lady Sweet and Kind® There is a lady sweet and kind, warner ce flee ny mid aid but se er puting by ‘Thomas Ford And yet I love her till I die. (ca 1580-1648) = Andante J= 69-80 | Traditional McFadden At. Jeffrey AangBourrée IT Johann Sebastian Bach (1685-1750) arr. J. Andrew Creaghan J=52-60 m Fine ? [Arangement © copyright 2003 |. Andow Creaghan. Reprinted by person Source Suite for Solo Cello No. 4, BIV 1010 (Original key: Eat Major ‘What Is a Day* ‘Whar ia day, whac isa year of vain delight and pleasure? Like wo dream ic endless dies, [And fom us ike vapout fies ‘And hi ial he Fri that we find, which glory in worldly treasure Philp Roster Taree) esses (ca 1567-1623) an ' ” ?10 Bransle Guillaume Morlaye (fl ca 1510-1558) arr. Jeffrey McFadden Source: Leseond lve de uiterne ‘Arrangement © copyright 1997 The Fredrick Hari Music Co, Limited, Misisaugs, Oni, Canada, Gaillarde Guillaume Morlaye (fl. ca 1510-1558) Deoo—t04 aur Jelley McFadden ne degre rng 187 Th rec ans Mn a, Lai, Misia, Ontario Canalit Coutances Thierry Tisserand (b. 1956) J= 92-104 todPackington’s Pound ‘Anonymous art. J. Andrew Creaghan2B as. Casto Ca (ca 1610-1670) J=50-56 Pit For examinations, Pasenigia and Canario are tobe played as one selection. * Penang an isramenal dace, poplar in Teal 1700-1750 Source’ Paoli di hte echiergia, cllcted by Carlo Cale Canario* atte. Carlo Calvi J=54-60 (ca 1610-1670) Sout: Ftaedten a ana eine, else by Cas alsSnes Late Site May Johann Anton (ca 1650-1 715 Ecossaise op. 33, n0. 11 Mauro Giuliani ” op m2 (1781-1829) Moderato J=76~-84 * wll D.C. al Fine i ror? Source: Dons ani pour le ita, op 33, Waltz rea oo Ferdinando Carll Andante grazioso J = 84— 104 (1770-1841) 9 x ™p ° —=f beret wf 9k cf ah16 Andante op. Ady no 1 Femando Sor (1778-1839) Sem: Ving ate pies ies prog7 Waltz Dionisio Aguado (1784-1849) Moderato 2=138—160 . ie a 5 Din Source: Nuew meade para guitars Arietta op. 168, no. 43 Joseph Kaffner Andantino 4 = 108-116 (1776-1856) on kn ju > «, %— P PFAllegro op. 50, no. 13 Mauro Giuliani Je en, _ (1781-1829) s Seas: Le papillon pour agi, op 30Allegretto op. 44, no. 2 Fernando Sor (1778-1839)20 Andante op. 241, no. 18 Ferdinando Carulli (1770-1841) Sure: Mthade comple pour pare pincer del gitar op. 241a nf pocorn == » D.C.al FineAndante op. 35, n0. 1 Fernando Sor (1778-1839) a Sse: Vinegar eer fe. op. 3823 Waltz Ferdinando Carulli (170-1841) Moderato 2 = 108 - 126 D.C.al FineAndantino ra Ferdinando Carulli das2-s6 o (1770-1841) aa, fl Sone: Mélade compl pow paren isin dl giareo924125 Romanze Johann Kaspar Mertz Adagio J = 60-69 (1806-1856) ms mmo ig 7 7 PFernando Sor Andante J. = 48-56 a (1778-1839) Source: Ving-guatre ons progres, of. 31 Andantino op. 35, n0.2 Fernando Sor dans . (178-1839)n Tango pour Mario Gérard Montreuil (1927-1991) 4 iu28 Lesson 13 \ Fernando Sor 5 d=03-69 (178-1839) Amusement op. 18, n0. 9 Felix Horeeaky (1796-1870) ae : dolce — = WT dotce I I =iEquilibrato Balance 0 ae ——Soe: Klang 24 Lee Sie fl ire Klangbild 24 Sound Picture 24 Capit 290 Edun Margaun Vr Camb, Bet, Reine by pemisinn Carlo Domeniconi31 Ruscello A Brook Carlo Domeniconi DC. al Ci i — => Source: 24 Prthion ral {© Copyright 2008 Edition Ex Tempore, Limited. Reprinted by pecmision. Nostalgia Carlo Domeniconi Pe ee A ” ae m 1947) wid ts J= 76-88 5 P wot deca ia, . 24 Priduion ht 2008 Fon Es Fenpore Limited, Reprint by permis,32 Ancient Drums Norbert Krafe (b. 1950) Deliberately J = 58-66 ’ nf pon. lamb... --------- Fi tamb.— 2 tam, fa) "Bend th ‘hy Play als fn ising and lowing the pith, aa tuning machines tam nd ole pine reer “Syn and Abbreviations” p. 3 0 Never Kf. Reprind by perminsion nf be compo33 Calmo Jaime Zenamon d= 58-69 (b. 1953) —_ III Source: Epgramme 1 {© Copyright 2009 Eon Margnx Vel GmbH, Belin, Repsinted by permission, A Memo: "y Richard Summers Espressivo J = 69-80 6.1953) tS ‘tempo ve e © Copyrigh 2000 Richa34 Réverie ‘Shawn Bell (b. 1958) ‘Tenderly (Tempo rubato) J = 72-84 ‘mf sostensto Plecho) D a dim. ° a w Tempo valle dim. «Natu harmonics sounding an ata higher than writen Source: Hlemetary Studies nar ©.Copyighn 2004 Las Praacions 07, Reprinted by prion35 Seudy no. 1 . wo * First Exercise in Gths Fernando Sor (178-1839) ion Sure: urcies in hs” m Mshd pu ite36 Seudy no. 2 Exercise No. 10 ee (1784-1849) J=58-69 Sune Méthade cmplete pr ire7 f Study no. 3 ” Lesson 75 Julio Sagreras (1879-1942) J= 60-69 b 8 P r P38 Seudy no. 4 Study in A Minor Dionisio Aguado (1784-1849) Andantino Fernando Sor (178-1839) ‘Méthode pour la gare Can ion. 439 Study no. 6 . * Andantino op. 241, no. 19 Ferdinando Carulli (170-1841) 4 ee pee ff DC. al Fine Suse: Mita compli pour perv tpn del gute, 24140 Study no. 7 Moderato Ferdinando Caruli Moderato 4= 84-96 (1770-1841) 33 Fae 7 f atempo —— a oe ei4 Study no. 8 Moderato op. 59, part 3, no. 11 eeyerer (ca 1792-1853) Moderato J = 56-63 Suns Milde vompli pou atone 39Study, Norbert Kraft (b. 1950) ‘tempo a a4 (© Copyright 1980 Nosbert Kraft. Repeated by pemision ofthe compose. Study no. 10 ae Study in Imitation Pierre Galan (b. 1950) = 116-126 Copp 198K Pt Calle Reprint hy permission of he composeStudy no. 11 . ” Semplice Simple Carlo Domeniconi J=50-60 (b. 1947) D.C.al Fine s rall. ¢ Tempo T eo BE Suns: 24 Prien © Capsrigh 1988 Caren Sats Maskserag erin, Reprinted by peex idy no. 12 ue Folk Song Richard Miles Jackman. Moderato 4 = 116 ~ 132 (b. 1963)45 cady no. ce Very Scary Bass Study James Brown (b. 1967) ‘Molto giocoso 4 = 60-69 ss > > > {© Copyright 1995 James Brown, Reprinted by permision ofthe composer ‘Study no. 14 Lesson 65 Julio Sagreras (1879-1942)46 cine The Blue Knight Michael Coghlan (b. fa Allegro 4 = 80-92 je von 4 molto rit. —— 6 Capt 1989 Michal Chan. Reprod by permision of he composer.‘The finest instrument is the mind, ‘The Royal Conservatory is one of the largest and most respected music education institutions in the world, providing the definitive standard of excellence in curriculum design, assessment, performance training, teacher certification, and arts-based social programs. ‘The mission of The Royal Conservatory, to develop human potential through leadership in music and the arts, is based on the conviction that the arts are humanity's greatest means to achieve personal growth and social cohesion. The curriculum for the study of music developed by The Conservatory has become Canada’s national standard and its broad use has served to bind together the people of the nation with the thread of shared creative experiences. ‘The over five million alumni of The Royal Conservatory have all enjoyed the many benefits of music study and cattied these benefits into subsequent careers as doctors, engineers, lawyers, business leaders, athletes, and teachers, Others, such as Glenn Gould, Oscar Peterson, Angela Hewitt, the St. Lawrence String Quartet, and ‘Measha Brueggergosman have achieved international acclaim and defined Canada to the world ‘The Royal Conservatory is also a leader in the development of arts-based programs designed to address a range of social issues such as youth at risk, the development of children in their early years, and wellness in seniors. The Conservatory’s Learning Through the Arts® and Living Through the Arts® programs utilize the latest research findings in neuroscience and the social sciences to create practical education programs with specific objectives and quantifiable outcomes, At its national base, the TELUS Centre for Performance and Learning in Toronto, The Royal Conservatory offers an extensive set of training programs for gifted young artists through The Glenn Gould School and The Phil and Eli Taylor Performance Academy for Young Artists, The Conservatory also presents and produces a wide range of concerts featuring the finest Canadian and international artists in its magnificent performance spaces. Koerner Hall and Mazzoleni Hall Entrenched in the minds of hearts of Canadians, The Royal Conservatory has united generations of citizens since its inception in 1886.Bridges A Comprehensive Guitar Series Innovative in its structure, Bridges? supports students from the beginner to advanced levels with carefully sequenced repertoire, studies, and | technique. Each of the Repertoire and Studies books in the series spans all | major style periods and a variety | of genres, presenting an organized compilation of pieces appropriate for | that level of technical development. Guitar Repertoire and Studies Guitar Technique Preparatory to Level 8 Preparatory to Level 8 } Nine progressive levels of Repertoire and Studies scaffold student learning at A companiayy og a he is ‘every stage of musical development. Each book contains a balanced and Rae oe ee Tepreseniative selection of works from the Renaissance, Baroque, Classical, ye "idi Promets © MN O00 Romantic, and contemporary style periods. From the clasies of Aguado tte sev woh verity The ‘the modem compositions of Zenamon, Bridges? connects students to both resource includes major, minor, {sential literature and enticing masterpieces never before found together. Chromatic, slur, and tremolando “The Stuleshave been carefully sclected to support the repertoire and scales, and arpeggio patterns, ‘Isolate specific technical and musical challenges, making Bridges” all with Angering says an ideal collection and a comprehensive teaching resource. supplementary exercises used Bridges®: A Comprehensive Guitar Series serves as the official by guitarists to extend and Ra vary their daily practice routine. ‘uitesylstvs | Phe Royal Conservatory of Music Guitar Syllabus, 2011 Edition | The Guitar Syllabus, 201 1 Edition is an invaluable resource for examination preparation. Guitar Reet a Stas and Guitar Ticbique serve the requirements of The Royal Conservatory Examinations, as described in the Guitar Syllabus, 2011 Edition. Please visit remusic.ca to download your copy material for the curriculum of The Royal Conservatory Examinations. Goa 5044 4 The Frederick Harris Music Co, Limited wwwfrederickharrismusic.com ol7a15548403097! [SIS Er ee