AG” CS A Comprehensive Guitar Series GUITARRA HAM BeltAcknowledgements For their dedicated effort in the creation ofthe Bridgs®, A Conpreesie Guitar Seis, The Royal ‘Conservatory (RCM) wishes o thank compilers Dr. Jelley MeFadden (Senior Lecturer in Musi, 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). Coe and interor design First Image veil Jake Pikava _Matic ypestng, Dejan Badajar, Musette Desktop Music Publishing (© Copyright 2011 The Frederick Harris Music Co,, Limited All Rights Reserved ISBN 978-1-55440-311-0 Attention thisbook to contribute to Cesc, authors, and publishers rely on revenue rm sls of his bo sorrenra Bhecscpying the content othe publication deprives the creators of thet rence Forth reson, the material nhs plication protected by conyight ee ore ae iteton of he aw and donot photocopy. Reproduction of ay par of this book without the permission ofthe publisher may lead ¢0 prosecution, “The Frederick Harris Music Co, Limited 273 Bloor Street West Toronto, Ontario MsS1W2 Canada (416) 673-1426 ‘www frederickharrismusic.com Printed in CanadaGuitar Level 4 Repertoire and Etudes Bridges" A Comprehensive Guitar Series FREDERICK) ‘ARIS MUSIC MBridges” A Comprehensive Guitar Series ‘The Guitar Sris was oriinaly published in 1989 to international aclaim. The second edtton (1997) and ‘hird edition (2004) built on that strong foundation and the present fourth edition has been substantial undated and refined to meet the demands of modern teaching and learning. ‘Some ofthe notable new features of this edition are the addition of gultar masterpieces by the most beloved guitar composers including Agustin Barrios, Heitor Villa-Lobos, and Leo Brouwer a substant ‘eduction inthe amount of fingering given, leaving teachers more flexibility and a clearer score from ‘which to work, and an improved balance of syle choices fr repertoire and studies inal eves. This edition ams to provide students with 3 clear, well paced rout for their musical development; co nurture the technique necessary to successfully meet those developmental challenges, and to expose students to the fll ange ofthe instruments repertoire. “The well-tounded guitars wll have an understanding ofthe instrument's history, 3¢ well as practical experience with a wide range of repertoire fom all historical periods and styles, Guided by this principle, the series editors have drawn on more than 500 yeas’ worth of guitar and lute music. Each book Features ‘compositions from the Renaissance tothe present day by leaning music from each syle period, students srl gun a comprehensive overview ofthe evolution of musical styles. The studiesltudes have been Chosen for building technique and musicality specially relevant to the repertoire ofeach level. Technical Ghd conceptual challenges ae progressively introduced from one book tothe next to ensure the steady evelopment of musical sil “The guitar stadent who works carefully chrough this series under the guidance of a good teacher will rin eot only technial proficiency, but ao artistic maturity ands broad overview of the insuments santoire Because the chosen repertoire and studiesetudes at any given level fall within a carey ‘SSeurced ange of technical and musical dificult, from the late-elementary (Preparatory) to ate aarti ond early advanced levels (Levels 7-8) stadens canbe assured that thei learning path wil bbe well rounded and complete |A\Note on Editing and Performance Stent and thorough approsch ogi . Aare ns ces tne Svgned nacre wih hes fet 9 eb anebl me sone ae suggested, Fst cman eon es secre ake cores des nox implydha the mse shou Thar nomakings were given inte source material aan reonga or the repertoire and suis suggest tempor within acened stings Me re tempo ange sven acconmodt india inerrerations Inthe an ony teacher and sens may wish ake the gen dynamic sons and ‘Reson makings, rt employ alemate rns fundamental toa students success in learning to ed inthe source materials, has guided the editors things lt should be noted thatthe absence of dynamic id be performed without dynamic contrast, only For assessment requirements of The Reyal Conservatory and the Music evelopment Program, please refer to the Gita Syllabus, 2011 Edition Robert Hamilton — Dr ‘lelfrey McFaddenSymbols and Abbreviations pima right-hand fingering 4.2.84 lefchand fingering @ string number a _uide finger in left-hand shifting oP slur: a left-hand articulation of the second note of a pair-either a “hammer-on" (ascending pair) or “pull-off" (descending pair) jn partial barre: the top number of the faction indicates the lowest string topped by the bat, the bottom number indicates the numberof strings including the lowest) that are covered, the Roman numeral indicates the fet number ‘0 ful bare (jl) indicates chat ll ix strings are covered Piv pivot barre: prepare barre by stopping the string with a segment ofthe bare finger or place barre while continuing to hold the previous note with finer I md narod right hand arpeagiando: play notes one at atime from lowest to highest (or indirection of the ‘row head) harmonic b.8va play a harmonic sounding an octave higher than notated. ah. artificial harmonic ‘pont sul pont: play with the right hand near the bridge to produce a brighter sound tasto sal tao; play with the right hand near the fretboard to produce a softer, fuller sound at, natural: follows port oF tsto and indicates a return to playing in the usual manner rasg. rasgazado strum the strings using the back surface of the right-hand nails tam), ‘anbora, sound the notes by tapping on or near the saddle in the chythm indicated using the right-hand fingers or thumb gee percussive knock created by hitting the guitar body with the right-hand Fingers or thumbContents Repertoire ‘Traditional, Renaissance, and Baroque Repertoire ‘The Woods So Wild ara Ballet Der Fuggerin Tana (Lady Fusgers Dance) Paria Vil “Third Movement: Gavotte ‘Suite for Lue ‘Second Movernent: Gavotte Teih-century English, art Jeffrey McFadden ‘Johann Anion Loay —_ “Anonymous, ransc. Paul Gerits ‘art. Melchior Neusidler ‘Giuseppe Anionio Brescianello. ranse. Sophocles Papas wan Jelinek, rans. ViadiTnir MIRUIKA Classical and Romantic Repertoire oh Bewiand John Dowiand Robert de Viséo ‘Waltz. op. 8.10.2 Exercise 90 Allegretto, op. 241, no 14 Divertimento, op. 40, no. 11 Largheito, op. 50. no. 17 Lesson, op. 31, no. + waltz. 0p. 7.70.3 Coniredanse, op. 11bis. no. +” Femando Sor Dionisio Aguado Ferdinando Carulll ‘Mauro Giuliani Mauro Giuliani Fernando Sor Dionisio Aguado Dionisio Aguado Fondo, op. 241.n0. 34 Ferdinando Carul 26 Soldatenmarsch (Soldiers March), op. 68.0.2 Robert Schumann, arr. Norbert Kraft 28 .C0 Molino 20 Late Romantic, 20th, and 2istcentury Repertoire Valse chéro, op. 64, no. 1 Francis Kieyrians 30 ‘School Blues Brian Katz a1 choros Domingo Semenzaro 32 ‘Légrima fTean, Prelude Francisco Tarrega 34 Song Milton Bares 35. Miniaure No. 3 Alain Reiher| 36 Monotonia Rodrigo Riera a7 LEAria del Ponte ‘Tradihional talian melody, arr. Andrea Casciato 38 Reminiscence Norbert Kraft 30 ‘The Rose in the Garden Carlo Pomeniconi 40‘Study no, I: Lesson 10 Study no. 2: Lesson 23 ————pionisio Aguado ‘study no. 3: Study Dionisio Aguado study no. 4: Exercise 8 Dionisio Aguado ‘Study no. 5: Andantino grazioso, op. 241, no. 30 Ferdinando Ca ‘Study no. 6: Allegreto grazioso, op. S1.n0, 10 Mauro Giuliani Study no. 7: Allegretto, op. 50, no. 22 Mauro Giullant Study no, 8: Andante. op. 38.0, 13 ~ Femando Sor ‘Siudy no, 9: Sonata No, 27, Nicolo Paganini First Movement: Minuet ‘study no, 10: Study in Seven Notbert Kraft ‘study no. 11: Prélude No. 2 Claude Gagnon Study no. 12: Estudio a la Cubana Emesto Cordero) study no. 13: Dorian Dance Edward Green study no, 14: Amanecer Jaime ZenamonThe Woods So WildJohann Ancon Logy (ca 1650-1721) ‘eur: hi Ans mc appa 180 ini pis by oy sha of9 Der Fuggerin Tanz Lady Fugger's Dance arr. Melchior Neusidler (0531-1590) J=60-99 mt . tt & ‘ T* rf Hn etPartita VIIT ML: Gavore Giuseppe Amonio Brescianllo ji (ca 1690-1758) 84-100 . twansc. Sophocles Papasn Suite for Lute I Sa Ivan Jelinek (1683-1759) J=104-116 transe. Viadimie Mikula $f‘Lady Laiton’s Almain John Dowland (1563-1626) 2 pe TG Sou Cambie Uni ibn MS 2113 Mrs. Winter's Jump Joha Dovand J=42-50 (1563-1626) ro 6 a igSuite No. 11 Sarabande Robert de Visée (ca 1650-1725) J-0-16 wo 4 r (bn French mic ofthe Boge pera caomary pay cen epi cesion of hylan in ab uneven, iki shin, Il Subd the pi of ar alan elongates 2 splyetane.15 Sarabande Johann Anton Logy (ca 1650-1721) dJaas-s2Waltz op. 8, no. 2 Fernando Sor rey (1778-1839)7 Exercise 90 Dionisio Aguado (0784-1849) Andantino J= 80-88 / tie a . $6 jt t 7Allegretto op. 2 no. 14 Ferdinando Caruli (1770-1841)t poco ral20 Divertimento 40, no. 11 Mauro Giuliani Andanting 2 = 100-116 (1781-1829) == > Spr > pPp—a Larghetto op Stvno17 Mau Gilani ‘i7ai-1835) d=n-s0 mmol espressvo = 9 rer TREES e —= + t 4 $n pi. 3 2 ' bee + i——» ILesson. op. 31, n0, 4 Fernando Sor (1778-1839)2B Waltz op: 7-0. 3 Dionisio Aguado (1784-1849) 0 fi Fae yO ga H ; a ad fhe, 5 Dal Fine See arid sr prio.Contredanse a Dionisio Aguado (1784-1849) y Apri Fama detec de ote, mes bp25 DC. al FineFerdinando Carulli (1770-1841) cn: Mite cpl pr pair dei. o.24Soldatenmarsch 0p. 68, no, 2 Munter und straft* J= 96104 4 An TTT Robere Schumann (1810-1856) arr, Norbert Kraft 15 vr29 Waltz No. 2 Francesco Molino )= 100-112 (1775-1847) DC al Fine» Valse chéro 0p. 64,0. 1 Francis Kleynjans 1951) Moderato, elegant, and nostalgic J = 84-100 Ay ., rt Fegato, cantabile (inthe upper voice) e bog T ie | atempo D.C. con repetzione, = pot la Coda tempo31 School Blues Brian Kate (6. 1955) Andante J=80-92 mfDomingo Semenzato (1908-1993) Se he etLégrima Tear Prelude Francisco Tarrega, Andante espressivo J=60-69 (1852-1909) a adn sf r35 Song Miton Burnes er os ‘is31-2001) 2) F ®Miniature No. 3 Alain Reiher den-s8 (6. 1955) as Maint fv 337 Monotonia Rodeigo Riera (1926-1999) ‘Moderatamente J = 72-8838 L’Aria del Ponte ‘Tempo rubato J=50-S8 7 au ‘Traditional Italian melody art. Andrea Casciato 2 3n- Po 8 o—= ns === uP OF P P39 Reminiscence Norbert Kraft Meditatively J = 44-48 ; (b. 1950) ral. (© Caprighe 1980 Nor Ke, Retin y pion ths40 The Rose in the Garden Carlo Domeniconi (b. 1947) Freely J= 54-60 — all mf’ DG al Coda 1 @ Coda tempo ie pitt legato Sr: Hama ea, Mi et ina Study no. 1 Lesson 10 Dionisio Aguado (1784-1849) St2 Study no. 2 Lesson 23 Dionisio Aguado (1784-1849)4 8 Study no. 3 * Study Dionisio Aguado P= 116-126 (1784-1849)Exercise 8 Dionisio Aguado (1784-1849)Study no. 5 45 Andantino grazioso op. 241, no. 39 Ferdinando Carulli deo6_108 . ti770si84%) » Pane 5 . nat. Sour Mid sop pau poe pr del vio 241Allegretto grazioso op. 51 os 10Study no. 7 a Allegretto op. 50 no. 22 Mau Gian J=s4-60 (1781-1829)Andante 0p. 35, no. 13 Fernando Sor (1778-1839) - wrx feo 849 Study no. 9 7 Sonata No. 27 1: Minuet [Nicold Paganini (1782-1840) J=56-66so Study no 10 . a Study in Seven Notre Kafe (b. 1950) Flowingly = 112-126 ; all31 eee Prélude No. 2 Claude Gagnon Energique J= 72-80 tempox2 Study no. 12 . * Estudio a la Cubana Emesto Cordero (b. 1946) Andante J.= 54-63 a 2ral dim,4 Study no. 13 . " Dorian Dance ward Green ‘e198 Very ively J=112- 138 6 comic 197 The Fac Hai Masi Co im, Misa, Onan. Cana, Cyt mig 25556 Seudy no. 14 ecer ‘hime Zenamon J £ (1953), Coda ———— Fran.“The finest Instrument fthe mind. “The Royal Conservatory is one of the largest and most respected music education institutions inthe world, providing the defntive 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 forthe study of music developed by The Conservatory has become Canada’s national Standard and its broad ure has served to bind together the people ofthe nation withthe thread of shared creative experiences. “The over five million alumni of The Royal Conservatory have all enjoyed the many benefits of music study and carried these benefits into subsequent careers as doctors, engineers, lawyers, business leaders, athletes, and teachers. Others such as Glenn Gould, Oscar Peterson, Jens Lindemann, Phil Nimmons, Joaquin Valdepenas, Martin Beaver, and Measha Brueggergosman have achieved international acclaim and defined Canada to the world, “The Royal Conservatory is alsa leader in the development of arts-based programs designed to address a range ‘of social issues such as youth a risk, the development of children in their early years, and wellnes in seniors. The Conservatory’ Learning Through the Arts* and Living Through the Arts* programs utlze the latest research findings in neuroscience and the socialsciences to create practical education programs with specific objectives and ‘quantifiable outcomes {A ts national bas, the TELUS Centre for Performance and Learning in Toronto, The Royal Conservatory offers anextensive st of training programs for gifted young artists through The Glenn Gould School and The Phil and li 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 and hearts of Canadians, The Royal Conservatory has united generations of citizens since its inception in 1886, For more information, please vist emusic.BABES on A Comprehen. Innovative inits 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 organize compilation of pieces appropriate for that level of technical development. Guitar Repertoire and Studies Preparatory 10 Le Preparatory to Level 8 companion Ms books for Nine progressive levels of Rpersreand Stade scaffold student leaning 2° Repertoire ator every stage of musical development. Each book contains @ balanced and Tei POW Renaissance, Baroque, C12sical he develo iy From ake classics of Aguado t fluency 4 ie ye connects students to both resouree representative selection of works from the Romantic, and contemporary style periods the modern compositions of Zenamon, Bridge on cosental literature and enticing masterpieces never before found tours ‘The Shs hve been carefully selected to suppor the repertoire and isolate specific technical and musical challenges, making Bridges an ideal collection and a comprehensive teaching resource Bridges’. A Comprehensive Guitar Series serves a6 te fc material for the curriculum of The Royal Conservatory’ sic Guitar syila abe ese ys of ye reawtirerne plea cukarsilains | The Royal Conservatory of Mut The Guitar Syllabus, 2011 Edition is an Guitar Repertote and Studies and Guitar Techie Guitar Sy serve tl 2 Examinations, as described in the [abu download your copy 2 FREDERICK, HARRIS | The Frederick Harris Musi ickharrismusic.com ic Co, Limited ewer fredeni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. Gultar Repertoire and Studies Guitar Technique eeeaeiaer eT Preparatory to Level 8 [Nine progressive levels of Repertoire and Studies scaffold student learning at__-A.companion volume to the very stage of musical evelopment. Each book conainea balanced and Rea and Sus books, Guitar representative selection of works from the Renaissance, Baroque, Clasial, _Telmiueprovides aplatiorm for Romantic, and contemporary style periods. From the classics of Aguado to ‘ne development a cen Sa are ree Bech come acts tobens Temeyamteenst THE essential literature and enticing masterpieces never before found together wowratie sur, and tremolando ‘The Studies have been carefully selected to support the repertoire and ee edapeaeriea ner ‘isolate specific echnical and musical challenges, making Bridges” all with fingering, ehythms, and an ideal collection and » comprehensive teaching resource. supplementary exercises used Bridges’: A Comprehensive Gultar Series serves asthe official by guitarists material for the curriculum of The Royal Conservatory Examinations, 9 extend. and eee oe B: id vary their daly ‘The Royal Conservatory of Music Guitar Syllabus, 2011 Edition ‘The Guitar Syllabus, 201 1 Edition isan invaluable resource for examination preparation Gitar Repertoire and Sts and Guitar Tecbigue serve the requirements of The Royal Conservatory Examinations, as described in the Guitar Syllabus, 2011 Edition. Please visit remusic.ca to download your copy. 5046 ‘The Frederick Harris Music Co, Limited wrunnfrederieknarriemusie.com, oWaisseleos 110!