Guerau, El Invierno (Measures 1-4) Moving to Eleventh Position 82 55. "O Ewigkeit, Du Donnewort" Measures 1-3) Maintaining Basic Position 81 54. "O Ewigkeit, Du Donnewort" (Measures 1-3) Using Stretch Position 81 53. Sagreras, El Colibri (Measures 913) 79 51. Portamenti (Ascending and Descending) 69 44. Arrastres (Ascending and Descending) 68 43. Llobet, Scherzo-Vals (Measures 19 and 20). "El Noy de la Mare" (Measures 1-4) Played on Strings One, Two, and Three 65 39. "El Noy de la Mare" (Measures 1-4) Played on the First String 65 38. Tarrega, Study in A Major (Measures 1-3). Core Sound and Tonal Extremes as Suggested by Charles Duncan 57 34. Albeniz, Sevilla (Measures 77-80) To Be Played With Rest Strokes 55 32. Tarrega, Prelude in A Minor (Measures 1-3).
Carcassi, "Andantino" from Metado Per Chitarra (Measures 1-4). Giuliani, Divertissments Pour La Guitarre Op. Letter Designations and Names of Right-Hand Fingers 50 26. "Der Lieben Sonnen Licht und Pracht" (Measures 9-12) Using HingeBar Notation. "Der Lieben Sonnen Licht und Pracht" (Measures 9-12) Using Bar Notation 49Ģ4.
Bach, "Der Lieben Sonnen Licht und Pracht" (Measures 9-12) 48 23. Corbetta, "Gavotte" from Suite in G Minor (Measures 1-4) Using Hinge-bar Notation. Corbetta, "Gavotte" from Suite in G Minor (Measures 1-4) Using Bar Notation 43 17. Corbetta, "Gavotte" from Suite in G Minor (Measures 1-4) 42 16. Samples of Bar Notation Used in This Dissertation 41 15. Samples and Explanations of Bar Notation. A Chord Requiring the Use of Barring Technique 39 13. Beethoven, Variations on a Theme of Paisiello (Measures 21-24) 38 12. Tarrega, Study in E Major (Measures 9-12). Bach, Prelude for Lute, BWV 999 (Measures 3-6) 36 10. 463 (Measures 1-5), With Indications for Playing in Second Position 35 9. Application of Finger and String designations to Music Notation 30 4., Le Roy, Branle de Bourgoine (Measures 1-4).
Left-Hand Finger and String Designations. 172 A SELECTED BIBLIOGRAPHY 174 Books Dissertation Articles APPLICATIONS, EXCEPTIONS, AND SUGGESTIONS FOR FUTURE RESEARCH 167 Application 167 Exceptions 170 Suggestions for Future Research. RIGHT-HAND FINGERING 142 General Considerations 142 Basic Position 142 Specific Fingering Principles 144 Alternate Fingers 144 Strong and Weak Finger Combinations 153 Basic Position Summary of Fingering Principles 166 References 7. LEFT-HAND FINGERING: HOMOPHONIC AND CONTRAPUNTAL MUSIC General Considerations 120 The Bar 120 Finger Preparation 125 Specific Fingering Principles 127 Strong and Weak Finger Combinations 127 Guide Fingers and Pivot Fingers 130 Simultaneous Notes Behind the Same Fret 136 Consecutive Notes on Different Strings 137 Open Strings 140 Summary of Fingering Principles 141 References 6. 112 Open Strings 116 Summary of Fingering Principles 118 References 5. LEFT-HAND FINGERING: MELODIES PLAYED ON TWO OR MORE STRINGS 96 General Considerations 96 Timbre 96 Overlapping Sounds 97 Open Strings 99 Specific Fingering Principles Position Playing 102Ĭhanging Position 105 Consecutive Notes on Different Strings. LEFT-HAND FINGERING: MELODIES ON A SINGLE STRING 64 General Considerations 64 Timbre 64 Guitaristic Effects 65 Technical Factors 71 Physical Factors 73 Specific Fingering Principles 76 Basic Position 76 Minimum Movement 81 Finger Combinations 90 Summary of Fingering Principles 95 References 4.
ETUDE IN B MINOR EMILIO PUJOL SHEET MUSIC FREE
NOTATION AND FUNDAMENTAL CONCEPTS 28 Letter Notation of Pitch 28 Left-Hand Notation 28 Basic Left-Hand Position 30 Name of Positions 32 Stretch and Squeeze Positions 36 The Bar 39 Hinge-Bar 41 Right-Hand Notation 50 Basic Right-Hand Position 52 Rest Stroke and Free Stroke 54 Summary 62 References 3. INTRODUCTION The Need for the Study 1 Fingering Defined 4 Purpose 6 Review of the Literature 11 Articles 13 Method Books 16 Books 17 Dissertations 20 Questions Arising from the Lack of Literature 21 Musical Excerpts 25 References 2. TABLE OF CONTENTS LIST OF ILLUSTRATIONS ABSTRACT 1. A GUIDE TO THE FINGERING OF MUSIC FOR THE GUITAR By Ronald Jerone Sherrod
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