Sagreras Las Lecciones de Guitarra II - WordPress.com · 2018-12-09 · Las Lecciones de Guitarra -...

Etude No.1Las Lecciones de Guitarra - Libro 2

Julio Salvador Sagreras (1879 - 1942)

9

5

13

68

12

12

12 4

14 1

12 2

41

12

21

12

23 1

23

4

1 113 3 2 1

3

3

14 1

2

41

423

23

(3)

21 1

212

12

1

1

23

42

23 2

1

2

12

132

12

212

23 1

31

2

12

= 44

Air de BarcarolleMélancolique

con fuoco

perdendosi₵5

2 Las Lecciones de Guitarra - Libro 2 (Sagreras) - Marieh 2018 Copyleft

Las Lecciones de Guitarra - Libro 2

Etude No.2


9

5

13

24 3

mi

2 3

m

1

i

4

2 3

1

2

1 4

3 2

12

3

ma

12

4

3

0

2

2

1

1

3

3

1

3

4

2 3

4

4

2

2

3

3

1

1

1

2

4

4

3

1 11

3

(4)

3 3 3

1

4

1

3

0

4

2

2

1

3

4

1

3

2

1

3

4

2

2

2

1 4

1

3

1

33

1

3

= 80

Las Lecciones de Guitarra - Libro 2 (Sagreras) - Marieh 2018 Copyleft 3



9

5

13

68

2

31 4

13

2 3

132

2

42 3

4 4

(3)(2)

40 4

(2)

4

4

3(3)

0

= 72

Tiempo de Zamba

harm.12

₵5

₵10₵5

₵5

₵5




7

4

11

14

24 2

p

11

pi

12

i

34 1 3

11 4

32

11 2

13

2

2

2

1

3

3

31

21

12

2

13

11

21 3

12

2

12

1

1

2

p pi

31

11

i p

31

1

12

1 13

1

13

2

3

1

1

4

1

3

i

3

31

1

3

3

1 31

p

31

43 1

11

11

31

4

31 2

3

3

1

i1

3p i p p

= 80



Etude No.5


7

4

10

13

16

44

2 3

1

24 4

3

2

3

1

2

1

2 3 2

0

2 3

1

2

3

3

2

1

2

3

(4)

0

(4)3

21

0 32

2

13

3

3

13

1

2

3

(5)

3

12

13

4 2

01

2

2

2

3

01

3 2

2

3

3

4

3

(5)2

42

2

13

02

2 31

1

= 66

₵4



5

9

13


24

3

3

a

mim

1

2

4

3

a

2

1

1

2

1

4

2

4

4

1 1

2

3

2

4

4

30

34

2

3

(3)

= 63Andantino

C2

₵5


17

21

25

29

4

3

10(3)0

2

4

3 1 231

4

2

1

2

13

23

1

0

4

4

3

31 3

1

4

21

2

3

(5)3

2

4

420

2

2

₵4

₵3

₵5


Etude No.7

In this study, we need to try to bring out clearly the accented notes, which are those with the sign ^ over them, and in order to make this more effective we should use less force for the other notes which are not accented. The notes with the sign ^ over them must be strongly accentuated.


3

5

7


44

p

a

12

i m

3

321 (3) 1(3)

2

1 2 3

14

i m

3

a

2

i

13

12

3 2 3 1 4

2

2 1 3

31 1 2

14 3 2

2 1 314 3 2 4

(3)1 3 2

3 2

= 63Larghetto

₵5 ₵5


9

11

13

15

3 1 2 1

2 3 2 2 42

1 12

1 2 1 3

2

3

1 2

21

3

1

2 12

2

3

3

2

3

3

2

1

1 4

2 4

C3 C1

₵5 C1

C3



Etude No.8


13

7

19

25

30

24

2

(3)(2)

13

1

32

2 1

23

1

2

3 0

11

3

3

4

21

3

1

23

2

1

2

(3)

34

(2)

13

1

21

3

13

32

1

3

(4) 3

33

21 1

44

2

2

1

32

3

2

1

4

1

3 (4)3

4

2

1

2

4

1

12

3

= 72

Andante Tranquilo

Più animato

₵4

C2

C2

₵4




9

5

13

68

1

3

12 2

3

2(3)

3

1 1

3

1

3

1

3

2

1

4

13 1

2

321

23

12 1

3

2

3

(3)

21

2

0 1

2 4

1

2

1

3

21

1

3

42

3

2

1

3

1

3

1

2

2

12 3

1

3

(4)

1

4

2

3

24

4

1

= 72

Allegretto cómodo₵2 ₵7

₵2 C7

₵7




7

4

10

13

68

3

2

1

3 123

34 4

4

43

2

3

2

4

2

2

12 3 2

2

2 (5)2

4

1

3

3 2

4413

3

1

4

30

24

3

1

2

1

34

0

1

4 4

2 0

2

3

2

(4) (4)

0

4

= 50

Tiempo de Barcarola

₵4

₵5

C2

₵1

₵7

C2




11

6

16

21

26

34

13

2

2

1

42

1

3

1

2

4

3 2

21

3 4 4

3

23

2

0

4 2 10

13

1 23 3 1

1

1

4

2

23

3 2 1

1

32

12

3 4

1

3

1

4

4

23

4

4

12

1

= 126

Tiempo de Vals

₵5

₵5

₵5


This study is a sort of barcarole of a gentle, delicate character, and thus should be treated as such by the student. In the first bar, the A-C chord should be played a little more strongly so that it will continue to sound until the following note, namely the E on the open sixth string, which should be played very gently so as not to cover up the sound of the preceding chord, and the same should be done in similar cases. In the fifth and sixth bars, the double melody should be clearly heard.



4

7

10

14

68

4 43

113

12

4

3

12

4

3

13 1

2

1

4

2

13

3

3

01

3

2

2

3

134

01 3

2 2

1

0 1

2

4 2

01

43

2

43

2

3

3

42

11

2 2

4 1

3

4 4

= 80Andante con suavidad

rit. a tempo

con fuoco

dim.

C2

₵4

₵2

C4

₵9




12

6

17

23

28

34

2

11 1

4 2

(3)

3

4 1 4 3

(2)

2

1

1

(4)

4(3)

3

4 2

2

3

2

3

1

(3)

4

4

1

3

3 4

4 3

1

21

43

2

12 4

(3)

23

43

2 2

3

1

4

3

3 2

= 96Tiempo lento de Mazurka

₵4 ₵4

₵5

₵5


In executing the descending ligados, the finger that should be pressing harder is not the one which is playingthe ligado, but the one that is fretting the lower note and holding the string firmly to stop it moving when theother finger pulls off the first note to produce the ligado.In general, there is a tendency amongst all students to do the opposite when they first start to play descendingligados. The teacher should warn the student against that.



5

9

13

34

4

2

3

2

3

4 34

34

0

2

24

2

12

4

3 2

422

13

2 2

2

1

2

1

1

2

1 4

212

1

23

4

3

4

2

2

0

= 92

VI

h.12

₵10 ₵5

₵5

C3

₵5

C1 ₵2

₵5

₵1

₵10


This study is also melodic in character and should be played slowly, as indicated by the “Adagio” at the beginning. The second section especially should be played in a very delicate, singing manner, with careful execution of the indicated slides.



8

16

20

24

44 1 4

3

3 4

1

2

4

1

2

2

2

2

4

1

4

12

12

12

2 3

1

1

3

3

2

2

4

2

1

1 3

42

2

13

1

2

3

4

(3)

0

(4)

2

2

4

3

2

2(3)

3

4

2

1

23

0

(4)

= 92

Adagio

tranquilo

perdendosi poco a poco

cresc.

₵5C3 C1 C7

₵5

₵5C3

C1

₵5




12

7

17

21

34

22

12

3 1

1

4

2

2 2

3

2 13

313

0

2 2

(5)

4

2

4

4

2

2

3

1 2

2

1

423

4

13

3

4

23 1

3

4 2 2

3

3

2

1(4)

3 1

13

43

1

4

41 4

21

2

1(4)

3

2

13

4

1

4 3

24

3

= 92

Andante cantabile

con expression

tranquiloh.7

con fuoco

rall.h.7

cresc.

dim.

₵2

₵7

₵2 ₵4 C7

₵7

₵7



5


15

10

20

25

29

34

1 m

1 3mi

a1

mi

m

34

p

13

i

12

1

a mi

a

13

2a m

ia

2 213

21 2

1

2

2

2

4

2

2

2

2

4 2

1

2

1

2

1

2 3

2 12

3

23 2

3

2

1a

3p i

a4

m i

2

31

1

31

2

34

11

2

1

23

2

a

2

13

2

4

a

2 43

1

2

3

2

1

0

01

2

2

1

3

= 108

Tiempo de Vals lento

₵2

₵2




9

5

13

17

21

34

i a

2

1

m

23

1

2

2

3 313

2

13

12

1

31

(2)

3

(3)

2

4

(2)4 1 3

2

1 23

4

1

4

3

2 4 1 1

2

3

4

3

2

3 3

2

4

3 3

11 1 0

13

(2)

4

0

0

0

211

2

1

2

3 3

14 4 0

= 88

Andantecon expresión

con alma

rall.

h.12

suave h.12

dim.

cresc. dim.

₵4

C2

₵4

₵4




6

3

9

12

2

(3)

133

(2) (3)

21

(2)

1 2

3

3

42

4

12

3 4

2

4

3

2

4 1 3 43

2 2 2

2

4

3

1

4 3 2 2

2

2

3 4

3

3 2

1

4 1

= 88

Tiempo de marcha

con brio

₵5

₵4

₵5

₵9

₵4 ₵7

₵7


15

18

21

24

Fine

D.S. al Fine

33

4

2

2

4

2 4

2

312

4 31

2 2

24

(3)

3

34 4

(3)1

2

43

24

2 1

3 2 21 4

3

12 3 2

3 3

3 3

3

3

marcial₵2

₵7


However much I do so, I can never repeat often enough how important it is in guitar music to try to bring outclearly the notes of the melody, and so I’ll repeat it once more, not only must these notes be emphasized morestrongly, but also the others should be played with more restraint. For example, in the first bar, the high A# andB should be played with twice as much force as the other notes in the bar.It is also very important always to let the left-hand fingers slide up or down the strings when it is not absolutelynecessary to lift them; to that end, and following Coste’s example, I have indicated these cases with slidemarkings. These slides are not indicated to produce an audible effect, but rather to help with changes ofposition, since changes made in this way will be more even, with movement parallel to the neck of the guitar,and, moreover, if you lift your finger rather than letting it slide along the string, you will have to concentrate ongetting both the right string and the right fret, whereas by sliding you only need to concentrate on the latter.


3

6

9


44

2

1

3

3

1

4

2

4

2

(5)1

2

4

3

2 3

2

13

2

1

4 2

2

3 3

(4) - - - - - -

1

3

2

1

3

3

3 3

3

= 72

Andante

C7

₵4

C9

₵7

₵4

C7


12

15

18

21

3 2

2

4

2

(5)1 1

3

2

2

3 1

1

4 3

4 4

2

3

1

3

4

2

2

4

1

3

1

(3)

2

(2)

3

1

(4)2

1

2 4

22

13

h.12

₵5

₵9


In this study the melody is in the intermediate notes, those marked with the sign ^. Consequently these notesshould be played more strongly and accentuated. In the seventh bar of the second section, there are two notes ofthe melody which are not marked with the sign ^, namely the E on the fifth string and the D on the same string,marked with a “p”; these notes, even if they do not have an accent mark, should be played a little more strongly,since, as I said earlier, they are melody notes.



3

5

7

9

1m

ai i

2i 1

23

2

24

3

2

1

2

3

4

(2)

1

(5)3

2

(3)

3

(3)

2

4

3

2 1

(3)

3

2

2

3(4)

24

3 3 3 3

= 76 Andante cantabile

più animato

C3

₵3

C3


11

13

15

17

19

21

23

1

42

3

(4)

4

24

24

3

1 2

4

(5)p

(5)p3

4

3

42

23

(5)

3

2

(5)

2 2

3

01

2

rall.

a tempo

più animato perdendosi

cresc.

dim.

C1

C8

C3

C3

₵5

C3 ₵5 ₵3

C3 ₵1

C8


In this study we find two types of slide, those arising from mordents and those arising from normal notes. Inthe first case, that of the mordents, the slide is rapid and the note on which it finishes is not played with theright hand but is taken as already played, as for example in the first bar or this study, in which when playing theC of the mordent and sliding the second finger rapidly to the E of the second string, this second note isconsidered already played. In the second case of the slide between normal notes, as in the second bar, which isa slide on two notes from E on the second string and C# on the third to the D on the second string and the B onthe third, these two final notes are played with the right hand. In general this rule should be observed: when theslide is of a rapid nature, the note on which it finishes will not be played, whereas when the slide is slow andwhen the note on which the slide finishes is accompanied by one or more others, they will be played with theright hand. I must give a musicological caveat on the subject of the word “mordent”. According to Danhauser’sTheory of Music (the most respectable in my view) the grace notes in this study should be called “shortapoggiaturas”, since the mordent according to this theory is the double note, but as they are commonly calledmordent and double mordent, for one or two notes respectively, I have used this term.


6

12


34

21

2

2

(2)

2

1(2)

(3)

3

p (4)

4

2

23

1

p

1

2

23

2

31

22

3

2

31

44

22

(3)

1

p (4)

4 3

2

p (4)4

44

4

3

23

2

2

(3)

1

p (4)

3

2

(5)

= 96

h.12 h.12 h.12

h.12₵7

₵7 ₵5


In the first four bars of this study, the chords should be played cleanly, that is to say without arpeggiation, andafterwards the fingers of the left hand should not be moved and those of the right hand should not touch thestrings again until the notes have lasted for their full duration. In the following four bars, from the 5th to the 8thinclusive, be sure to play the accented notes with more force and use less force for the others.The above should be applied to the whole of the rest of the study. This page is of a melodic and calm naturewith musical elements of a distinctly Creole Argentinian character



5

8

11

13

44

4

2

2

4

2

231

3

2

11

4

3

1

4

4

3

2

132

2

1

23

3

2

2 3

34

3

2

2

32

(1)

(2)(3)

(2)(3)

2

(1)

(2)

(1)

2

2(2)(4) 1

3

1

2

4

3

4 4 2

3

2

01

21 2

3

4 1

2

31

2

2

0 4

132

3

3

1 34 (2)

42 1

32

1

(5)

12

(6)

4

1

2

(4) - - - - - - - - - - - - -1 4 1 4 4

3

000

= 66

Largo

perdendosi

C7

C2

h.12 h.7h.12

₵2

h.12




13

7

18

23

28

34

2

3

3 4 3

0

2

4

4

2

2

4

1

4

03

2

4

2

4

23

1

12

(3)1

(5)

3

21 1

2

1

2

4 4

3

2

0

1

4 1

(2)

2

3

4

= 132

Tempo de vals lento

₵2

C2

C5 ₵2

C7

₵7


In this exercise absolute regularity of movement should be observed in the arpeggios. In the cases occurring atthe beginning, that is to say when the arpeggio goes from the first string towards the lower strings, regularity iseasier to observe, though the arpeggio is more difficult, but when the arpeggio goes from the third to the firststring, as in the fifth and subsequent bars, regularity is more difficult to maintain becausethe movement of the right hand is easier, and there will be a tendency to rush, and thus to break the evennessthat should exist between the two movements.



5

9

13

24

3

1

3

1

3

3

1 1

2

1

1

2

1

1

2

1

3

1

1

1 1

3

1

1

3

3 2

2

1

2

1

1

1

3

2

1

1

1

3

1

3

1

1

2

1

1

1

1

1

1

23

2

= 80


17

21

25

29

1 1

3

2

2

14

3

2 2

3

2

3

1

3

2

1

2

12 2

42

4

41 3

2

43

2

2 2

3 1

1

1

1

2

1 1 1

3

3

1

2

12

1

4

1

2

3

4

3

2

1

2

3

1

3

1

2

1

2

4

3

C5

₵1

C1

C3

₵5




12

7

44

21

2

321

2

1

2

3 21

2

1

2

32

21

3

23

3

1

1 3

1

3

2

(3)1

(5)2

2

11

2

21

2

2

3

0

44 4

3

2

1

23

4

(2)3

4

2

= 96Andante

C4

₵4 ₵6 ₵7 C7 ₵7 ₵5




14

7

20

27

38

3 2 1

(3)

43

24

34

4

4

43

32

1

4

4

31

1

23

3

4

13

33

1

2

34 4

32

34

2 2

3

(3)

2

432

1

1

4

41

42

3

4

3

32

2

2

33

1

3

= 88

Tempo di Valse lentoC7

₵7

C7

₵7

C7

C9



5


15

10

20

24

29

34

132

4

1

2

1 3

4

21

2

3

(2)

4

24

2

4

2 13 2

2 32

1 2 1

3 2

1 2 1

1

3

4 2 2

1

1

42

1

3

2

42

4 2 22 4

1 2

4

4 2

2 4 2

2 2

31

14 2

43 2

1

3

42

1

1 2 2

31

4

1

1 21

2 1 2

2

3

= 116

Allegretto cómodo ₵7

₵7

₵5 ₵7



3


9

6

11

13

16

44

3(3)

2(2)

1 1 1

1

4 4

3

4

(3)3

(2)2

4 4 4

31 1 1

4 21

4

31

1 1

4

3

4

4 1

2

2

14

2

32

2

34

2

(4) (3)

4

4

2

3

(4)

23

(5)

4

23

1 1

3

1 03

3 3 3 3

= 72

Adagiodolce

a tempo

dim.

dim. e rit.

dim. e rit.

cresc.

₵10

C7

₵7

₵6 ₵5

₵10

₵5

₵3




8

4

12

34

p i ma

2

3

p i ma

3(5)

4 213

1

2

3 2

1

1 2

2

2

4a

4

i

3

1(4)

4

(3)

0 3

2

14

2

14 4

12

3

42

3

2

14

23

4

1

2

41 2

4

31

2

= 88Andantino grazioso

h.12

₵5 ₵7




9

5

13

17

34

43

(2)2

30

(3)

(4)2

(4)13 (5)

4

4 2

3

4

2

2

3

2

3

4

2

3

(2)2

3 2

3 (4)0

(3)2

2

4

1

3 2

14

2

0

13

(4)(5)

4

(4)

0

= 120

₵4

C2

₵4

C2

C2


21

25

29

2

3

44

22

1

2

1

2

31

44

3

33 2

3 33 2

3

4 4

1

3

21

12

3

3

13

2 (5)2

C2

₵9 ₵7

C2

₵5



5


9

13

24

mi

4

44 4 3 1 1

231

4

3

0

24

2

41 3

1 30

2

(2)

3

314

1

3 4 13

4

4

23

2

42

4

00

4

4

3

3

2 1

0

2

3 1

4

1

1

3

4

2

= 80Andantino

₵3

₵5 ₵10

₵5


In this study, as I indicated in the relevant part of study No.31, the mordents or short appogiaturas played withligados should be executed by preparing the position of the left hand in advance and should be played at thesame time as the bass notes.



6

12

34

4 20

44 2

4 2

3

43

4

44

2

2

4 3

3

3

1

1

2

34

3

1

3

432

34

2

3 2

12

1

2 11

2

1

2

34

31

43

3

1

4

23

= 96

Andante cantabile

con fuoco risoluto

cresc.dim.

₵2 C2₵4

C2

₵2

C7

₵5₵2




12

6

17

22

27

34

i ai

3

m

3

4

p

2

3

42 2

42

3

4

4

2

3

3

4

42

42

3

3

3

4

2

2

4

31

4

4

42

2

3

4 4

1

23

3

4 42

3

34

3

2

4

2

2

3

0

4

3 1

2

3

3

3

4

4

3

4 2

4 3

12

4

= 126

Tiempo di Vals₵4 C7 ₵4

C7

C2

C9

₵4

₵4

₵4

₵4

C7

₵7

C4

C2

₵9

C2 C7 ₵9



5


9

13

4 2 423

4

43 2

323

4

4 02

14 3

2

21

4

(2)

4 4

1

2

31

2

4

2

1

24

3

123

23

2

3

2

23

23

4

3

1

12

1

3

10

2

2

3

1

3

4

1

2

4

4

3

2 1 2

2

4

21

2

4 3 2

(4)

2

24

3

= 108Andante

₵9

₵9

C7 ₵5

C2

₵9


I strongly recommend in this study that each position should be prepared before executing the ligado. The mordent or short apoggiatura should be played strongly but without excessive forceand the other two chords of the accompaniment in each bar should be played very softlyso that the melody stands out clearly.



5

9

13

34

4 4 31

4 12

1

4 2

4

31

2

2

4 123

4

2

2

2

3

1

1

211

213

4

4 2

2

3

4

3

3

1

2

4 2

2

21

43

4

2

= 92

Tiempo di Valse lento₵5

₵5

C7

₵4 ₵6

₵4

₵2

₵4

₵2


In this study on the mordents commonly known as double mordents, the first note of the mordent should be.played simultaneously with the bass note accompanying the main note, after which it only remains for the lefthand to produce the ligado. Care should also be taken, as I said earlier, not to lift the fingers of the left handfrom the strings when moving them, in all those cases indicated by slide markings.



5

9

13

34

2 4

22

22 2

2

2

31

2

1

2

1

3

2

2

1

20

20

4

2

2

2

4

2

(4)

20

2

31

2

31

2 4

4

2

= 108

Andantino₵2

₵7

C2

₵5

₵6

₵2₵2

₵7

₵7



In this study take care to make the melody stand out, using more force with the third finger of the right hand,which is the finger used to play it.


3

5

7

44

1

32

3

1

1

4

4

2

32

2

1

33

1

3

42

21

3

1

2 3 2 3

= 69

Andante₵5

C2


9

11

13

15

4

23

4

3

4

2

2

1

413

4

₵5

₵10

₵5 ₵1

₵5




4

7

10

68

21

2

43 2

2

4

32

4

3 1

1

2

223

3

13

1

23

21

3

42

44

1

2

23

42

32

3

1

4

1

2

3 21

= 69

Tiempo de Zamba

₵5

₵7

₵9 ₵7

₵5 ₵9


13

16

19

22

25

28

31

21

3

1

4

4

3

1

3 2

31

3

2

1 1

31

3 3

2

21

43 2

1

3 2

1

2 3

1

2

31

1 1

3

1

3

1

1

22

(3)3

1

31

3

3

3

1

3

13

2

1

3

1

33

2

1 1

3

1

2

1

2

1

2

1

3

3

1

4

1

2 2

3

23

1 4 4

23

3(3)

4

2

1

1

1

4

(3)3

1

33

4

3

1

2

1

2

1

3

3

2

1

1

(1)

1

3 3

1 1

3

₵2

₵2 ₵2

C2

₵7

₵10




5

9

14

17

68

(2)(2)

3

3

1

2

0

(4)3

21 1

12

1

2

1 1

2

31

2 4

1

2

(4)2

1

3

1

0

(4)1

1

3(2)

4 1

4

2

2

2

3

0

2

0

1

1 (2)

(2)

1

4

2

(5)2

4 4

2

(5)3

4

0

(3)

(4)12

2

4 4 (3)

3

2

2 13

2

3

1

2

3

12

43

2

3

2

1

4

(3)3

4 4

21

34

21

(5)(4)

3

2

1

4

1

(2)(3)(4)

3

(2)1

2

(4)3

(4)2

21

3

4

2

2

1

1

4

2

3

1 2

44

30

1

3

1

2010

4

2

1

3

= 52Allegro Tranquilo

harm.7

₵2

₵7

₵2

₵5

₵5 ₵2

₵7 ₵7




7

14

20

26

24

4

3

12

2

3

4

1

2

22

3 1

3

(4)

2

(4)

23

1

4

4

1

2

31

24

3

2

4

1

2

1

3

23

(4)

1

(2)

1

3

1

3

3

2

1

2

(5)

4

3

4

1

2

2

4

1

1

2

4

1

0

2

0

4

3

3

4

1

2

4

23

1

0

1

1

0

0

4

3

3

2

2

1

2

1

3

0

4 02

1

4

3

2

3

3

3

33

3

3

3

= 80

Tiempo de marcha

₵5 ₵5 ₵3

₵8

₵5

₵5

₵5

₵3₵5

₵9 ₵5

₵5


In this study in thirds with ligados, more than in any other, you should observe the sliding of the fingers of theleft hand when it is not absolutely necessary to lift them from the strings.



6

11

16

21

34

Fine

D.C. al Fine

2

1 3 1

3

1

31

23

1

2

1

2

11

31 4

22 2

1

2

4

2 2

3

21

2

1

41

3

1

3

1

(5)2

3

1

4

11

1

23

2

11

2

43

1

4 1

41

2 21

1 12

2

2

1 1

3

1

3

41

3

1 4

3

1

3 2

14

1

2

2

1

3

1 1

2

1

2

1

2 4

23

3 1

3

1

2 2

1

1

3

2

3 3

2

13

1

3

1 4

2

1

3

2

3

2 4

3

1

23

1 1

1

2

1

2

1

21

33

2

1

313

1

2

1

2

33 3

3

3

3

3

3

3

3

3 3

= 108

C4

1. 2.




11

6

16

21

24

2

1

2

3 1

2 2

1

2

1 3

2

1

2 2

3

2

1

4

3

2

1

4

3

2

31

3

3

2

4

3

2 2

2

1

11

2

2

1

2

3

1

2

1

2

3

4

2

3

1

2

3

2

1

2

1 1

2

3

4

1

4

3

3

1

2

4

3

13

1 1

3

1

3

1

3

3

1

2

3

2 2

3

2

1

1

2

2

13

1

2

1

2

3

1

1

2

2

4

3

2

1

1

3

1 13

3

3 1 1

2 2

3

3

2

1

2

2

3

2

3

2

1

12 3

13

1

2

1

1

2

1

23

(4)

= 80

harm.12



This study, as indicated at the beginning, is in the style of an oriental dance, very easy, and perhapsentertaining for the student. In it we find octave harmonics on the bass notes from bar 24 to bar 32 and in thelast eight bars. Although I think it is unnecessary to explain how they are produced, since this is the task of theteacher, nevertheless I’ll describe it below. To play octave harmonics on the bass notes the tip of the right-handthumb is placed on the string very lightly, and slightly on its side, above the fret indicated, so that the fleshypart of the thumb covers about a millimetre on each side of the fret. Once that is done, the right-hand indexfinger plucks the string strongly but without excessive force, and the thumb is lifted immediately so that theharmonic can sound. You should bear in mind in the case of those notes that are not played on an open string,that after having carried out the preceding steps you should not move the left-hand finger which is holding thenote, otherwise the sound will be cut off.

5

11


24

2

1

3 3

22

(4)

3

2

3

2

2

1

22

11

12

3 3

12

3 41

23

4

3

4

2

1

2 2

1 1

2

4

1

3

12

3 3

12

2

1

41

23

4

1

32

02

3

23

4 4

= 80 Allegretto (Tiempo de danza arabe)

₵3


17

23

29

35

41

46

51

23

1

1

3

14

1

2

4

3

2

1

3 21

2 43

2

1

3

31

2

3 2 3

3

2

1

4

4 4

1

1 1

23

41

43

4

23

3

4 11

4

4

1

1

43

1

30

4

2

2 4

23

2

2 32 4

23 3

2

1

2

1

4

3

4

2 4

4

23

2

43

2 332 2

4

3 2

1

2 3

2

1

3 21

4

h.12 h.12 h.12

h.12 h.12h.12 h.12 h.12h.14

h.12 h.12 h.12h.14

h.15 h.12

h.16

h.12h.14

h.15 h.12 h.12 h.12

h.12 h.12 h.12 h.12 h.12

h.12 h.12 h.12h.14 h.12

₵3

C3

₵7

C3

₵5

₵3

₵7 ₵3

₵10


Sagreras Las Lecciones de Guitarra II - WordPress.com · 2018-12-09 · Las Lecciones de Guitarra -...

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