The Dance of Guaraní. Guarani are a group of culturally related indigenous peoples of South America. Barrios comes from Paraguay and was partly of a Guarani origin. For some years, it was typical of Barrios’s to perform in traditional Paraguayan dress. His stage name was Nitsuga Mangoré (’Nitsuga’ being Agustín spelled backwards, and ‘Mangoré’ being the name of a cacique (tribe chief) of the South American indigenous group Timbú). Barrios’s compositions can be divided into three basic categories: folkloric, imitative and religious. Barrios pays tribute to the music and people of his native land by composing pieces modeled after folk songs from South America and Central America. His works were largely late-Romantic in character, despite his having lived well into the twentieth century. Very many of them are of a virtuosic nature.

Excerpt from Augustin Mangore Barrios' Danza Guarani

Notes
This song is structured in 3 parts and is played twice. Drop D tuning, played at a fast, lively pace.

Bar[1]-[10] Part 1 – A nice riff full of pull off and hammer ons. The easiest section of the song. Has a Rocking back and forth feeling. Open string bass notes.
Bar[11]-[18] Part 2 – Multiple (im). Highest part of the song. Goes up to 15th fret. Keep left finger close to strings during the successive and rapid (im) delivery. Open string bass notes.
Bar[19]-[28] Part 3 – Scale runs. Trickiest part. Keep the beat with the bass notes. Start slow and work your way faster. Focus on Left fingering. Right is doing alternating (im) mostly.

Danza Guarani uses mostly open string bass note. Just like Tarrega’s Tango (my previous post) which is also structured in 3 parts and similar in duration. Between the 2 songs, Danza Guarani takes more work and practice to master.

Dionisio Aguado (April 8, 1784 — December 29, 1849) was a Spanish classical guitarist and composer. Born in Madrid, he studied with Miguel Garcia. In 1825, Aguado visited Paris, where he met and became friends with and for a while lived with Fernando Sor. Aguado’s major work Escuela de Guitarra was a guitar tutorial published in 1825. Dionisio Aguado has attained lasting fame through his method for guitar, which in various forms is still in print today. It is still reprinted today (Tecla editions). In the “Escuela” Aguado describes his use of fingernails on the right hand as well as his invention of a “tripodion”: a device that held the guitar and thus minimized the damping effect of the player’s body on the guitar’s back and sides. Aguado returned home to Madrid in 1838 and died there aged 65.

Notes
Key Signature: G Major
Time Signature: 3/8
Grade 2: Early Intermediate

Hold/Suspend notes as long as possible.

Excerpt from Dionisio Aguado's Estudio in G

Further Reading
50 Easy classical Guitar Pieces by Jerry Willard.
Another book in my collection. Book is in tabulature. Great for beginner guitar for classical. 50 short songs introducing you to key players of the genre. Works featured in this book includes the many names that influence the classical guitar world. To name a few featured: Fernando Carulli, Napoloen Coste, Fernando Sor, Dionisio Aguado, Gaspar Sanz, John dowland, Robert Devisse, and Mauro Giuliani. This book comes with a companion CD plus a brief biography writeup on the aforementioned maestros.

Bach sixth suite for unaccompanied Cello in D Major. This suite was originally composed for the violin pomposa (a violin with 5 strings), but has since been incorporated as one of the cello suites. Bach composed these masterpieces between 1717 and 1723 whole living in the city of Cothen. Together with the six somanatas and partitas for violin solo, they, without question, constitute the most monumental documents of the polyphonic string music. Unmatched in their beauty and depth of feeling, they demonstrate Bach’s consummate understanding of these instrument’s capabilities, and his total mastery of all the musical forms of his day. Note that this sarabande is in drop D tuning and in 3/2 time, and should be counted 1 + 2 + 3 +.

Notes
Played in 3/2 Time Signature. Drop D tuning. Key in D Major. Played Largo/Lento or Slow. Suspend notes as much notes as possible to fill the silence. As in any typical Bach’s Sarabande, there are 2 parts. First part is always shorter in duration than part 2. Repeat both parts twice. Left hand song. Master the left hand finger position and the rest is easy.

Bar[10] There’s a hinged barred chord in this measure. From your current chord position, flatten index finger to barre chord position and sound note.

Excerpt from Johann Sebastian Bach's BWV1012 Sarabande

Further Reading
I learnt Bwv1012 Sarabande from this book: Bach for Guitar by Howard Wallach. 14 pieces from Easy to Intermediate introducing a brief song introduction and tab. This book comes with plenty of drawings and a full explanation of signs and symbols used in the book. 47 pages in paperback, Alfred Publishing.

Tango by Tarrega is not a difficult nor lengthy tune but it is packed with a lot of different guitar techniques-making it worthwhile to learn. Tango contains harmonics, double stop octaves, DGDGBGe tuning , rasguerdo, triplets. slide, hammer, pull offs, etc…. Although Tarrega (Spanish) is not from Argentina-where Tango originates-Tango proves to be a well composed and crafted work.

Excerpt from Francisco Tarrega's Tango

Tips
The tuning is DGDGBE. 2 strings are tuned down from EDAGBE, this gives easy access to doubls stop octaves for the left hand. Tango is in 2 keys. The song is mostly in G minor but it concludes in G major. 2/4 Time Signature.

Tango gets progressively more difficult. as you move along the song. Overal it is a fairly easy piece.

Part A — Bar[1]-[9]
Key: G Minor
Double Stops using the odd tuning Rasguerdo (strum with pima downstroke) only at the second time round

Part B — Bar[10]-[27]
Key: G Minor
High Frets playing use the open string bass notes (D,G,D) to keep tempo.
Use left hand 3rd finger (ring finger) for harmonics

Part C — Bar [28] -[39]
Key: G Major
More notes plus Triplets
High Frets playing use the open string bass notes (D,G,D) to keep tempo.

Further Reading
I learnt Francisco Tarrega’s “Tango” from the Francisco Tarrega Collection in Tabulature by Paul Henry. 14 pieces for classical guitar. Comes with a companion cd with tracks. 64 pages. Paperback

BWV 645 – 650: Schübler Chorale Preludes.

Schübler Chorales is a name commonly used for a collection of six chorale preludes by Johann Sebastian Bach (BWV 645–650). They were engraved and published in the late 1740s by Johann Georg Schübler, from whom they derive their nickname. The collection is originally entitled Wachet auf, ruft uns die Stimme (”Wake, Awake for Night is Passing“). Uniquely for Bach’s sets of organ works, five out of six chorales in this collection are transcriptions from his cantatas. BWV 645 is transcribe from: Wachet auf, ruft uns die Stimme, BWV 140, movement 4 (tenor chorale). The pieces are composed for a two manual organ with obligatory pedal in E♭ Major. Bach’s abilities as an organist were highly respected throughout Europe during his lifetime. Sleepers Awake tab is transcribed to the key of C making it easier to play on the guitar. This piece is played with many open strings reducing the need for barred chords.

Sleepers Awake is from Cantanta No.140 Ephesians No.5(14)
4/4 Time Signature
C Key Signature
Originally for Organ in Eb Major

Suspend notes as long as possible. Bach uses conterpoints. 2 voices-treble and bass. The 2 voices should be unbroken throughout the song. Play slowly. Add trill at the end of the 2 parts.

Bar[12] Ending of part 1. Series of semiquavers double stops(2 notes).
Bar[20] Only measure with barred chords. A pair of them on fret 3. You don’t necessaily need to barre (2 notes) but I find it easier to barre to sound the bass note.
Bar[23] Hinged Barre chord. Flatten index to rapidly barred the string below (treble e).
Bar[24] Ending of part 2. Series of semiquavers double stops(2 notes).

Excerpt from Johann Sebastian Bach's Sleepers Awake

Further Reading
I learnt Sleepers Awake from Ben Bolt’s book. Mel Bay J. S. Bach for Acoustic Guitar: 12 Solos in Notation and Tablature [Paperback]

Product Description
J. S. Bach is the most sought after composers of all time. He is everybody’s favorite! Best selling author Ben Bolt has inked 12 solos for guitar in this book. Included are moderate to advanced solos in notation and tablature. All 12 solos are recorded in order like the book. The recording can easily stand on it’s own for your listening pleasure, or can be used as an instructional tool. Professor Bolt also includes a copy of Bach’s original manuscript of Partita No. 1 for cross-reference purposes. Includes the following pieces: Sleepers Awake! (from Cantata No. 140), Gavotte, Prelude (from 3rd Cello Suite), Courante (from 3rd Cello Suite), Corrente (from 1st Violin Partita), Bourrée (from 1st Violin Parita), Prelude in D (from 1st Cello Suite), Gigue (from 1st Cello Suite), Sarabande (from 2nd Lute Suite), Gigue (from 2nd Lute Suite), Courante (from 1st Lute Suite) and Fugue.

Johann Anton Logy was a Bohemian aristocrat, Baroque lute player and composer from Prague. Losy composed mostly dance suites, as was typical of his time. Sarabande (It., sarabanda) is a dance in triple metre. The second and third beats of each measure are often tied, giving the dance a distinctive rhythm of crotchets and minims in alternation. The crotchets are said to have corresponded with dragging steps in the dance.

Tips/Technique
3/4 Time Signature. A minor Key Signature.
Not hard to play and short in length. 16 bars. with 2 barre chords. AABB repeat both parts twice.

Bar[1] Hinged barred chord. flatten index finger to sound note (F).
Bar[16] End with trill . hammer on. (music), a type of musical ornament

Excerpt from Logy Sarabande

Further Reading
50 Easy classical Guitar Pieces by Jerry Willard.
Another book in my collection. Book is in tabulature. Great for beginner guitar for classical. 50 short songs introducing you to key players of the genre. Works featured in this book includes the many names that influence the classical guitar world. To name a few featured: Fernando Carulli, Napoloen Coste, Fernando Sor, Dionisio Aguado, Gaspar Sanz, John dowland, Robert Devisse, and Mauro Giuliani. This book comes with a companion CD plus a brief biography writeup on the aforementioned maestros.

Maestro Tarrega is one of my favorite guitar composer. Many consider Francisco Tarrega to be the father of Modern Classical Guitar like Paul Cezzane, the father of Modern Art. Tárrega was a master of the miniature. The majority of his original works do not exceed three minutes in length. This Prelude is a little over a minute in duration which works perfectly for my blogging pace. Composed in the key of E Major. Number 4 of Francisco Tarrage’s large collection of preludes.

Tips/Technique

Staccato (detached) no note suspension. Chords after chords all over the neck. Commit the chords to memory! Since tempo is Allegro, it will be a good idea to be totally familar with where to put your finger next with all the chord shapes. Rhythm (Right) is straight forward. I use pim straight thru but you may strum adjacent strings to add feeling. Prelude 4 is more demanding on the left (chords). Left hand fingering is vital to set up your next chord.

49 Bars. Allegro (lively). Key E Major. 3/8 Time Signature.

Excerpt from Tarrega's Prelue 4 in E Major

Bar[2]
Left: Third finger and pinky chord on E and B string (The fourth chord). Since you are using the weaker fingers, make sure your thumb is at the lower part of the neck to add more strength to hold the chords down.

Bar[28]-[29]
High notes (Fret 14) it helps if you have a cutaway for easier access.

Further Reading
I learnt Prelude 4 in E Major from Ben Bolt’s Tarrega in Tabulature. This highly recommended book comes in multiple languages (english, japanese, french and spanish). Ben Bolt features 25 songs of Francisco Tarrega and talks about hand techniques. Book include an audio companion cd and is ring bound so you can lie it flat.

The title of this traditional ballad translates as “The Weeping Woman.” The basic story is that La Llorona was a beautiful woman who killed her children to be with the man that she loved. She drowned the children and then, after being rejected ande eventually killed herself. She is doomed to wander, vainly searching for her children for all eternity. Her constant weeping is the reason for her name. In some cases, according to the tale, she will kidnap wandering children or children who misbehave. Though popular in Mexico, the origins of the song and its tragic tale of murder lies in Spain. Due to the freer performance style of folk songs, you may repeat any of the sections as many times as you like. Play at a moderate tempo with ample amount of feeling.

This is a traditional song consisting of 4 sections. The chords are only a handful, mainly Am, Dm, G, F, E7. There are a few hinged chords and double plucks also. Suspend bass note throughout measure.

Excerpt taken from La Llorona (the weeping woman)

Bar[7],[18],[19],[39],[40]
Hinged Barred Chord. Keep 1st finger down (flatten) for beat 2.

Bar[35]
F barre chord at 3rd fret. Position left thumb at the lower end of the
neck to provide more strength to sound the 3 treble notes.

Part B
Arpeggio with some interesting double plucks (every other note)

Part D
Hardest section because of the numerous Barre Chords.

Further Reading
I discovered “La llorona” from Spanish for guitar by Howard Wallach. Contains some of the most popular pieces ever written for guitar, including Malagueña, El Testamento de Amelia, Lagrima and Recuerdos de la Alhambra. Helpful playing tips and plenty of fingerings are included, making this your ultimate source for Spanish guitar pieces. Every piece is written in standard music notation and easy-to-read tablature showing exactly where each note should be played on the guitar.

No 14 in C#m Op 27 No 2 (”Moonlight”), 1st movement. Adagio sostenuto. Adagio: music is to be played “slowly“. Sostenuto: is a term from Italian which means “sustained.” At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement! The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a”lamentation”. Composed during beethoven’s middle (Heroic) period- Beethoven’s personal crisis brought on by his recognition of encroaching deafness. It is rumored that Moonlight Sonata is a romantic dedication to Beethoven’s pupil, 17-year-old Countess Giulietta Guicciardi.

Tips
Composed for the piano and translated to the guitar. The hardest part of Moonlight Sonata is achieving Smooth Chord transition. This is a not a beginner song with many Chords barred chords.

More demanding on the left (chords) than the right (plucking). Pay heed to left hand fingering in all chords. Every finger placement is important! Rhythm (right) is mostly uniform throughout.

Play slow. This is not a lengthy song (69 bars) but it should span beyond 5 minutes. Commit Moonlight Sonata to memory so you can “think ahead” in finger placement. Don’t try to place all fingers in a chord at once. Instead place fingers one by one according to the note being played.

Remember Smooth Chord transition is the key.

If you find this song to be overwhelmingly long, work on parts and piece it back together gradually.

You may notice there are a lot of (===) in my tab. This indicated note suspension. Sustain these notes for they make the mood of the song extra special!

Excerpt from Ludwig van beethoven's Moonlight Sonata

Note. The original key for Ludwig’s Moonlight Sonata is in key of C# minor. The guitar’s version is in the key of A minor

Areas worth noting…..

Bar[1]-[3] Watch your fingering
“A minor” chord in an unorthodox position. This works best for
the pinky playing the G note in measure 2.

Bar[5]-[8] Main Motif
Spend some time in these 4 measure. The main motif-that most people
are familiar with. Repeated at Bar[42]-[45] Double pluck on high
E string at Double speed.

Bar[10]-[11] Tricky Chords
There are 5 chords in these 2 bars with tricky finger. Remember smooth
chords transition. I marked * to indicate to keep a specific finger
at the same position during the chord transition. ie. not lifting
any fingers unnecessarily.

Bar[16][18][52][54] Tight chord!
4 fingers has to fit in 2 frets.

Bar[35] High Note
Solo Interlude. Scales.The highest note possible on the guitar is
hit on the 19th fret high E string. Your left thumb should not be
touching the back of the neck at this point! It will help if you
have a cutaway.

Bar[60]-[61] Main motif revisited.
Slight variation with double thumb downstroke on low E string.

Bar[62]-[66]-Counterpoint
2 voices. bass and treble. Rhythimcally quite
challenging. Well, you have gone this far, no stopping you now!
keep the motif bass tempo (ta–ta-ta) during the left hand solo
along the neck.

Good luck!

Chamber Music. Partita for unaccompanied flute. The sarabande is a slow and stately dance in triple meter with an accent on the second beat. It evolved from zarabanda, a dance from 16th century Mexico. Hold all bass notes as long as possible. keep the trills fast. The flute version is slightly different towards the end 1:33 onwards (listen to the midi) Notes here are actually many octaves higher-and sounds cooler. I have tried to play this at this range (beyond the 12 fret) but decided against it due to great difficulty. I am guessing that the flute’s tonal range can go much higher than a guitar. I feel the flute and guitar don’t translate as well as other instruments. Because of this I imagine, the guitar version of bwv1012 sarabande may be much harder to play than on the flute. Anyway, this is my 20th bach song. Enjoy!

Technique/Tips
3/4 Time Signature. 46 Bars. Standard Tuning.
Pay extra attention to left fingering. Think about shortest distances between each chord. ie economy of movement. In order to make this song work. keep the bass note suspended. This is crucial as bach’s signature is counterpoints. 2 or more voices. If any left hand fingering seems awkward, please adapted to your own way.

Excerpt from Bach's Sarabande NWV1013 in A Minor

Bar[6]-[8] and Bar[34]-[36]
Trills. that’s rapid pull off and hammer ons.
Bar[10]-[11] and Bar[40]-[43]
Semi Quavers – fastest part of the song. its not about speed but keeping the bass notes held and uniformity of tempo.
Bar[43] Hard Chord with pull off. Make sure your 4 fingers (left hand) are in chord position at the very beginning (before pull off). That means 1st on D, 2nd on G#, 3rd on E and 4th on E#.

Further Reading
I learnt Bwv1013 Sarabande in A minor from this book: Bach for Guitar by Howard Wallach. 14 pieces from Easy to Intermediate introducing a brief song introduction and tab. This book comes with plenty of drawings and a full explanation of signs and symbols used in the book. 47 pages in paperpack, Alfred Publishing.