0% found this document useful (0 votes)
144 views52 pages

Francisco Tarrega - Etudes Techniques Completes

tecnica per chitarra classica

Uploaded by

Gabriele
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
0% found this document useful (0 votes)
144 views52 pages

Francisco Tarrega - Etudes Techniques Completes

tecnica per chitarra classica

Uploaded by

Gabriele
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
You are on page 1/ 52
DRL RRR KKK OY COR EX KX SAORI 7a 4, O00 Ws MUSIK TOR GITARRE Herausgegeben von KARL SCHEIT O YY ) YY OOK LORRRRRY FRANCISCO TARREGA SAMTLICHE TECHNISCHE STUDIEN COMPLETE TECHNICAL STUDIES ETUDES TECHNIQUES COMPLETES STUDI COMPLETI TECNICI CVED © rR O) UE 14451 UNIVERSAL EDITION INHALT Seite Vorwort 2 6 2 ee ee ee ee ee ee ee ee (Gale kesdleangs ai Newt as |e mnaerimee ce cea neac ese eemareranars EG Bindeiibungen, Nr. M82. 0 ee noes 50 10 verschiedene Obungen, Nr 4352.0 ee BB Quergriff- und Uberstredcungsibbungen, Ne. Vierklangzerlogungen, Nr. 6774... 38 Chromatische Terzeniibung, Nr. 75. « tee “ ee eer “ 32 dreistimmige Zerlegungen, Nr. a es © Ome. : aoe M4 siertimmige Zerleronge, Nr 19 (Anucblagformen fr Ne 71) auf den Saiten ®, ©, OumdO..... en .. ce 16 4 viersimmige Quererif- und Zeelegungsibungen, Nr. 8083. 7 13 sechsstimmige Quergriff- und Zerlegungsiibungen, Nr. 84, 85/113)... . . - 48 Ubung zur Ausarbeitung der Randstimmen, Nr.86 0. 2 2. ee ee 80 ‘Ubungen in den hohen Lagen (XU.—XV. Lage), Nr. 87-90. 2. ee BR 7 Gleitoktaveniibungen, Ne. 91. ee BM Erfiterungen 00 00 0 ee BS CONTENTS Page Preface 2 eee 4 Dexterity exerci oe 6 Legato exercises, ee 16 ‘Ten various exercises, Not. 4352. ee Barré and finger extension exercises, Nos.53—65 - 6 6 2 ee ee 8B Four-note chord arpeggios, Nos. 674. 2. ee . 38 Exercise with consecutive thirds, No.75 . . + ce ae Twenty alternatingatroke exercises on strings ® and @, Nos. 78/1) 20)... ss Thietywo three-part arpegsion, Now. 78/132). Pattern of striking for No, 76 on wings @@md®.. 2... eee eee : 4 Fourteen four-part arpeggion No. 79. (Patterns of striking for No. 7) om stings ©, ©, © and © 2.2 eee ce M6 eee rE ‘Thirteen six-part barré and arpeggio exercises, Nos. 84, 85/1)—13) . . 6 1. . 48 Exercise for outer parts, No. 86... Be ed) os (twelfth-fftcenth postion), Nos. 87— 52 Seven exercises in glissando octaves, No.91 6 2 2 2 ee ee Sf Explanatory Notes... + Fe too) Samtliche technische Studien Complete Technical Studies / Etudes techniques completes Studii completi tecnici Meranagngsbon won / Edad Dy Francisco Tarrega itee par / Acura (1982.1809) Karl Scheit © 1969 by Universal Edition A.G., Wien Universal Edition Nr. 14431 i_in_i_m_iim imi "2% a imimimimimin eh : ? Oi mi mam UE 94st tet tent tae Pai] UE 19431 2 Sas tie Wrig give igs te sf 10 Ue 190s1 1 uta fs UE 14451 ama 7 mimi im_imi mim imimimimimimi mim SS ian UE 19491 10 = UE 198s VE 1431 === ddvad wuawds é = Pn eee aye eae - : = — aan a8 dks Me Sere = vee CASAS Bea B ee US HS ° bi Pay git ——— —— = oF + : ot : * & Veaagivie gide g Aes ee eis Ne UE tsent ae a awe eee e a ze 5! <, Hg do see ate’ i ————— SS Pp VE 19601 20 UE 1aast 21 ie 0 ip ee ig te UE tsast 22 40 = + — a 2 ig? = r oie pe : ES 6= e. a? Ye bet — tr —— SS = = a? ar ——— 4 b — SS = = is = SS ai EE t—t t aan UE 19881 23 ve 14981 24 i m m % 10 'F1 = = * eis |e 4 wt = ia‘ 4 FH 27 28 29 pim apim 30 | 31 UE 1441 32 Saaee Yeas -/ 7 78 oT 3 54 v [ete ae eee ees —— z | aise eapesie gage abe ie saeabe pte sewretest “O * ° ® ——— | — a abe te ape eae Zaye ssaabel j ot =z ® 55 ralesheel ® 33 ae 56 e 3 ® (sae faded Sadat Sod TT ee SaaS =I > ® OPS 34 m i ™ tim il m ee i UE 19as1 UE asst 36 a) mama UE 19st 37 Mv). 38 UE aaast UE 14881 UE raat 42 mi im ve qaast i mim Uesescoess UE 1aast 43 18 D ~mi 2D 3) 4) mimimimi”’; mimi mim” amameamam mamamama “TI 7 @ | a imimimim mimimimi mamamama amamamam ero dle i ee tee tee roe te eee mim iim imim iim i mam am a mam ama ama mam ama maim ve isa 13) 14) 15) 16) imamimam mimamima mamimami amimamim aH om. 11) TI at ~ =~ nd UE asast 46 79 2) pm imamimpmimamim pena mn 2» pmam imampmamimam poma imaimaima pam imaimaima 3 I~ a4) p_imfami ami‘ami pi mami amiami “pam ape pede ee | 9) Pimaimaimpimaimaim gpam tamiampamiam iam e z F : 7 p_impia pmapimpiapma sg pm_ipaipampm i pai pam +3 “3 Be -3 10) p_m Be 9 P 47 80 4 Dad an sss a ea ne Sop 3 STS S58 P ae Q ; 7 82 O pSehe ei pp im amis a eee BUTT A ep iS ea 7 2 r ' » | ami : im am im amiimam ; Aree eeiemasta i™amimam im pp i fa x 48 UE 14st 49 UE saat 52 a o ® @ mn) ce ote ta ate te %8 tHe te ada § = Tyee He ® VE 19431 53 abd ob 5 ane =e = = io ve - 90 pimamipimami simile a pr aT pT ee a 7 2 ap UE 1081 54 91 vat ve ooanipanp: pi = fae fed Pee | t—t | nn re te A oo od a fa pips aa 5 eT pm poi op om pt sp — sje a8 —s 8 — UE saat Ne. Ne. Nr. Nr. Nr. Ne Nr. Nr. Nr. Nr. Ne Nr. Ne. Nr. 7 10 und 12 AL 2 48 31 5360 6266 6768 07 o 70 a 7 7 7 76 und 77 78 79 5084 85, 36 87 88a 88 89 90b 3 ERLAUTERUNGEN Drei Tonleitertypen wurden zu ciner Triolenibung zusammengefaRt. Die Fingersitze fiir die recite Hand, tnter den Noten, stammen vom Her ausgeber In allen Lagen 2u ben. Zur Obungscrleichterung wurden Nr. Mund 13 in eine tiefere Lage sransponiert. Dbungsvorgang: Ohne Bindung — linke “Hand allein — mit. Bindung. In allen Lagen und auf allen Saiten zu ben. Obung fiir die linke Hand alte. Auch auf dem Saitenpaar © ® zu iben Variation aus: Térrega, Jota Variation aus: Tarrega, Carneval in Venedig. Vorerst ohne Quergriff zu tiben, Atle Noten ohne» Fingersatzbezcichnung sind mit dem ersten Finger 70 greifen In allen Lagen au iben. Tm allen Lagen 2u tiben Die Fingersitze fir die recite Hand, Uber den Noten, stammen vom Heraus- geber. Vierklinge aber ®o0 VierkLinge aber Vierklinge iber Vierklinge uber © Vierklinge ther Vierklinge tber © in hiheren Lagen und 2ur Vierklinge aber © @ Vierklinge iber ©OO©@@O — mit Uberstreckung, 2. Finger auf ® und 1. Finger auf © bleiben liegen und fiiheen. Es sind nur zwei Takte angegeben Ausfdbrung wie Ne. 75. a) Als Wechselschlagiibungen auf den Saiten © und ® (ohne Bag) 20 Teoren ee080 9e000 OF E0080 ® ee eo auch e verwenden. Vorerst auf Saiten tiben b) als Anschlagformen fiie Ne. 75 bis 78/20) und ©) als Anschlagformen fiir Nr. 76 20 verwenden, Anschlagformen fiir Nr. 77. Jn allen Lagen und auch abwires 20 ‘iben Anschlagformen fiir Nr. 84, vorerst auf leeren Saiten 2u aben, Ubung zur Ausarbeitung dee Rand ‘Auch abwirts 70 tiben Bis in die V. Lage 2u tben. Bis in die XV. Lage u tben Wie Nr. 89a zu iben, jedoch cine Okcave hoher Wie Nr, 90a 70 tben, jedoch eine Oktave hoher. Auch abwiets 20 tiben No. No. Nos. Nos. No. No. Nos. Nos. Nos. No. No. No. No. No. No. No. Nos No, ? 10 and 12 441 2 48b 51 5369 6206, 67 and 68 or 68 70 a n rz 7 76 and 77 7 9 B0—84 85 Xe 7 8a 38b 89 90b on EXPLANATORY NOTES: Three types of scales have been pet together asa triolee exercise. The right-hand fingering (beneath _ the notes) has been added by the editor To be practised in all positions. Should be practised firs. of all in a lower position. (Nos. 11 and 13 have already been transposed.) Should be practised: non-legato — left-hand alone — slurred. Practise in all positions and on all strings. Exercise for the left-hand alone. Also on string-pair © ©. Variation from Tarrega's Jota Variation from Tirrega's Carnival inn Venice. Practise first without barré. All notes without fingering should be stopped with first finger. Practise in all positions Practise in all positions ‘The fingering for the right-hand above the notes) has been added by the editor. Four-note chords on ©00 Four-note chords on Four-note chords on Four-note chords on Four-note chords on Four-note chords on also in higher posii again. Four-nore chords on ©@ OOO Four-note chords on © © © @ using finger-extension. Leave second finger on @ and first finger on © when sliding to new position, Only wo bars are explained. Per- form just like No. 75. a) Use as alternating-stroke exer- cises on strings @ and @ (without bass notes). Practise first on open strings b) Use these patterns of striking for Nos. 75—78/20). ©) Use these patterns of striking for No. 76. Use these patterns of striking for No. 77. Practise in all higher positions coo and back again, Use these patterns of striking for No. 84, Practise first on open strings. Exercise for getting the outer parts right. Practise also in lower postions. Practise up to fifth position, Practise up to fifteenth position Practise as No. 89, but an octave higher. Practise as No. 90, but an octave higher. Practise also in lower positions ee ©9000 2eoeeo ¢eeeoe BOQ e901 55

You might also like