THE EGTA SERIES

NE +

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Graded Guitar Duos for Pupil and Teacher in 3 Volumes

VOLUME 2

CHANTERELLE

FOREWORD For more than a century the guitar has relied on approaches to studies and generalleaming which, based as they are almost exclusively on solo playing, often leave students with gaps in their technical and musical understanding. Such inflexible conventions are gradually being replaced by much more creative and progressive attitudes among amateur and professional players alike.

The EGTA Series with its parallel use of solo and accompanied pieces consolidates and develops these changes methodically and imaginatively, and represents a major contribution to the changing needs of gtjtar teaching.

John Williams

PREFACE

Teachers of the classical guitar are becoming increasingly aware of the importance of accompanying their pupils in the early stages of playing. More and more guitar methods and tutor-books are based initially on the kind of accompanied "single-line" material that makes this possible. Working in this way helps to remove many of the excessive physical demands that the premature use of chordal and contrapuntal music imposes, particularly on the left hand. This in turn makes it easier for the teacher to concentrate on the more qualitative aspects of playing - those that involve the co-ordination of the hands and the right hand alone, such as rhythm, sound, phrasing, and articulation.

Perhaps most Important of all, the two-guitar medium, by separating the melody from its harmonic and rhythmic support, gives the elementary player much earlier access to classical music of real quality - music by the great composers of the past that is invariably too difficult to play solo at this stage of development, but which students of other instruments are able to playas a matter of course. The three volumes of One + One provide a progressive and comprehensive selection of just such high quality repertoire, in which the pupil always plays the melody - the leading role - and the teacher is always the accompanist. Arrangements of music from the Renaissance, Baroque, Classical and Romantic periods are included along with folk-song settings and new compositions written specially for this collection.

Each piece in Volume 2 uses the upper strings played with the right-hand fingers, and the lower strings played with the thumb. It is hoped that this approach will help consolidate the sense of linear independence that the thumb and fingers will have begun to develop separately in Volume 1 and so provide the pupil with further valuable preparation for contrapuntal playing and hearing. Passages using the thumb should be played tirando, but those that use the fingers can be played with the apoyando or tirando techniques, according to the teacher's preference. Indeed, the range of musical options that these pieces explore may well stimulate the teacher to experiment with both types of stroke.

Left-hand fingering has been kept to a minimum, being used primarily to indicate changes of position and to distinguish between open-string notes and their stopped equivalents. The pieces begin by using the first, second and third positions, while the fourth position is gradually introduced later on. Some second-position fingerings involve the use of the fourth finger on the fifth fret. If pupils with small hands find this too difficult, the open-string alternatives should be used, but extra care will be needed in order to damp any over-ringing (particularly where the wound strings are concerned) that may occur as a result. Right-hand fingerings are given in order to indicate which of the alternating index and middle fingers may best begin a phrase or section of a piece. They also show the point at which the sequence may be reversed and where the use of the annular finger can contribute to the fluent execution of a passage.

As a suggested aid to interpretation, phrasing, dynamics and articulation markings have been added where appropriate to all the arrangements of pre-twentieth century music. Where the phrasing slur connects a pair of notes it Is a purely musical instruction - it does not indicate the left-hand "technical" slur or Iigado. Dynamic markings in the teacher's part must be judged according to how much sound the pupil is able to produce - always remember that you are accompanying. All harmonics are to sound at the written pitch.

For their work in developing the ideas which led to the creation of the EGTA Series and their help in firOlg and arranging the pre-twentieth century items in this book, I would like to thank Peter Batchelar, John Compton. Nicola Culf, Luke DUrilea, Stephen Goss, Stuart McGowan, Janet Robinson and Christopher Susans. OYer and above the efforts of any individuals, however, the EGTA Series is the result of a meeting of minds only made possible by the existence, collective will and organisational capacity of EGTA (UK).

Richard W~

CONTENTS

1. Michael Praetorius Ballet 4 2. Trad. French (arr. Downs) La Danse de Serrelongue 6 3. Jean-Phillippe Rameau Musette en Rondeau 8 4. Edvard Grieg Cradle Song 9 5. Robert Schumann The Merry Peasant 10 6. Stephen Dodgson Conversation Piece 11 7. Carl Reinecke A Fairy Tale 12 8. Trad. Spanish (arr. Leathwood) No te namores neniiia 13 9. Giovanni Battista Martini Gavotte 15 10. Vojislav Ivanovic Slavonic Waltz . 16 11. George Frideric Handel Minuet 17 12. Peter Tchaikovsky The Doll's Funeral 18 13. Stuart McGowan Little Breeze on the Seas 20 14. Christoph Graupner Bourn~e 21 15. Betty Roe Ready, Steady, Go! 22 16. Peter Tchaikovsky Sweet Reveries 24 17. Trad. French (arr. Downs) Marguerite, ma mie 26 18. Rex Glensy Empty Places . 27 19. Franyois Couperin Two Hurdy-Gurdy Tunes 28 20. Gilbert Biberian Grace 30

Catalogue Number ECH 2203 ISMN M-2047-0040-0 ISBN 3-89044-183-1

Distributed by: Chanterelle Verlag, Postfach 103909

D-69029 Heidelberg, Germany

Distributed exclusively in the UK by: The Spanish Guitar Centre, Nottingham

First published 1995 by Chanterelle Verlag Reprinted 1999

© 1995 by Michael Macmeeken, Chanterelle Verlag (GEMA) - All rights reserved This edition contains new and original material. No part of it may be reproduced, stored in a retrieval device,

or used in any way without the express prior written permission of the publisher. Photocopying this edition is ILLEGAL.

Chanterelle@ is the registered trade mark of Chanterelle Verlag, Heidelberg

Cover design by Eva Maria BrandsUidter Manufactured in the United Kingdom by Hobbs The Printer, Totton, Hampshire

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THE EGTA SERIES Ordering information:

ISOLO NOW! I Original Progressive Guitar Solos

Book 1: ECH 2101 Book 2: ECH 2102 Book 3: ECH 2103

lONE + ONEl Graded Guitar Duos for Pupil and Teacher

Book 1: Teacher's Score* ECH 2201 Book 1: Pupil's Part ECH 2202 Book 2: Teacher's Score* ECH 2203 Book 2: Pupil's Part ECH 2204 Book 3: Teacher's Score* ECH 2205 Book 3: Pupil's Part ECH 2206

PETR EBEN 33 CZECH FOLKSONGS

Arranged as Guitar Duos for Pupil and Teacher by Peter Batchelar

Teacher's Score* ECH 2211 Pupil's Part ECH 2212

* NB: Pupil's Parts are now no longer included with Teacher's Scores, they are available separately under their own order number - see order numbers above. This new arrangement is reflected in our latest price list.

I THE BAROQUE BOOK I Intermediate Solos from the 17th & 18th Centuries ECH 2111

ITHE CLASSICAL BOOK I Intermediate Solos from the early 19th Century ECH 2112

Chanterelle Editions are available in good music shops worldwide or, in case of difficulty,

direct from the publisher. Write us for a free catalogue.

I I Your CHANTERELLE supplier:

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