PENTAGRAMMA - STANDARD NOTATION

BACH JOHANN SEBASTIAN, TRANSCRIPTIONS FOR CLASSIC GUITAR, transcribed arranged Javier Calderon. LIBRO E CD

LIBRO DI MUSICA CLASSICA, CON CD,

SPARTITI PER CHITARRA CON PENTAGRAMMA.

CONTIENE LA FAMOSA  ''Chaconne in D Minor BWV 1004'' DI BACH. TRASCRITTA PER LA PRIMA VOLTA PER CHITARRA DA SEGOVIA.  

Product Description:
Absolute, universal, and harmonious - Bach's music is as profoundly satisfying and uplifting today as it was in his era. One of the most eloquent and expressive guitarists of our time, Javier Calderon, presents these timeless pieces, expertly arranged and transcribed for the classic guitar. Selections include: Sonata BWV 1001 (Adagio, Fugue, Siciliano, and Presto); Chaconne in D Minor BWV 1004; Prelude in D Minor, Prelude, Fugue, and Allegro BWV 998; Suite for Lute BWV 996 (Prelude, Allemande, Courante, Sarabande, Bourree, and Gigue); Prelude for Lute BWV 999; and Jesu, Joy of Man's Desiring. Written in standard notation only with minimal, unobtrusive left-hand fingering. The attached performance CD presents the author's exquisite rendition of every selection in the book.

Javier Calderon

J.S.BACH Transcriptions for Guitar

It is difficult to imagine how a composer of the stature of Johann Sebastian Bach (1685-1750) could have lived for 65 years, having written some of the world's most universally accessible and beautifully original compositions in every manner and for practically every instrument of the late Baroque period, in relative obscurity. Trained initially by his father and later by his elder brother, Johann Sebastian is now considered the greatest in a long line of noteworthy musicians and composers of the Bach family. Neither tormented by the specter of financial ruin nor obscured by less competent musical pedagogues, Bach was nevertheless no more well known than a host of other reasonably successful musical functionaries of his time. He was often influenced in his composing career more by external circumstances than by any driving internal impulse to create. And yet, the element of genius is indisputable evident in his music, a fact which elevates his work above that of his equally dedicated contemporaries. His music is as profoundly satisfying and uplifting today as it was in his own time, yet he fit in to his world as comfortably and as unremarkably as the average citizen of any era, he was no brooding outcast seeking to shatter the foundations of his own creative medium, an image that so often accompanies the notions of genius and artistry Indeed, what makes Bach's greatness especially recognizable is the extent to which it celebrates and improves upon the very spirit of his age. Absolute, universal, and harmonious, Bach's music reflects back the sum total of its essential parts, devoid of their imperfections. It is as though he had refined or purified the very elements that made up his world and, by doing so, crystallized them into their immortal expression. It is no wonder that, upon listening to his music, one is transported back to an age largely unfamiliar to him and yet simultaneously immersed in an intangible musical realm whose existence is everlasting. Bach, in this way, was not the artistic antithesis of his age but rather its ultimate revelation. If his music still recalls the religiosity of his day, it is no less as the sanctification of itself as the structure of musical perfection.

The Music

The Sonata, (BWV 1001) originally intended for solo violin was composed in 1720 in Coethen . It is well known that this piece was influenced by Bach's experience in composing for the lute, an instrument which, by Bach's time, had already seen its prime. Wistful, even reminiscent of early music, the Adagio begins with a slowness that is, at the same time, resolute - not yet echoing the multi-voiced scenarios that in large part define and punctuate Bach's vast musical repertoire. The Adagio is much more self-contained, without the obvious symmetry so pervasive in other pieces, suggesting a simpler composition.

The Fugue which follows begins the standard cascade of evenly patterned voices, livelier and yet balanced even as it breaks into centrally placed, almost rhapsodic variations that come into blossom throughout the movement. In the Siciliano we are met with an almost folksy, song-like melody, simple without yet being simplistic, sitting in the work itself like an island away from the more serious themes that dominate the prior and proceeding movements. In the final Presto, we encounter once again the lively exuberance of the Fugue. Full of energy and continuing the merriment of the Siciliano with a wilder, less introverted pacing, it is nevertheless neither hurried nor lacking in the synchronization that brings full circle the three prior episodes.

The Chaconne (BWV 1004) from Bach's solo violin Partita in D minor written in Coethen around 1720 and arranged for Lute, is one of the most famous works in this series. According to Donald Grout in A History of Western Music, Bach here "demonstrated his ability to create the illusion of a harmonic and contrapuntal texture by means of multiple stops or single melodic lines which outline or suggest an interplay of independent voices, a technique going back to the Lute composers of the Renaissance and related to the style of the French Lutenists and Clavecinists ofthe middle and late Baroque". The stillness of the full chords which announce this composition suggest the discipline and control which only mastery over this technique could produce. The Chaconne is neither morose nor worldly. In places practically devoid of emotion, removed from either joy or sorrow, it nevertheless breaks again and again into a beauty, haunting in its appeal. While both dramatic and outspoken, the repetition of movement to overtake the ...

Format: Book/CD Set

Contents:

SONATA BWV 1001 - ADAGIO -- J. S. BACH
SONATA BWV 1001 - FUGUE -- J. S. BACH
SONATA BWV 1001 - SICILIANO -- J. S. BACH
SONATA BWV 1001 - PRESTO -- J. S. BACH
CHACONNE IN D MINOR BWV 1004 -- J. S. BACH
PRELUDE IN D MINOR -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - PRELUDE -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - FUGUE -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - ALLEGRO -- J. S. BACH
SUITE FOR LUTE BWV 996 - PRELUDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - ALLEMANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - PRELUDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - ALLEMANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - COURANTE -- J. S. BACH
SUITE FOR LUTE BWV 996 - SARABANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - BOURREE -- J. S. BACH
SUITE FOR LUTE BWV 996 - GIGUE -- J. S. BACH
PRELUDE FOR LUTE BWV 999 -- J. S. BACH
JESU, JOY OF MAN'S DESIRING -- J. S. BACH

BOSSA, SAMBA & TANGO DUETS FOR GUITAR AND FLUTE PLUS PERCUSSION. BOOK & CD. 

SHEET MUSIC BOOK WITH CD BACKING TRAX.

LIBRO DI MUSICA BRASILIANA CON CD. 
CD DI BASI PER CHITARRA.
LIBRO DI SPARTITI PER CHITARRA CON PENTAGRAMMA.

Basi con libro.

Performed by Christian Reichert, guitar
Accompaniment : Katarzyna Bury, flute; Jochen Hank, percussion

Here is a collection of Latin masterpieces, arranged for flute, guitar and percussion. From the fabled Granada and François Borne’s rousing Fantasy on Themes from Bizet’s Carmen, to Brasilian superstar Celso Machado’s magnificent Suite Popular Brasileira and Astor Piazzolla’s Libertango, there is a wealth of thrilling music for every flutist. Listen to virtuosi Katarzyna Bury and Christian Reichert perform these classic pieces in a complete reference recording. Then you take Mr. Richert’s place alongside Mr. Reichert and the percussionist for a Latin music-fest that you will never forget! Bravo!

Includes a newly engraved, authoritative printed solo part, and a compact disc containing a complete version with soloist, in digitally recorded stereo; then a digital stereo version of the accompaniment, minus the soloist.

Polish born flute virtuoso Katarzyna Bury has garnered acclaim wherever she performs. She studied at the music academies in Katowice and also in Freiburg (Germany) with Prof. Robert Aitken (Canada). She participated in many master classes with such world-famous artists as James Galway, Michel Debost, Eberhardt Grünenthal and others. While studying in Poland she had already become flutist with the Silesian Philharmonic Orchestra and was playing numerous concerts as a soloist in Poland and Germany. At nineteen years of age she was a prize-winner at the international flute competition in Krakow. She continued her studies in Germany, where she garnered further prizes at the international music competition Pacem in terris in Bayreuth.

In 1999 Ms. Bury took the First Prize at the International Competition for Flute in Frankfurt.

Together with guitarist Christian Reichert she won international chamber music prizes in Cologne and Frankfurt. She concertized extensively with Christian Reichert all over Europe. In addition to her broad repertory, her interest in contemporary music is evident in her many performances of debut works. She has made numerous recordings for compact disc, radio and television and has performed many concerts as soloist and chamber-musician all over Europe.

Christian Reichert shows a command of the guitar that encompasses both extreme sensitivity and virtuosity. The guitarist with “the fascinating technical experience and perfect rhythm” (SZ Germany) “fills the audience easily with enthusiasm” (El País, Spain). He concertizes and gives master-classes frequently all over Europe including Russia and Bulgaria, in the U.S. and other inernational venues. (Paris, Moscow, Granada, Montreux, Stockholm, Cracow, Sofia, Vienna etc.) Christian Reichert works as a soloist with renowned orchestras like the „Rousse Philharmonic Ochestra“, the “Frankfurt Radio Symphony Orchestra”, the „Plovdiv Philharmonic Orchestra, the “Freiburg Philharmonic Orchestra”, the „Orchestra Cameralna Bratislava“, “Deutsche Kammersolisten” and many others.Mr. Reichert earned worldwide reputation with his much lauded and constantly broadening compact disc recordings for “Music Minus One” in New York. He has recorded the most important guitar concertos with orchestra like Rodrigos´ “Concierto de Aranjuez”, “Fantasia para un Gentilhombre”, concertos by Mauro Giuliani, Ferdinando Carulli, Mario Castelnuovo-Tedesco, Manuel Maria Ponce and Antonio Vivaldi. The recordings are distributed worldwide and almost 25.000 copies being sold in 18 countries.By age 21 he was a prize-winner at the Andrés Segovia International Guitar Competition in Spain. He won several prizes at international competitions all over Europe like 1998 the First Prize at the International Guitar Foundation`s Competition in Plovdiv, Bulgaria, as well as First Prize at the International Competition for Contemporary Music 1999 in Frankfurt (Germany).He finished his studies as a guitar soloist in Cologne and Freiburg with distinction. His teachers were Roberto Aussel (Argentina), Sonja Prunnbauer, Manuel Barrueco, Leo Brouwer, Roland Dyens and the Grammy winners Alvaro Pierri and Sharon Isbin. Christian Reichert has recorded more than 20 CDs and played for many television and radio stations in Germany and abroad.

SUGGESTIONS FOR USING THIS MMO EDITION
We have tried to create a product that will provide you an easy way to learn and perform these duets with a full accompaniment in the comfort of your own home. The following MMO features and techniques will reduce these inflexibilities and help you maximize the effectiveness of the MMO practice and performance system: Where the soloist begins a piece or movement solo, we have provided subtle introductory taps, inserted at the actual tempo, before the soloist's entrance. Because it involves a fixed performance, there is an inherent lack of flexibility in tempo. We have observed generally accepted tempi, but some may wish to perform at a different tempo, or to slow down or speed up the accompaniment for practice purposes. You can purchase from MMO specialized CD players & recorders that allow variable speed while maintaining proper pitch. This is an indispensable tool for the serious musician and you may wish to look into purchasing this useful piece of equipment for full enjoyment of all your MMO editions. We want to provide you with the most useful practice and performance accompaniments possible.

Performance Notes for Libertango and Granada The tambora technique on the beginning of Piazzolla 's famous Libertango is very common to us guitarists. Hit the strings with the thumb very close beside the bridge. If you want to improve this and bring out the upper line (here the high e-string) clearly, turn the right hand as much to the left until you hit the e-string with the nail part of the thumb. This will immediately give the upper line a proper accent and you can create a nice melody over the chords. I use some rasgueados in Granada that are not very usual for a classical guitarist, but more flamenco-like. In bars 1-5, 17-21 and also 100-101, I play for every quarter-note eight sixty-fourth-notes. Here is the technique I use for these places: imagine that four sixty-fourth-notes are like one circle. I always start the circle with the thumb moving up (which means from the high strings to the low strings). The reason I start with the thumb is that it is the strongest finger, and so has to be the first of these four notes. The following three notes I do with the "a," "m" and "i" fingers in this order moving down (meaning from the low strings to the high strings). This should be practiced very slowly at the beginning and a Iways having in mind that the right hand is not too tensioned and the moves are not too big. Only then can one make it to a proper speed. Christian

Astor Piazzolla - Libertango ( la musica della pubblicità VECCHIA ROMAGNA ) - 1974

Celso Machado - Suite Popular Brasileira: Paçoca (Choro) - 1988

Celso Machado - Suite Popular Brasileira: Quebra Queixo (Choro) a Loredana Benvenuti

Celso Machado - Suite Popular Brasileira: Piazza Vittorio (Choro Maxixe) a Ioria Agostini

Celso Machado  - Suite Popular Brasileira: Algodao Doce (Choro) a Thierry Rougier

Celso Machado - Suite Popular Brasileira: Sambossa (Bossa Nova) a Guidetti

Machado, Celso Suite Popular Brasileira: Pé de moleque (Samba Choro) per Laura

Georges Bizet - Borne Francois - Carmen-Fantaisie

Agustín Lara - Granada - 1932

ROCK GOES CLASSIC, Rock Favorites for Classic Guitar.

LIBRO DI MUSICA ROCK.

TRASCRITTO PER CHITARRA FINGERSTYLE.

SPARTITI PER CHITARRA CON PENTAGRAMMA.

Product Description:
Here's a great collection of 17 rock favorites arranged for the intermediate-level classic guitarist. Features tasteful settings by John Carlini, Steve Siktberg Stephen Rekas, Levi Dendy and Kirk Hanser. Presented in standard notation with fingerings, these fine tunes are perfect for classic guitarists who want to add popular music to their repertoires. Contents include Hotel California, Wonderful Tonight, Moondance, Europa and many other rock favorites.

Format: Book

Contents:
American Pie - Words and Music: Don McLean, arr. Steve Siktberg - 1971
Both Sides Now - Words and Music: Joni Mitchell, arr. Stephen Rekas - 1967
Brown Eyed Girl - Words and Music: Van Morrison, arr. Kirk Hanser - 1967
City of New Orleans - Words and Music: Steve Goodman, arr. Kirk Hanser - 1970
Don't Speak - Words and Music: Gwen Stefani and Eric Stefani, arr. Kirk Hanser - 1995
Europa (Earth's Cry Heaven's Smile) - Carlos Santana and Tom Coster, arr. Kirk Hanser - 1976 
Handy Man - Words and Music: Otis Blackwell and Jimmy Jones, arr. Steve Siktberg - 1959
Hotel California - Words and Music: Don Henley, Glenn Frey, and Don Felder; arr. Kirk Hanser - 1976
House at Pooh Corner - Words and Music: Kenny Loggins, arr. Kirk Hanser - 1969
Layla - Words and Music: Eric Clapton and Jim Gordon, arr. John McClellan - 1970
Lyin' Eyes - Words and Music: Don Henley and Glenn Frey, arr. Steve Siktberg - 1975
Margaritaville - Words and Music: Jimmy Buffett, arr. Kirk Hanser - 1977
Moondance - Words and Music: Van Morrison, arr. Levi Dendy - 1970
Nights in White Satin - Words and Music: Justin Hayward, arr. Kirk Hanser - 1967
Tears in Heaven - Words and Music: Eric Clapton and Will Jennings, arr. Stephen Rekas - 1992
Vincent (Starry, Starry Night) - Words and Music: Don McLean, arr. Kirk Hanser - 1971
Wonderful Tonight - Words and Music: Eric Clapton, arr. Stephen Rekas - 1978

ROMERO CELINO, THE ART OF SPANISH GUITAR A METHOD. SHEET MUSIC BOOK WITH CD .  

LIBRO METODO DI MUSICA CLASSICA / FLAMENCO, CON CD,

SPARTITI PER CHITARRA CON PENTAGRAMMA.

MANUALE, DIDATTICO, STUDIO, TECNICA.  

For guitar. Method book. 143 pages. Celino Romero's "The Art of Spanish Guitar" embodies more than two hundred years of guitar playing experience accumulated by three generations of Romeros. Celino embraces the variety of styles and innovations that the Romeros have brought to this art form individually and thorugh the many years of playing together.

This book explores the complexity and subtlety of Spanish guitar while explaing it in a way that makes learning both accessible and highly enjoyable. By the end of this book, you will be able to apply the correct technique to your playing, and perform pieces by some of the most famous composers for Spanish guitar, such as Carcassi, Sor, and Tarrega.

THE ART OF SPANISH GUITAR: A Method by Celino Romero Book and CD pack. This priceless text embodies more than two hundred years of guitar playing experience accumulated by three generations of Romeros. Celino embraces the variety of styles and innovations that the Romeros have brought to this art form individually and through the many years of playing together.

Written by the grandson of Celedonio, nephew of Pepe and son of Celin Romero, this method represents the culmination of three generations of classical guitar playing. Covers all of the important aspects: position and posture, right-hand rest strokes and free strokes, chords, arpeggios, tremolo, ascending and descending slurs, more, plus how to achieve the Romero Touch. Celino's explanations of fundamental technique are clear and complete with many helpful photos. Includes sections on: ornaments, harmonics; Guitar Gymnastics to build velocity, strength and flexibility; 24 diatonic scales (with positions and fingering); shaping your fingernails (including close-up photos); and all of Giuliani's "120 Studies for Right Hand Development." Concepts are illustrated with studies by Carcassi, Sor, Aguado, Tarrega; with repertoire pieces from Schumann, Chopin and others. The 29-track CD features Celino demonstrating several exercises and studies. An indispensable resource for all classical guitarists beginner to advanced. 143 pp.

AUTHOR'S PREFACE
It Would be impossible to approach writing a book on the Romero guitar technique without first giving the reverence due my grandfather Celedonio Romero, the creator of the “Romero Technique." The Romero family has given the lovers of the classical guitar a technique and a special approach to this instrument that is so remarkable. Growing up in the Romero family, I was fortunate to have not just one, but four master teachers: my grandfather Celedonio, my father Celin, and my uncles Pepe and Angel. If you can imagine a small boy reaching out to touch, handle, and embrace this instrument of exquisite beauty, then you can get an inkling of my world as a child and teenager. From that to becoming an actual practicing member of the family has been my entire life. Given this magnificent gift of membership, I decided I would like to write a book that would share with other lovers of the guitar the unique "Romero Technique." This would consist of simple melodies, perfect finger placements, and the remarkable use of integrating melody and nuance while creating passion, personality, and character in the art of playing the guitar. All of these parts collectively form the embodiment of the Romero Technique. These parts reflect the training and technique of my grandfather and my own adaptations of these remarkable fundamentals. The exercises, rudies, and repertoire included in this book are the fitst steps mat my grandfather taught his sons, which were then passed on to my cousin Lito and me.
My hope is to give you the reader, you the guitatist, you the aficionado of the guitar all that my grandfather taught my family and me-the incredible art of the guitar. When we play an instrument, we must be very systematic in building our technique, since it will be one of the most vital tools for expressing our emotions through our instrument and its beautiful music. Without a solid technique, we will continuously struggle with our hands, fingers, maybe even with our entire body and our own mind. We should abandon the illusion that one can reach joy and satisfaction in the art of music making without having the proper working toolsour hands and fingers. Finding the correct technique will be an exciting process that will require your patience, sensitivity, and love. During this development, you have to enjoy playing a single note flavored with as much love as if playing a complete concerto. If you take pleasure and pride in playing a single beautiful note or chord, it will not be long before you play two beautiful notes, and then an entire composition. Playing the guitar might seem like entering a great labyrinth with so many possible paths and detailed instructions, but if you follow the instructions step-by-step, you will reach the desired goal. 

Contents:
CD Track List
Forward
Author's Preface
Acknowledgements
Position and Posture
How to Hold and Hug the Guitar
Lines to Remember
Tension: Enemy No. 1
The Right Hand
Terminology for the Right Hand
Placement for the Right Hand
Your First Sounds
Rest Strokes and Free Strokes
(Apoyando & Enganchando)
Exercises for the Rest Stroke Thumb
Exercises for the Rest Stroke Fingers
The Romero Touch
The Left Hand
Terminology for the Left Hand
Positioning for the Left Hand and Fingers
Economy of Force and Finger Exercises
Shifting Positions
Chormatic Scales and Exercises
Chromatic Shifts
Chromatic Triplets
Synchronization
Tarrega Symchronization Exercises
Scale Synchronization
Aguado Synchronization Exercises
Ligados
Ascending Slurs (The Hammer-On)
Ascending Slur Exercises
Decending Slurs (The Pull-Off)
Decending Slur Exercises
Chords
Matters of the Right Hand
Matters of the Left Hand
Chord Exercises
Bar Chords
Tarrega Exercises for the Bar Finger
Andante Allegro (Aguado)
Study No. 2, Op. 6
Arpeggios
The Thumb
The Full Plant
Sequential Planting
Giuliani's Right Hand Studies
Right Hand Studies Nos. 2-20
Repertoire for Right Hand Development
Prelude in A Minor
Estudio
Study No. 10
Prelude in C
Prelude in E Minor
Caprice in G
Study No. 1 in A Minor
Essential Studies
Study No. 1, Op. 60
Study No. 2, Op. 60
Study No. 3, Op. 60
Study No. 10, Op. 60
Study No. 14, Op. 60
Study No. 19, Op. 60
Study No. 9 in B Minor
Study No. 10 in D Minor
Tremolo
Tremolo: Step by Step
Study No. 7, Op. 60
Another Training Method
Flowing Techniques
Recuerdos de la Alhambra (Excerpt)
Rasgueado and Flamenco
Concierto de Aranjuez (Excerpt)
Sevillanas
Verdiales
Repertoire
Saltarello
Waltz in G
Vals in G
Romanze
Minuet
Prelude No. 7
Der Frohlicher LandMann, Op. 68, No. 10
Millitary March
Adelita
Romance Anonimo
Daily "Guitar Gymnastics"
Security
Walking
Velocity
Gymnastics No. 1
Variations on Gymnastics No. 1
Gymnastics No. 2
Flexibility
Crossing Exercises
"Spider" Exercises
Strength
Ascending Slurs
Descending Slurs
Bar Exercises
Ornaments
Vibrato
Grace Notes, Mordents, and Trills
Harmonics
Natural Harmonics
Artificial Harmonics
Appendix A: 24 Diatonic Scales
Appendix B: 120 Studies for Right-Hand Development
Appendix C: The Shaping of Fingernails
About the Author

Storti, Mauro, IL DOMINIO DELLE CORDE. LIBRO

LIBRO METODO DI MUSICA CLASSICA.

SPARTITI PER CHITARRA CON: PENTAGRAMMA.

STUDIO, TECNICA, 

Lezioni complementari di tecnica melodica e polifonica per chitarra. Quinta edizione riveduta ed ampliata. Possedere a fondo una tecnica significa possedere a fondo i mezzi per manifestarsi pienamente nell'arte. Tecnica, infatti, non è solamente eseguire la nota giusta al tempo giusto: tecnica è esprimere le più sottili sfumature del sentimento con un vibrato, un crescendo, un ritardo, una nota tenuta, un suono metallico, o dolce, o sfumato.

A partire dalla fine del secolo scorso, l'arte chitarristica è stata soggetta a due svolte decisive: la prima è il sorgere della Scuola di Tarrega consistente, dal punto di vista musicale ma con le conseguenze tecniche derivanti, nell'abbandono del sistema delle posizioni similari a quelle del violino, reso necessario dall'esigenza di una più precisa configurazione timbrica delle parti nello spirito della musica romantica; la seconda, già iniziata da tempo e ancora in atto, è l'arricchimento della letteratura chitarristica con l'abbondante produzione di musica contemporanea ispirata all'arte di Andrés Segovia e dei suoi più valenti discepoli. A questi due fenomeni, la cui portata enorme sta alla base dell'attuale rinascita della chitarra, fa riscontro una paradossale stasi della didattica che ancora oggi si basa quasi esclusivamente sulle opere dei grandi esecutori dell'Ottocento. Lungi dal volere in alcun modo sminuire il valore storico-artistico dei metodi di Carulli, Carcassi, Giuliani, Aguado e Sor, è incontestabile che essi, esaminati alla luce dell'attuale situazione tecnico-musicale, presentano gravi insufficienze. Concepiti entro i ben precisi limiti dello stile classico, essi hanno via via perso della loro attualità ed efficaCia, rispondendo sempre meno alle necessità sorte nelle successive fasi dell'evoluzione musicale, mentre poco o nulla veniva ad aggiungersi a questo fondamentale gruppo di opere. Il grande apporto di Tarrega alla scuola della chitarra si è tradotto solo raramente in una chiara enunciazione scolastica, preferendo egli, nella sua eletta natura di artista, dare una forma alle sue intuizioni traducendole in studi e preludi, sull'esempio dei suoi contemporanei. È purtroppo doloroso constatare che laddove il genio artistico è più grande, il senso didattico fa spesso difetto: troppo intento a vivere la propria arte, il grande artista non ha il tempo di soffermarsi a farne l'analisi. Che pensare oggi di un Carcassi o di un Carulli che impostano il loro metodo sulla successione delle tonalità passando con disinvoltura da un quanto mai succinto esercizio melodico ad uno studio a più voci, ignorando quasi totalmente la mano destra? Che pensare del metodo di Giuliani che, pubblicato sotto il mistificante numero di Op. 1, rivela un ben scarso senso didattico, chè se il povero principiante sopravviverà alla noia dei suoi 120 arpeggi, difficilmente non soccomberà di fronte alle difficoltà delle pagine seguenti! Che pensare infine di Aguado e di Sor che, saltando a piè pari tutta la fase preparatoria, propongono allo studente, fin dalle prime pagine, quei deliziosi ma non facili brani degni di un ben più felice destino che quello di essere maltrattati da mani inesperte? Ancora oggi lo studente di chitarra cercherebbe invano un «filo d'Arianna» che possa guidarlo infallibilmente «dai primi timorosi passi fino alle altezze della perfezione» (Segovia). I due punti deboli dell'incoerente filone didattico cui attingono oggigiorno per la maggior parte insegnanti ed allievi sono l'avviamento allo studio ed il passaggio dalla tecnica classica a quella contemporanea. L'esigenza di un nuovo e più razionale metodo di iniziazione è tanto più sentita oggi in quanto l'età media degli studenti si è notevolmente abbassata. Fino a non molti anni fa si riteneva che lo studio della chitarra potesse essere intrapreso con profitto non prima degli 11-12 anni d'età, ma era in realtà la mancanza di testi e di strumenti adeguati a rendere quasi sempre infruttuoso un accostamento più precoce. Quanto al passaggio dalla scuola classica a quella moderna e contemporanea, che di solito si verifica intorno al IV-Vanno, esso può essere fonte di considerevoli difficoltà e talvolta di amare delusioni specie per quegli allievi che, per essere più diligenti, hanno meglio assimilato impostazioni e formule tecniche inadeguate o sorpassate. È bene ricordare, a tal proposito, che gran parte degli studi classici, soprattutto della scuola italiana, come pure arpeggi e scale in prima posizione, si prestano ad essere eseguiti agevolmente (forse più agevolmente!) con una errata impostazione della mano sinistra. L'uso del pollice sulla sesta corda, che lo stesso Carulli praticava, era allo stesso tempo causa e conseguenza della posizione obliqua della mano sinistra. Sui larghi manici delle moderne chitarre, tale posizione, che impedisce l'importante azione a largo raggio del mignolo, si rivela un serio impedimento, capace di rimettere in discussione tutto il lavoro svolto in anni di studio. La mano destra, dal canto suo, irrigidita da un lavoro quasi esclusivamente di arpeggio, manca di leggerezza, di mobilità, di agilità e di precisione negli attacchi. L'unico modo di aggirare questi gravi ostacoli consiste nell'affiancare agli studi tradizionali, che pur conservano, se intelligentemente selezionati e riveduti, una insostituibile funzione formativa, adeguati esercizi di tecnica capaci di prevenire l'uso errato delle mani e di familiarizzare l'allievo, fin dal primo anno, con le formule ed i procedimenti propri dell'esecuzione moderna.

L'odierna produzione chitarristica, opera di compositori in gran parte non chitarristi e quindi libera da ogni condizionamento strumentale, richiede da parte dell'esecutore un possesso totale dello strumento che può realizzarsi, a mio avviso, solo al di là del sistema tonale in quanto, proprio perché sistema, esso esclude infinite altre possibilità musicali e quindi tecnico-strumentali. Solo la pratica di esercizi atonali può consentire l'approfondimento di certi aspetti nuovi della tecnica che, apparentemente marginali, si rivelano a posteriori come fondamentali per l'esecuzione di alto livello.

Le lezioni che presento in questo volume, sono ispirate a questi concetti e mirano a sviluppare, in maniera armonica e interdipendente, tanto le facoltà fisiche (elasticità, velocità, forza ugualmente ripartita fra le varie dita, sicurezza negli attacchi e nei cambi di posizione) quanto le facoltà mentali (esatta percezione delle distanze, visione interiOre della tastiera, sensibilizzazione ai rapporti fra lo spazio della tastiera e lo spazio musicale, memoria e potere di concentrazione). Solo l'assimilazione di questi elementi può far compiere il miracolo di trasformare quell'oggetto inerte che è lo strumento musicale in una parte viva e animata dell'esecutore.