instrumentation: 2 Guitars
ISMN: 9790801507020
illustrations: Małgorzata Flis
editor: Marcin Kowalczyk
number of pages: 32
contents:
1. F. Schubert – Waltz Op. 127 No. 18
2. J.B. Lully – Song
3. R. Schumann – Humming Song Op. 68 No. 3
4. F. Liszt – Nocturne III
5. W.A. Mozart – Ah, vous dirai-je, Maman – theme from Variations KV 265
6. R. Schumann – Melody from Album for the Young Op. 68 No.1
7. J. Haydn – Serenade
8. W.A. Mozart – Papageno Bells from opera The Magic Flute
9. F. Schubert – Lullaby Op. 98 No. 2
10. P. Tchaikovsky – Doll’s Funeral from Op. 39
11. J. Brahms – Lullaby Op. 49 No. 4
12. P. Tchaikovsky – Sad Song Op. 40 No. 2
13. W.A. Mozart – Minuet from opera Don Giovanni
14. L.v. Beethoven – Adagio cantabile from Sonata Pathétique
This release is intended for beginner guitarists, as at the early
stages of education they rarely get a chance to experience the music
of the great composers. It consists of 14 arrangements for two guitars: excerpts from longer
pieces and educational miniatures. In every one of them, it is the
student’s task to lead the melody, while the teacher is responsible for the accompaniment.
Each arrangement takes up two neighbouring pages: the first one
presents the teacher’s score and the second the pupil’s solo part.
Even the youngest pupil will have no issues with reading the scores,
as the font sizes were chosen with the ease of reading in mind. The
student’s part is a single melodic line (and does not include
difficult chords for the left hand). The melodies require mostly
treble strings in the first position and the notes on higher frets
are introduced in a very planned and gradual way. A moderate
technical level of difficulty allows the student to concentrate on
the most important aspects of the performance, namely the sound quality, phrasing, articulation, and rhythmic precision.
It is up to the teacher to decide whether to use tirando or apoyando
technique.
I decided to make fundamental changes to this new edition of the
Pupil and Teacher series by removing some pieces and replacing them
with new ones. Further-more, I modified many of the accompaniments,
thus making the arrangements more stylish and easier to perform, and
I also supplemented the fingering in students’ scores. Following these guidelines will allow students
to play more comfortably and develop the ability to use alternative
fingering in various configurations and contexts. I have also
introduced harmonics, vibrato, and portamento in several pieces, as
these are not difficult to execute, yet greatly enhance the artistic value of the arrangements. I hope that these changes
will improve this new edition. Playing together is not only a source
of joy for students, but it is also a proven pedagogical method that allows for the harmonious
development of technique and musicality, whilst motivating students
to practice. I encourage everybody to use it as often as possible.
