Professional Documents
Culture Documents
M E TO D O D E G U I TA R R A
( G U I TA R M E T H O D )
P R I M E R A PA R T E
( F I R S T PA RT )
Eyth o r Th o r l a k s s o n
-1-
LESSONS
0
1.
&
0 2
#
&
&
2
4
3
4
&
1
2
3
3
5
&
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1040
-2-
2.
21
42
&
1 #
3
4
&
&
1 #
&
4
2
1
2
&
&
&
3
2
3
1040
1
2
2
0
1
4
-3-
3.
&
1
2
3
1
2
3
2
3
0
0
0
&
#
1
&
#
&
1
2
2 #
b
3
2
&
&
3
n
3
1 n
&
b
1
3
3
1040
-4-
Andantino
#
4.
# 2
4
&
II
0
&
&
&
2
4
&
3
4
&
3
1
II
II
#
3
3
1040
4
1
1.
II
2.
-5-
&
&
3
2
5.
&
4
3
2
1
2
3
4
3
2
.
.
3
j
3
8
&
2
&
&
.
3
.
.
#
4
#
#
J
1040
-6-
6. & 8 . 3
j
4
j
.
j
j
.
2
3
4
4
&
.
.
&
.
.
7. &
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&
2 1
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J
4 2
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&
2 1
. #
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1040
2 0
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j
4
3
2
J
j
4
3
2
J
4
3
#
1
.
.
.
.
.
.
J
3 .
8
.
4
4
.
.
1 0
.
3
3
J
.
b
. 2
4
2
3
j
4
3
-7j
#
8.
&
3
.
8
3 4
j
4
&
1
4
#
&
2
4
n .
2.
1.
2 4
j
#
9.
3
8
&
&
1
3
1
2
1
3
.
#
.
#
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2
0
5
#
&
1
3
.
4
1
2
0
5
1040
-8-
10.
.
4 .
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&
&
.
3
# .
# .
&
&
3
2
&
&
# .
# .
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0 4
3
1
-9-
11.
6
3
8
&
&
&
&
n
2
#
2
#
4
II
#
&
2
3
#
&
4
1
n
3
J
3
1040
.
2 .
II
4
1
1
- 10 1
Moderato
#
12.
&
..
#
&
4#
2
3
&
..
4
5
4
2
&
#
4
&
2
3
1
# .
b
1
2
4
.
2
1040
2.
1.
3
4
.
n
&
n
{
- 11 4
13.
3
4
&
&
4
2
1
3
4
1
3
#
&
#
#
n
1
1
3
&
&
#
1
&
n
1
&
1
#
#
1
#
n
n
0
j
#
n
#
1
3
4
1
3
4
1040
- 12 -
14.
&
3
8
1
4
&
4
2
{ {
.
.
1
2
3
2
1
2
4
3
&
.
.
2
4
.
.
. #
j
.
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&
4
1
3
# .
.
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&
.
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.
{ {
..
n
.#
.
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j
1
4
..
n
.#
3
4
3b
.
2
.
.
.
1
4
j
1
4
3
0
2
.
.
..
.
n .
15.
&
2
3
.
.
..
# .
n
3
2
1040
..
- 13 -
16.
&
6
8
2
.
I
.
1
I .
3
1
3
0
2
0
4
2
.
.
1
2
&
2
I .
.
I
1
I .
{3.
&
1
2
3
I .
3
1
3
1
2
3
J
5
4
2
&
.
I
.
1
&
.
I
1
1
3
&
3
0
J
#
.
b .
2
1
2
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- 14 -
17.
3
8
&
I
3
1
3
I
3
&
3
1
2
4
3
&
1
3
&
I
3
1
2
4
3
1
3
I
3
&
.
2
1
3
4
5
&
j
1
3
1
3
I 3
4
3
1
3
4
5
1040
- 15 -
18.
&
..
&
3
..
#
&
1
3
&
..
..
..
2
..
..
..
.
2
.
# .
. 3
1
3
..
1040
#
. #
n
. #
n
1
#
..
.
.
#1
3
K
0
1
#
. #
n
. #
n
1
n .
.
3
..
0
1
#
..
. 1 .
#
3
K
..
&
.
2
..
3
&
..
..
..
..
..
- 16 -
19.
&
&
&
&
&
&
1040
- 17 2
&
&
3
&
&
&
&
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- 18 -
20.
2
4
&
.
.
..
4
3
&
.
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0
1
3
4
#
. 3
3
#
0
1
2
0 2
3
j
.
.
&
..
4
3
4
3
0
4
&
.
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0
1
3
4
1 #
# .
.
&
#
3
1 0
j
2
.
.
&
#
1
1 #
1
3
3
3
4
1040
2
3
#
1
3
1
- 19 -
21.
2
4
&
2
4
&
2
4
4
3
1
2
2
1
&
2
4
&
2
4
1
2
4
3
#
2
II
#
&
2
3
# 3
1
1
1
2
1
3
&
2
1
2
3
II
#
0
# n 1
# n # n
2
2
3
0
1
1
2
1
2
1040
1
3
1
2
4
# 3 n
#
1
2
3
j
4
4
2
- 20 -
23.
3
8
&
2
3
.
# #
3
#
2
&
.
2
3
.
&
1
1
1
2
4
3
2
3
2
2
3
1
2
k
.
4
2
3
1
2
24.
3
8
&
2
3
2
3
.
3 Q
&
2
3
. 1
3 Q
. J
2
3
4
2
#
&
{ {
1040
. #
2
3
4
4
4
1
{ {
1
2
k
4
0 0
2
.
.
Q
2
4
- 21 -
24.
3 .
8 3
&
&
4
1
&
3
2
&
.4
&
4
1
IX
4
.
.
.
.4
1040
VII
IX
#
2
3
2
3
4
1
VII
.
.
&
j
1
0
1
j
4
2
3
- 22 -
LIGADOS
1
25.
3
8
&
1
2
&
2
1
2
3
k
k
1
2
k
#
&
0
2
&
#
&
1
2
.4
0
0
2
j
1
2
2
3
1
2
4
1
2
1
3
4
1040
0
4
4
1
2
1
&
- 23 -
26.
3
8
&
# #
#
&
4
3
#
2
&
4
3
&
1
2
n
.
#
&
# n
2
3
3
2
1040
1 2 1
#
Q.
Q.
2
1
&
#
2
1
2
- 24 -
EL ARRASTRE
Allegro moderato
3
27.
&
3 .
8
1
3
.
.
1 #
&
2#
. #
..
n
2
1
3
.
.
&
..
j
2
. #
J
1
1
3
#
&
3
1
..
3
2
J
1
&
#4
3 .
# .
2
1
4
# .
2
1
1040
#
2
&
1#
#
2
..
- 25 4
&
3
1
1n
&
3
1
&
&
&
3
2
4
3
1
&
.
.
2
#
1
4
3
j
.
j
1
2
.
1040
n .
4 3
4
4
0 n .
.
1 #
.
n .
n
n .
0 n .
.
1 #
#
1n
# .
&
1
0
2
1
4
2
- 26 -
F MAJOR SCALE
On one string
&
b c
On two strings
&
On three strings
3
&
1.
&
&
2
3
2
3
1
3
#
&
#
#
1
3
{ H
VIII
#
#
Q
.
Q.
&
1
2
.
.
1040
- 27 -
2.
&
2
4
1
4
III
3
&
&
&
III
1
&
&
&
2
4
2
4
1040
This study can be played in different formations as shown below, both slow and fast.
2
4
etc.
etc.
etc.
- 28 -
3.
&
&
&
&
2
I
2
&
1
I
2
&
1
&
poco rit.
1040
- 29 -
4.
2
4
&
&
#
.
2
2
3
&
&
#
{ .
&
b #
&
1
1 #
#
.
1040
- 30 6
5.
&
&
&
&
#
&
3
&
&
2
#
&
1040
- 31 4
6.
&
# 2
4
&
4
&
&
#
n
0 4
1 1
II
4 2
&
# 2
4
&
# 2
4
&
# 2
4
1040
3 4 4
etc.
etc.
etc.
1 4 0
1
3
0 3 0
This study must be played with variable rhytm patterns, as shown below.
1 4 0
2 34
1 0
3 0
1 2
II
1 0 4
3 1
2 1 3
- 32 I
7.
b c
&
&
I
3
&
1
1
&
&
III
III
3
&
&
&
n
2
1040
1
3
DIONISIO AGUADO
M E TO D O D E G U I TA R R A
( G U I TA R M E T H O D )
S E G U N D A PA RT E
( S E C O N D PA RT )
-3-
&
4 2 2 1 3 1
3 1 3 1 4 3 3 1
3 1
bc
10 3 1 3 1 4 3
3 1 3 1 3 1 2 1
&bc
&bc
&
.
. . . . . .
.
.
.
. . . .
.
. . . . . . .
.
.
.
.
. .
. . .
b c
DOUBLE LEGATO
3 1
4 3
3 1
b
c
&
1 0
3 1
4 3
4 3
3 1
3 1 3 1 3 1 4 3 3 1 3 1 1 0
b
&
Copyright 2000 by The Guitar School - Iceland
www.eythorsson.com
1067
-4-
1 3 3 1 3 4 3 4
1 0 1 3
b
&
1 3 3
1 2
1 3 4
2 4 3
3 4 3 1 3 3 1 3 4 2 4 2 1 2 3 1 3 3 1 3 1
b
&
4
.
.
.
.
. .
b
&
. . . . . .
.
b
&
&b
24
24
34 1 3 1 3
24 1 2 1 3 1 3
13
13
24
34
13
13
34
2 4
b
&
2 4 3 4
1 3 1 3 2 4 1 2 1 3 1 3
b
&
1 3
1 2
2 4
1067
3 4
-5-
&
Study the next exercise with the same fingering as the previous one.
&
&
#
&
n
# n n
b
#
#
n
#
3
n
# n
&
&
&
b
1
.
.
.
# .
# .
etc.
.
.
# etc.
.
# .
.
.
&
. .
.
etc.
1067
.
.
etc.
-6-
&
&
#
n
&
&
# n
n b
# n
2
etc.
.
. n .
#
.
etc.
. . #
1
Study the following exercises to the same extentions as the previous ones.
&
&
&
#
3
#
0
&
1067
n #
n
#
#
3 1
-7-
Do not lift the first finger while fourth finger plays the legato note.
&
Study with different accents, either on the first or the second note.
&
b
4
1
3
Work these exercises slowly to make all three notes sound even.
#
&
1 3
1 3
1 2
1 3
4 3
4 3
4 2
4 3
&
#
&
&
&
1067
-8-
&
&
&
&
&
&
&
b
1
1067
&
#
1
#
4
3
1
-9-
LEGATO - JUMPS
&
#
1
&
&
&
&
#
n
n
b
4
b
1
&
&
&
#
2
1067
n
1
- 10 -
.
&
#
&
&
#
4
&
&
n
3
#
&
#
&
# n
# n
1067
- 11 -
2
4
&
&
2 3
2 4
2 4
&
# c
&
3
4
1
#
&
# 3
2
#
&
1067
- 12 -
Study with different accents, either on the first or the third note in each group.
&
#
1
2
2
2
1
# n
# n
2
2
&
#
n
2
&
#
2
&
n
#
n
2
#
4
2
4
1
LEGATO - CROMATIC
#
2
4
&
2
4
&
1 0
12
8
&
#
&
2
4
n
n
4 3
3 4
# n
1 0
1 2
3 2
1 4 0 4
2
# n
n # #
1
1067
2 4
3 4
n
# n
# n
# n
1 0
3 4
3 4
0 2 1
#
#
# #
1
1 0
3 4
n #
0
n # #
- 13 -
LESSONS
GRACE NOTES DOWNWARDS
Allegretto
#
#
&
3
8
j
0
#
#
&
#
#
&
2
3
# .
0
3
4
.
J0
1
. 1
#
3
2
.
#
#
&
3
4
1
I
I
3
4
5
&
1
#
4
4
I
3
3
I
4
.
2
n
n
.
2
Fine
#
#
&
1
1
I
2
4
1
1
I
2
I
3
k
4
#
2
..
0
3
4
#
&
#
#
2
1
I
2
2
1
4
3
4
3
2
1
# .
II
.
n
#
1
1
2
1
3
1
D. C. al Fine
1067
Andante
#
4
1
&
&
1
2
#
2
0
0
1
3
1
4
2
1
#
4 2
II
.
.
3
4
&
&
#
#
&
3
8
#
#
#
#
{
4
&
#
#
n .
4
1
n .
I I
I
#
1
1067
1
5
II
j
2
3
2
&
&
Moderato
3
&
# 3
4
.
4
2
3
&
1 4
#
Q
Q
1 Q
Q
Q
Q
3
2
q nq
3
IV
#
II
0 n
4
3
.
.
1
2
j
4
I
4
1
{3
&
0
3
1
&
&
1 #
0
3
1
3
2
II
1
1
3
0
2
2 1 4 2
1067
4
2
#
#
&
3
8
.
0
#
#
&
# .
#
#
&
0
1
3
4
&
j
#
2
2
j
#
#
#
&
j
0
.
1
3
j
#
&
#
#
3
4
1067
- 17 -
THIRDS
SCALES
C Major
2
3
4
&
0 2
3
2
4
3
4
&
1 2 4
3
2
4
1
0
G Major
2
1
#
&
# 3
4
0
3
&
3
4
&
4 1 3
4 1 3
3
G Minor (melodic)
&
# n
n
1
1 2 4
3
4 2
2
b 3
b
4
2
4
3
1
4
2
1
1
4
3 3
3
n
b
n #
n
1
4
0
3
1
1
n #
#
4
Bb Major
&
b 3
b
4
3 4 2
F Major
3
4
A Major
D Major
3
n
2 4
4 2
3
1
4
3
n
4
3
1
4
3
1067
- 18 -
C Minor (harmonic)
&
3
b b
4
0
3
1
&
2
0
4
&
&
&
1
1
1
1
3 1
4
2
1
4
4
.
.
1
3
1
2 4
2
3
4
2
3
1
1
..
1
2
1 4
2
4
3
2
1
2
2 3
4 1
4
4
4
4
1
3
0 1
1
1
2
0
F Major (thirds)
3
4
1
3
4
4
4 4
3
4
A Major (thirds)
#
3 2 2
&
1
2
3
4
&
G Major (thirds)
n
b
n
3
1067
2
2 4
1
4
3
3
1
..
- 19 -
LEGATO - THIRDS
#
&
#
&
#
#
n
n
n
# n
# n
# n
#
#
# c
# n
# n
Legato thirds with finger changes, then one finger must fall firmely on the note
while at the same time the other finger slides from one note to the other.
2
#
# 3
4
1
&
#
#
&
n #
n
#
#
n
n
n # #
#
#
n #
#
&
n
n #
n
#
#
n
n
#
n
2
#
&
4
2
1067
2
3
.
.
- 20 -
3
4
&
#
#
n #
n
#
# #
n #
n #
# n
# n
&
2
n # n
# n
# n
&
#
2
#
#
2
1067
#
#
3
n
n
#
#
#
#
#
#
#
#
#
#
#
#
n
n
#
3
&
&
&
&
2
n
n
3
- 21 -
&
# #
#
#
n # #
#
#
#
3
n
n
# n
n
2
n # #
n # #
n #
#
n
n
#
#
n
#
# #
n #
n
#
#
n # #
n #
#
#
&
n #
&
&
&
&
#
#
#
#
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1067
- 22 -
SIXTHS
ON FIRST AND THIRD STRING
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4
4
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3
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1067
- 24 -
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- 25 -
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1067
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- 26 Let the bass notes live while the legato notes are played.
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1067
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- 27 -
STUDIES
Allegro
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- 28 Andante
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1067
- 29 Allegretto
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- 30 Allegretto
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- 31 Allegretto
6
3
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D. C. al Fine
1067
- 32 Andante
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1067
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- 34 Allegro
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1067
- 35 Allegro
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- 36 Andante
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- 37 Allegretto
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1067
- 38 Andante
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1
0
DIONISIO AGUADO
M E TO D O D E G U I TA R R A
( G U I TA R M E T H O D )
T E R C E R A PA RT E
( T H I R D PA RT )
-3-
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1072
- 10 -
STUDIES
Emphasize the melody.
Allegro
4
0
3
c
&
4
2
&
1
3
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2
2
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w
2
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2
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1
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- 11
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1072
2 4
- 12 II
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- 13 Allegro
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D. C. al Fine
1072
- 14 Andante maestoso
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1072
- 15 Andante
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- 16 Allegretto
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- 17 -
3
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1072
- 18 -
Allegretto
3
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Cantabile
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1072
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- 21 V
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- 22 -
Larghetto
2
4
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1072
- 23 VII
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1072
1
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- 24
Andante
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1072
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- 25 -
&
..
VII
IV
4
p i
p
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4
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2
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V
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VII
3
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m a
m i
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1072
- 26 III
Allegro
#
11
2
4
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3
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2
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1
0
III
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pi p i
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3
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2
0
1072
n
n
3 4
- 27 Allegro
a m i m
a m i m
12
a m i m
0
c 21
&
a m
a m i m
0
2
3
i m
a m i m
1
4
3
#
&
2
4
1
2
3
2
4
0
1
2
1
2
3
VII
4
&
F
3
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&
1
1
2
3
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2
3
2
3
&
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2
3
0
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2
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3
2
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3
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3
4
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4
cresc.
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1072
- 28 Adagio
#
13
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4
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&
cresc.
III
#
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V
#
&
III
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.
2
VII
#
2
n
2
1072
- 29 -
14
# 6
8
&
4 4 0
2 1
i
p i ma m
mi
&
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&
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3
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a
m
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34
1 4
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VII
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1
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4
3
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VII
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pi
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III
p i ma m
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#
III
VII
Allegro vivo
2
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n
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1072
p i
ma m
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4
5
- 30 Allegro
#
15
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c
&
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1
1
3
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2
&
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1072
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3
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- 31 -
&
2
3
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FERNANDO CARULLI
( C AR U L L I B RE V IE R)
29
Guitar works for
1st and 2nd grade
-3-
POCO ALLEGRETTO
(Op. 246)
1.
2
4
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D. C al Fine
ANDANTE
(Op. 246)
2.
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(Op. 121 nr. 1)
4
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(Op. 211 nr. 1)
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ANGLAISE
(Op. 121 nr. 6)
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2
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ANDANTE GRAZIOSO
(Op. 241 II nr. 1)
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1009
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(Op. 241 II nr. 2)
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ANDANTE GRAZIOSO
(Op. 211 nr. 2)
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(Op. 241 II nr. 3)
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POLONAISE
(Op. 241 II nr. 4)
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(Op. 211 nr. 3)
11.
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ANGLAISE
(Op. 121 nr. 4)
j
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1009
-9-
SAUTEUSE
(Op 121 nr. 7)
j
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ANDANTE
(Op. 241 nr. 7)
14.
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- 11 -
SICILIANA
(Op. 121 nr. 15)
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1009
- 12 -
LARGHETTO
(Op. 241 nr. 11)
j
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(Op. 121 nr. 5)
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- 13 -
WALTZ
(Op. 241 nr. 8)
1
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3
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2
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- 14 -
ANDANTINO GRAZIOSO
(Op. 241 nr. 14)
19.
2
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3
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MODERATO
(Op. 211 nr. 6)
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- 16 -
ANDANTE
(Op. 211 nr. 7)
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- 17 -
WALTZ
(Op. 121 nr. 12)
22.
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1009
- 18 -
ANDANTINO GRAZIOSO
(Op. 121 nr. 12)
j
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1009
- 19 -
POCO ALLEGRETTO
(Op. 211 nr. 10)
24.
&
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1
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D. C. al Fine
1009
- 20 -
RONDO
(Op. 241)
Poco Allegretto
25.
&
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# n
2
4
# n
&
&
n #
&
fi j
&
sf
sf
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1009
1
2
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a tempo
- 21 -
&
&
# n
&
. .
&
&
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rit.
D. C. al Coda
CODA
&
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1
1009
- 22 -
RONDO
Poco Allegretto
2
4
26.
&
&
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#
#
4
2
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n
#
n
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- 23 -
#
&
#
#
#
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j
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1009
- 24 -
ANDANTE
(Op. 121 nr. 19)
1
27.
2
4
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1
2
2
3
..
&
..
&
&
j
#
&
j
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2
3
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1
2
3
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n
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1
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1009
- 25 -
&
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3
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1
3
..
3
4
1
3
j
&
n #
&
&
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n
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n
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1
3
3
4
1
3
D. C. al Fine
1009
- 26 -
RONDO
(Op. 241 nr. 10)
Poco Allegretto
j
#
28.
&
6
8
&
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&
3
2
4
1
0
1
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.
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&
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1
D. C. al Coda
rit.
&
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4
3
1009
.
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4
3
.
.
.
.
- 28 -
ANDANTE
(Op. 121 nr. 19)
29.
&
j
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4
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4
#
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1
dolce
1009
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Fine
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2
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1
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1009
rit.
3
2
D. S. al Fine
-2Allegro
a m i
&
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a m
i
&
3
a m
1 4 2 0
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p i m
&
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nH
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www.eythorsson.com.
1007
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- 24 Allegretto
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5 guitar pieces
A n d an te
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-4-
ADELITA
Mazurca
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4
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3
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3
1
2
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1
21
1
2 2
1
1
3
IX
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3
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.
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4
4
2
1
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1
rit.
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D. C. al Fine
a tempo
1054
MALAGUEA
F. Tarrega
8
Copla
8
8
D
8
8
Copyright 1999 by Guitar Library Edition Italy
- 12 -
EL COLUMPIO
Francisco Tarrega
Lento
1
# 2
4
&
6
1
2
1
3
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1
2
1
3
2
3
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2
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14
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2
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3
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2
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1
1
4
5
1
2
7
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7
7
- 13 -
17
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2
3
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1
2
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#
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2 4
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2
3
2
1
&
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2
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3
25
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22
2
1
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19
2
4
2
3
30
&
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#
1
0
0
0
2
3
1051
harm. 12
harm. 12
- 16 -
TANGO
Francisco Tarrega
Andante
4
&
5
6
&
4
1
3
b 2 .
4
.
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12
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2
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n#
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VALS
Tema de Strauss
Francisco Tarrega
Moderato
1
#
&
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4
4
3
3
1
2
3
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3
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1
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2
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2
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2
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.
Copyright 2000 by The Guitar School - Iceland
www.eythorsson.com.
3
2
2
.
4
1055
.
.
D. C. al Fine
-8-
VALS
En la mayor
Allegro
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4
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Francisco Tarrega
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3
.
3
4
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3
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- 10 -
VALS
En re mayor
Francisco Tarrega
Moderato
6
=D
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SUEO
Francisco Tarrega
Moderato
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2
molto rit.
a m i am i
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29
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1076
p molto legato
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69
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rit.
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97
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2
0
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99
2
3
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2
105
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U
4
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rit.
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CAPRICHO ARABE
Serenata
6
&
=D
Andantino
2
3
Francisco Tarrega
III
>
#
4
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3
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2
ten.
a tempo
Copyright 2000 by The Guitar School - Iceland
www.eythorsson.com.
1.
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III
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3
b
4
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1
3
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4
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>
1
4 1
4
2
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4
&
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1
J3
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2
2
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b
1
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1
rit.
harm 7
1026
2 1 #
.
J
#
3
4
J
3 2
VII
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0
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II
a tempo
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3
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n #
#
#
2
2
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n
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0
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1
1
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2
4
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0
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2
>
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..
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J
III
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J
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II
1
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J
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b .
a tempo
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1
>
4
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J3
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n
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p
U
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rit.
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2 1
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poco cresc.
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b
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3
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1 4
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3
4
J3 J
1
1
VII
4
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n
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harm 12
ten. J
MILONGA
(DE 2 4 PIEZAS SUDAMERICANAS )
A Juan Ruano
JORGE CARDOSO
= 56
3
3
2
3
2
3
2
3
2
4
6
2
3
2
marcar el bajo
24 Piezas Sudamericanas, p.2
C.II
2
2
2
4
5
2
2
C.III
C.I
C.I
C.III
C.VIII
3
2
3
5
3
5
5
6
4
5
C.III
C.II
C.III
4
5
C.III
2
3
C.I
C.II
2
5
C.V
D.C. al
y Fin
Pak, Tae-yun (HiTEL ID: thilbong)
1995. 1. 15. Sunday
C.III
FIN
5
MILONGA
(OPCIONAL)
2 GUITARRA
= 56
C.III
C.I
C.III
C.III
C.I
C.III
C.I
C.V
D.C. al
y Fin
Pak, Tae-yun (HiTEL ID: thilbong)
1995. 10. 31. Tuesday
C.X
FIN
F
These twelve Studies are relatively brief but each is focused on one or more
musical and/or technical objectives:
slurs (left hand ligados).
arpeggios of various kinds.
rapid changes of texture and velocity.
juxtaposition of three versus four.
contrary motion.
mainstream jazz inequalities.
fourths.
rapid alternation of compound slurs with staccato chords.
harmonics, both natural and artificial.
legato versus staccato lines.
downward bending of pitch, expressivity, and unfamiliar key.
rapid alternation of barr chords or harmonics with slurred
octaves, and irregular changes of metre.
Fingering is always a deeply personal matter; some of that in this edition may be
unexpectedbut it is that arrived at (after long consideration) by Antonio de
Innocentis, the dedicatee of these Studies, who produced a finger-perfect homerecorded CD of them about ten days after receiving the scores!
Metronome markings are suggested averages, not intended to be rigidly adhered
to. The essential thing is that the spirit of the music itself should be maintained.
N
Roman numerals following C represent barrs at the indicated fret, their depth
is defined by the associated vertical brackets.
Roman numerals alone indicate that notes are to be played at the normal places
in the position they define.
Dotted curves indicate left hand slurs (ligados),
Finger numbers connected by thin lines represent continuation of the finger
along the same string, without portamento.
Note-heads connected by thick lines (in No.) indicate marked portamenti.
Only the first octave of each pair is to be struck.
J W. D ()
TPS -040
Twelve Studies
for Guitar
John W. Duarte
Op. 140 (2001)
-I-
q = 168
Allegretto
0
1
0
cIII
1
0
2 3 2
1
2
cII
21
1
0
3 4
2 1 3 2
3 4
3 4
3 2
3 4
cII
2 4
2 4
3
3
0 0
2
2
1
4 0
2
2
2 1
1 2
3 3
1 2 4
3 4 1 3 3
16
3
2
2
12
3
20
0 2
4
4
4 2 1 0 3 1 0 3 1
24
1 2
2 4
0 3
1
1 3
1 2 4
1 4
1
3 2 1 2 3 2 1 2
vib.
2
4
1
0
a tempo
4
cIII
poco
rit.
4
3 2
3
1 2
4
28
cVIII
1
1 3
4
1 2
Copyright 2001 by Richard M. Long, International copyright secured. All rights reserved.
Unauthorized copying is an infringement of the law. Printed in U.S.A.
TPS -040
Prestissimo
2 3 2 3 2 0 4
3 2 1
3
4 1 0 1
4
3 2 1 4
4 3 0 3
f
cI
3 2 4 3
3 4 2 1
2 3 3 3 3
4 1 4 3
3
0
4
0
4
2 0 0
1
0 4 0 1
3 1 0
2
1 4
4 0
1 4 2 0
4
3 2
4 1 2 0
p sub.
f sub.
p sub.
12
0 1
1 3 2
1
f sub.
p sub.
f sub.
4
2 1
3
1 2
3
4
2 1 4
1 2 4
p sub.
15
4 3 0
17
f sub.
poco rall.
2 0 1
4 1 0
19
p sub.
f sub.
p sub.
TPS -040
22
A tempo
cX
3
2
3
3
4
4
3 2 1 4
3
4 3 0 4 0 3
0 0 0 1
25
cVIII
1
2 3
4
1
2 3
0 3 1
4 1
2 4
p sub.
28
cVI
2 4 3 2
4
2 2 3 2 0
2
1
0
31
f sub.
p sub.
f sub.
p sub.
cIX
cX
3
4 3 2
4 1 3
2
35
cVII
cVIII
43 3
3 2 1
3 1 2 4 1
54
0 4 1 0
38
p sub.
3 1 3 4
p i
a p i a p a m i
apoyando
TPS -040
4 1 3
a m i a
m
f
- III -
X4 3
q = 120
Amabile
3 2
3
1
31
0 4
1 3 2 0
3 2 0 3 1
vib.
cVI
3 3
2
4
2
4
1
4
0
4
0
4 1
0
1 2
4 1 3 4 1 3
1
1 3 1 2 1 0
0
3
4
4 1
54
0 4 1 0
65
cVIII
4
3 3 cV
4 cIV cV
4
4 2 0 1 4 4 0
2
0
2 1
3
2
23 3
3
cIII 21
0
cI 00
cV
4
0 Is the 4 on A correct?
4 2 4 1
2
2
1 0 2 0
1 4 4 103
3
3
12
p sub.
16
43 cII
2 0
2 0
mf sub.
4 2
4 23 1
1 4
0
3
1
20
4 3
3 1
4 2
1
0
1
5 ??
III
2
4 4 2
2
3
3
1
1
cI
23
27
4 2
3
4 4
3
23
1
2 4
0 1
1 4 cI
4 2
4 2 1 0
1
0
3
3 1
0
vib.
3
0 3
TPS-040
- IV -
q = 63
Tempo giusto
mp
cI
17
cI
cI
2
4
mp
mp
cVI
3
2
3
4
3
3
3
3
2
3
0
4 cIII
mp
mp
f
3
29
cI
4
2
1
4
53
5
3
25
21
13
1
5
senza rall.
TPS -040
-V-
q = 172 ca.
Prestissimo 0
3
3
4 3
4
1
2
3
2
1
0
1
4
4
2
1
4
0
f
1 0 4
3 2
2
0
3
2 0 0
0 3 3 0
3
4
cII
2 0 4
2 0
4 2
1
0
4
4 1 3
4
2
11
4
0
0 2 3 0
1
1 3
0
4
0
1
3
0
0
3
3
1
2
2 1 f
1 0 3
p
16
4 2 0
1 4 cVII
2
1 2
2 0
3 2 0 2 0
20
1 4 2 1
a m
2 3
3 2 3
cII
28
cI
0
0
0 2 3 0 2 3 0
p
2.
33
1.
0 4
1 2
3
2
1
0
4
0
1
4
0
1
0
4
1
0
3
p
24
1
4
2 cV 4 4 2
cIII 4
4a
cVII
TPS -040
3
4
- VI -
q = 104
4
04
4 1
3
3 0 4 0
0
3
32 4
0
0
2
1
2
0
3
0
0 2
4
0
3
4
0
0 3 2 0
0
3
3
1
1 4 2
0 4 1
2
1
2 0
0 1
3 0 2
3
2 3 4 0 1
0
3 0
0
4 2 1
3
1 4 3
12
0
3 4
1
0
2
1
3
2
1
3
3
1 1 4 1 1 4
3 3 0 3 3 2
15
3
1
3 3
3 3
cI
4
4 32
3
3
1
4
3
0
19
2.
1.
1 2
21
3
3
3
3
3 3
3
2
2 1
3
24 31 41 02 31 41 02 31
2
dal al
23
Coda
27
3 0 2
3 4
e poi Coda
3
2
3 0 4
#
Pairs of eighth notes (e e) are to be played slightly unevenly (with a gentle lilt) as q e
TPS -040
- VII -
h = 104
Allegramente
cVII 4
3
2
3
1
24
0
0
cIV 43
0
0
2
3
0
1
4
cVII
3
3
4
cV
3
cV 4
cVII4
cIX 4
25
29
cX
4
3
cVIII
3
31
cVI
3
4
3
esitante
43
2
24
a tempo
cII 4
00
cIV
2
0
cIV 2
3
3
1
1
4
mp
4 32
cVII
cIV
4
3
4
3
23
1
poco rit.
21
5 2
4
00 3
4
3
17
cIV 4
2
0
0
1
1
cIII
3
43
4
40
1 1
4
p
0
0
4
2
21
3
00
13
4
2
f
TPS -040
a tempo
4
2
senza rall.
31 2 3
1
00
4
4
3
q = 132-138
Poco giocoso
42
4
3
- VIII -
2
2
cVI
3
3
4 33
31
52
0
1
4
3
4
3
cIV
31
2
5
4
1
2
2
41
5
4
3
4
3
4
4
4
4
4
4
2
3
3
21 02 3
2
2
3
3
1
0
0
4
3
1
31
13
4
1
3
0
3
2
12
0
41
1 3 23
3
0
4
4
1
5
2
24
15
2
5
cIX
4
18
2
1
4
3
4
4
3
3
4
2
2
3
1
0
1
1
1
4 1
TPS -040
4
3
04
1
1
6
- IX -
q = 80
Tranquillo
XII
4
1
IX
VII
1
IX
2
XII
4
XII
6
IX
1
VII
XII
4 1
XII VII
IX
1
VII
XII
5
4
VII
VII
6
1
3
1
XII
XII
XII
1
VII
XII
6=D
1 VII
VII
1 0
A tempo where?
13
1
3
45
3 6
12
4 6
4
4
poco rit.
XII
V
4
3
4 1
4
4
2
2
15
1.
H.8va
1
0
3
2
46 2
VII 3
4 2
0
0
1 4
TPS -040
2.
cIII
4
3
21
2
0
3
D.C. al
loco
alvibrando
-Xq = 96
0
3
1
4
0 4
Andante
2 4 3
1
2
2 1 4 4
1
2
0
3 2 0
3
3
0
4
10
1
3
3
1
13
16
0
0
0
3
3
2
3 1
3
2
0
1
4 3 2
1
4
1 2
poco rit.
a tempo
3
2
2
1
4
3
4
0
1
1 2 4
3
3
4
23
3
3
cIV
0
1
6
20
Play legato all quarter- and half-notes and bracketed passages containing them.
TPS -040
- XI q = 60
cVII
3 4
cVI
4 2
2
1
4 2
3 2
4
0 3
cVI 4
4 2
16
2
4
1
3
2
0
1 0 2
4
3
0
1
cVI 4
2
3
1
2
1
0
cIV
4
4 2
cIV
cII
4
cI
2
3
1 0 0
3 2
3 2 4 2 3 4
0
2
0
I3
0
0
3
0
1
4
3 3
2
0 1
3 4
2
0
1
13
cI
4
2
0 2
16
4
02
34
cI
3
0
cIV
22
18
0
23
2
3
4
4
0
43
1
4
2
poco rall.
5
4
62
H.XIX
3
1 34
1 Put finger on A , push sideways far enough to produce A , THEN pluck and allow to return to A.
2 as for 1 - G to A
TPS -040
- XII -
q = 152
sempre ( )
Energico
41 2
cV
H.XII
7
4
6 41
4 1
1
11
41 1
cVII
17
14
20
24
H.VII
5 41
cIII
41 1
cVI
poco rall.
41 1
28
TPS -040
H.XIX
ISAAC ALBENIZ
CADIZ
R e v i sed and f inger ed
by
Eythor Thorlaksson
-3-
CADIZ
Rev. and fingered by
Eythor Thorlaksson
Isaac Albeniz
3
4
&
0
2
sempre legato
0
3
&
# 1
a
0
..
i m
F a tempo dolce
# 1
poco rit.
3
4
ten.
VII
7
&
2
1
1
4
1
# 1
ten.
VII
10
..
&
# 1
&
3
3
2
1
1
4
3
1
2 #
4
1
poco rit.
&
II
16
j
4
4
1
II
13
# 1
F a tempo
#
2
marcato 3
1094
#
1
-4-
19
&
1
1
3
3
1
2
2#
1
0
# 1
1
F a tempo
poco rit.
ten.
VII
22
&
..
# 1
4
1
1
1
4
1
# 1
1
ten.
VII
26
..
&
# 1
1
1
2 n
0
0
s p rit.
ten.
29
&
#
0
4
0
1 #
2
0
33
&
#4
3
1
2
4
36
j
2
3
4
4
3 n
#
1
1
rit.
1
2
ten.
1
1
1
0 n
0
j
4
4 1
0
1
IV
4#
3
&
VII
3
3
F a tempo
ten.
n n
n
4#
3
0
3
#
1
p a tempo
1094
0
2
-5-
3
39
&
0
3
morendo
fi
0
2
n n0
n 1
2
rit.
42
&
0
2
3
&
III
1
2
#
1
III
III
&
48
3
4
3
45
#
1
rit.
f a tempo
51
&
&
3
54
#
1
0 n
0
4
3
1
1
3
2
4
&
0
1 #
.
f
0
1
n
4
0
1 #
2
1094
a tempo
rit.
57
1
1
2
4
-6IX
3
59
1 #
n
2
&
n 2
# .
p a tempo
rit.
III
62
VIII
&
1
3#
3
2
dolcissimo
VIII
3
64 3
&
1
2
4
3
0
1
2
.
1
0
1 #
rit.
F a tempo marcato
66
&
ma sonoro
1 #
3
VII
3
68
&
1
4
4
3 1 3 4 1 2
molto rit.
arm. 12
71
3
1
&
rit.
73
&
D. C. al Coda
a tempo
CODA
1
3
perdendosi
1094
rit.
1
1
3
4
.
..
.
:
PARTITA FOR VIOLIN SOLO NO.2 IN G MINOR, BWV 1001, Arr.
for Guitar by Mosoczi, Miklos:
1. Allemande
2. Double
3. Corrente
4. Double
5. Sarabande
6. Double
7. Borea
8. Double
2
3
4
5
7
8
8
10
12
16
:
PARTITA FOR VIOLIN SOLO NO.2 IN D MINOR, BWV 1004, Arr.
for Guitar by Mosoczi, Miklos:
1. Allemande
2. Corrente
3. Sarabande
4. Giga
5. Ciaccona
2
3
5
6
8
JO H . S E B . B A C H
SUITE NR. 1
Guitar solo
(Orig i n a l f o r c e l l o )
Eythor Thorlaksson
-3-
SVTA NR. 1
PRELDA
6
=D
1
&
# c
&
&
H
H
#H
#H
2
4
1
6
II
7
&
&
11
# #
&
H
4
II
13
&
#
3
1006
15
&
17
&
&
3 2 0
#
m
m
a i
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H
1 p
0
19
II
21
&
3
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a
a
i
i
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p
1
4
H
1
4
# g
g
g
g
1 3
II
23
&
b
3
n 1 0
IV
25
#
0
&
&
27
0
n
# 2
1006
# n 2
29
&
31
&
33
&
35
&
2
37
&
#
#
2
#
#
#
#
39
&
&
41
n
b
n
n
#
n
b
b
#
n
1006
w
w
w
w
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ALLEMANDE
k
##
c
&
2
3
1
w
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1 0 3 0 1 0
w
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.
w
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1 2
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3
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1
&
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2 4
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3
6
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4 3
3
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4
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31
&
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33
&
29
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n
1
4
1 0 2 1 3 2 1 2 1
3
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m
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4
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&
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2
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1
3
5
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##
&
0
# # 4 # 1 0 1 1
0
&
1
0
3
11
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&
1
14
m
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&
1
17
##
20
&
.
.
.
#3
0
1
0
4 2
1
1 2
3 1 1
1
3
2 1 0
0
3
1006
II
##
# .
&
H
24
4
3
H
1
2
VI
# # n 31 #
1
&
.
2
2 1 0
2
27
.
..
##
#
n
33
&
2
41 n 3
0 3 4 3 1
2
0
##
30
&
1 0 2
#
# #
&
36
.
##
&
39
2
## 1
&
42
#
0 .
J 3
0
#
H
4
0
0
0 1
4 2
0 1 2 0 2 0 3 1 2
0
3
1
1006
2
1
3
10
SARABANDE
##
&
.
..
# # 3
4
&
&
2 4
0
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2
3
1 2
4 3 2 3
. 2
4
3 n
0
1
.
#
#
0
1
2
1
4
## 2
#
& 3
1
3
12
m
1 3 0 3 0 2 4 0 2 2 0 0 2 1 0 0 2
# .
1
0
1
3
2 0
4.
21 ..
{
##
1 0 2 0
1
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0
n 3 4 .
0
3
m
2 0
1
3
3 . 0
# # 2 # 0 2 1 0 3 2 1
&
0
1
3
4
1
3
##
15
&
4
4
3
1
3
0
0
1006
11
MENUET I
III
1 2
1
1
3 2 2 1
1 3
## 3
4 H
&
1
II
5
&
##
0 2 1 0
3
0
2
2 4
0 2
V
9
&
##
##
13
&
0 2
##
2
1 0
#
.
3 2
3 4
2
3
0
2
3 1 0
2
#
# 3
1
1006
0 3 4
1 #
3
3
#
2
2
3 1
2 1 2
2 1 3
0
H
1
.
..
1 0
2
n 0
2
3
3
1
##
& 1H
21
17
&
1 #
0 2
1
H
3
0
3
0 2 3
1
3 4
.
.
.
12
MENUET II
3
b
4
&
2
1
4
2
0
1
b
&
&
2
3
&
b H
H.
21
#
3
2
0
H.
#H .
#H .
III
17
IV
&
&
.
.
V
13
4
1
1
4
1
1
4
2
3
.
.
.
D. C. Menuet 1
1006
13
GIGUE
&
# 6
8
&
.
1
.
.
1
.
.
.
.
.
2
11
&
17
&
n .
# .
&
4 4
.
1
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1
0
.
.
0
2
0
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.
# .
.
.
3 2
n 4
.
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1
.
.
.
.
.
III
32
4
1
&
V
27
#
.
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22
&
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1
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.
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1
1
1
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4
4
n
2
.
1
.
1
1006
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j
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A. Petropavlovsky 1998
All rights reserved
P
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SCOTT JOPLIN
Eythor Thorlaksson
-2-
Ragtime
4
2
4
&
&
#
1
4
3
&
0
1
#
1 n
2 #
&
II
a tempo
poco rit.
1.
#
&
3
1
1
2
1
# 1 4
1015
-3-
2.
#
&
1
#
&
&
1
2
Fine
&
1 #
0
3
1
2
n
1
1
4
j
#
1
3
j
1
2
1
1
2
1
3
1
VII
&
&
3
5
1.
2.
1015
D. C. al Fine
senza rep.
-4-
PEACHERINE RAG
Scott Joplin
Ragtime
VII
2
#
&
# 2
4
&
VII
1
j
#
1
3
&
#
#
&
II
2 #
II
0
0
&
1
0
3#
1015
-5-
1.
2.
4
&
Fine
&
4
1
&
&
&
1#
2
4
3
2.
1.
#
2
4
&
1015
n #
D. S. al Fine
senza rep.
J . M A L AT S
S E R E N ATA
E S PA O L A
R e v i sed and f inger ed
by
Eythor Thorlaksson
-2-
SERENATA ESPAOLA
Rev. and fingered by
Eythor Thorlaksson
J. Malats
3
4
&
1
4
3
4
1
3
VI
# 1
#
&
.
# 4
3
3
&
13
&
0
17
1
2
1
#
I
0
J 3
0
1
1
#
0 I
J 3
#
F
1097
1
5
1
#
0
1
&
VIII
#
#
ten.
ten.
5
#
#
1
3
#
#
-3-
21
1
3
1.
1
2
&
2
3
4
3
1
2
&
4
2
3
&
&
p
5
0
2
ten.
1
0
VII
1
1
1
0
VII
IX
32
VII
rit.
# .
ten.
28
2.3
25
1
3
2 4
VII
ten.
36
&
&
0
0
5
VII
n n
n
j
4
1
5
1097
40
ten.
VII
-4VIII
4
43
&
&
0
1
&
1
#
&
.
0
1
2
ten.
1
3
# .
0
V
54
#
F
1
#
50
0
1
47
1
#
0 I
J 3
VII
4
1
1
V
58
&
IX
ten.
VII
1
1
VII
4
61
&
1
VII
I
1
1097
1
1
n n
n
-5-
V
64
&
III
IX
67
&
0
IV
4
I
1
3
1
73
0
0
1
0
3
0
.
.
.
# #
#
n #
a tempo
poco rit.
76
# #
&
.
VI
1
2
4
1 #
3
1
4
3
ten.
79
&
VI
3
1
1 3
1
&
#
1
70
&
1
1 #
3 #
1097
.
0
-6ten.
V
82
&
# 4
86
&
J
0
1
2
J I
90
&
1
#
0 I
J 3
0
1
&
1
3
#
#
#
#
1
5
1
2
# .
0
&
.
97
I
J
94
IX
4
3
3
.
0
p
5
ten.
101
&
IX
&
VII
.
VII
105
ten.
VII
1 3
1097
I
1
VII
2
3
1
n n
n
-7-
109
&
III
IX
&
115
IV
0
0
1
.
.
.
0
3
121
# #
a tempo
1
2
VI
VI
# #
#
n #
1
1
&
4
1
#
3
124
&
IX
#
#
1
4
3
1
#
2
127
&
#
3
#
1
rall.
F
II
1097
g
g
g
a tempo
g
g
#
1
>
4
4
V
1
poco rit.
#
1
118
&
&
112
- 16 -
SONATA
(L. 238)
D. Scarlatti
Andante cantabile
1
#
c
&
VII
3
&
IV
4
4
&
&
1
1
j
2
4
1 4
1
4 .
IV
7
II
9
j
#
&
11
&
1024
0
2
#
#
- 17 -
13
&
1.
1
2.
15
&
IV
4
17
&
19
2
4
# n
&
3
4
# 4
n n
IV
21
&
# n
1 2
n
# 4
#
0
3
4
0
3
5
VII
4
23
&
II
2
4
3
25
&
1024
3 0
IV
2
3 0
1
3
4
a m i m a
- 12 -
SONATA
(L. 349)
D. Scarlatti
Allegro
III
1
3
8
&
VII
&
&
II
1
3
1
1
2
4
3
4
3
2
3
13
&
b
1
2
3
III
&
II
III
10
V
1
III
4
1
0
1024
.
.
- 13 -
16
4
4
# #
&
19
&
&
~~
# #
II
&
J
a
J
m
II
4
a m
a
J
a
i
m
i
m
J
m p
i
p
II
32
2 0
# #
4
4
&
# #
29
#
4
&
# #
26
22
# #
J
p
J
a
1024
J
m
~~
i
5
J
p
.
p
- 14 X
35
&
X
4
38
&
V
4
#
3
3#
#
1
41
&
&
VIII
VII
III
III
44
4
3
1
2
47
&
1
1
2
3
.
0
50
&
#
0
0
.
.
0
2
3
#
4
1024
- 15 -
53
&
56
&
&
&
3
#
#
4
VII
# #
&
2
65
62
59
~~
J a m
a
i
m i
J
a
J
p
a p i
III
68
&
J
a
J
a m
J
p
~~
a
m
J
a m
i
p
1024
-7-
SONATA
(L 483)
D. Scarlatti
Allegro
1
&
0 3 2
&
11
&
&
4
16
~~
~~
~~
~~
VII
4
20
&
0
3
1
3
VII
4
24
&
n
0
3
4
n
0
1024
n
n
2
3
4
-828
&
1
3
5
#
n
&
IV
#
&
41
&
&
&
50
n
#
3
3
1
4
6
1024
~~
2.
~~
1.
VII
II
#
46
II
37
VII
33
-9II
1
54
&
&
&
1
n
n
~~
62
nH #
II
58
0
n 2
2
0
III
66
&
~~
#
n
VII
4
71
&
&
80
&
1
6
76
1024
~~
.
.
SONATA
(K. 78)
D. Scarlatti
VII
Allegro
1
3
3
2
4
&
&
VII
2
4
#
1
&
1
3 4
&
{ {
2
3
# #
&
VII
VI
2
IV
IV
#
1
3
26
IX
#
VII
&
21
V
1
VII
16
IV
1
II
11
IV
VII
IX
IV
#
4
4
# #
#
1
1024
-3VII
31
&
1
1
2 4
&
2 1
3
&
40
VII
2
36
II
V
4
IV
II
IV
MINUET
VII
4
45
&
3
8
VII
V
3
VII
IX
IX
VII
2
50
&
{ {
.
.
55
&
1
4
VII
.
1
5
1024
0
4
VII
4
1
5
.
.
.
-4-
SONATA
(K. 83)
D. Scarlatti
1
Moderato
&
&
# b
b
# b
# b
#
0
25
&
&
&
tr.
tr.
tr.
tr.
36
tr.
31
tr.
19
tr.
tr.
13
&
&
tr.
0
0
1
3
4
5
1024
-5-
40
&
46
&
tr.
tr.
tr.
52
&
tr.
58
&
tr.
64
&
&
4
3
&
b
b
b
b
tr.
tr.
b
b
77
I
1
70
tr.
tr.
84
&
2 0 4
III
1
2
0
3
6
1024
1
4
III
1
4
-6-
MINUET
3
8
&
89
.
3
&
&
107
&
.
0
&
&
.
.
b
#
118
VI
VIII
112
0
4
101 #
3
6
95
J
1024
b
b
.
..
Sonata
K 213/L 108
Domenico Scarlatti
(1685-1757)
3
(
3
3
BIII
BIII
10
BIII
12
CGM/JOE
BIII
BV
3
14
BVII
16
BV
18
20
22
2
24
27
BII
29
31
33
35
2
37
)
(
39
4
2
2
3
BIII
BIII
BIII
41
43
45
BV
47
4
2
1
3
49
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