AARON SULARER LEARNING THE CLASSIC GuiTae PART THREE = ras BAY PUBLICATIONS, INC. ¢ #4 INDUSTRIAL DRIVE * PACIFIC, MO 63069MeL Bay Presents AARON SUEARER LEARNING THE CLASSIC GuiTAe F PART TREC: INTERPRETATION AND PERFORMANCE. DEVELOPMENT EDITED BY TOM POORE. . O6pa6oTaHo u cBeqeHo http://Rbs51Lab.3dn.ru —CD content: E tmwoduction & tnerpretation (44) Andante Op. 60 1 [1:16] Andante Op. 60 #2 [1:29] GZ Andante Op. 60 #3 (1:17) [Notes about Expression (1:10) [Basic Examples about Note Grovping [9] Example 23a, [2:23] Example 236 50] B) Example 26 (:48) Example 31-Part 2 [1:31] Lessom No. 15 1:17] Example 32 [2:35] Lesson No, 15-Guita Only [:59] Example 33 [1:85] (Op. 139, No. 1 11:36] Example 33-Guitar Only [:42] [28] Op. 139, No. 1-Guitar Only (2:02) ample 35-p. 44 [1:48] Lesson No. 9 [1:28] Example 36 [2:14] Lesson No. 9-Guitar Only [1:07] ‘Andante Vp. 49 (3:41) Lesson No. 12 (1:19) Explanation {1:15} Lesson No. 124 (Op. 60, No, 13/p. $2 [1:26] Lesson No. 13 (1:18) Example 29 [1:28], (Op. 60, No. 13-Guitar Only [:59] Lesson No. 13-Guitar Only (1:32) [Zid Applying Note Grouping/p. 35 (1:59) (Op. 60, No. 14/p. $3 {1:13} ‘Conclusion and Solo Playing [6:02] (E) Example 31-Part 1 (1:20) [EB] 0p. 60, No. 14-Guitar Only [1:15] Only (1:23), Gl Ga a Guitarist - David Franzen Recorded at New Horizons Studio, Kernersville, N.C. 234567890 ©) (© 1991 BY MEL BAY PUBLICATIONS. INC,, PACIFIC, MO 63069 ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. 8 M MADE AND PRINTED IN USA 'No pat ol his pubiaion may be reproduced in whole or in part, oF stored in araieval system, or transmitted in any form ‘by any moans, electronic, mocharical, photocopy, recordin, or otherwise, vthout writen permission ofthe publisher Visit us on the Web at www.melbay.com — E-mail us at email@melbay.comContents Interpretation Introduction. Approaching Expressive Interpretation. The Expressive Musician... Expression and Technique Regarding Early Music The Basis of Expressive Playing: Enhancing and Creating Musical Contras Expression and the Score Beginning to Play Expressively: Observing Melodic Contour The Moving and Shaping Forces of Music Attractions ... Rhythmic Attraction Melodic Attraction ... Harmonic Attraction Organizing Rhythmic Contrasts: Note-Grouping and Phr The Figure The Phrase .. Defining Note-Grouping and Phrasing Rubato .. Upbeat Grouping... Downbeat Grouping Summary .. Questions for Review Approaching Expression through Vocalization Applying Note-Grouping and Phrasing... Applying Rubato and Dynamics .. Further Application of Upbeat Grouping, Creating Mood and Spirit. Note-Grouping in Quadruple Meter Summary ... Pieces for Study