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Practice Routine

Exercises, Studies and Pieces

In termediate Level

Dan i e l N i st ico
C Major
“A pure, certain and decisive

manner, full of innocence,
earnestness, deepest religious
feeling.”

“Completely pure. Its character is


innocence, simplicity, naïvety and
children's talk.”

“State of nature, virginal chastity


and purity, lovely innocence of
youth.”

Chords and Rotations


L’Innocence - William-Adolphe Bouguereau
(1825-1905)
3 3

VIII VIII

    
 2 2 
3

   
1 4 1
 2     
2

 
0 0
  

4 4

 
1 1

0 1 3 3 1 0

 
0 0
4 
2 2 0 0 2 2 2
3 3 4
3 3
4

3
V3
 
V
 
4
II 1 II 4
0   
1
1 1   1
2 1

 1   3 3  4  3 
3 3

 0   21   0 
3 0


  3   
2 2

1 
2  2 
1
   
0 
4  1 1 
4 4 3 1

   
2 2

 
4 4


2
 2 2

2 0 1 1 0


 3 3 4

4


1

3 3

0 0 0

 0

2
4
0
2
Harmonized ScaleX4(Rule of the Octave)
V3
 4  V3
    
III 3 III3
    1  02  1 4
 2   4III 
4

 2III 1 

4 4 3

1

VIII
 3 
2 3  243
 3  003
6 31 4 3 1

4 00  20   2
2 
0

 0 3    3 
02 
 
4 3 4


0 21 001  
2 1

12 0 3 1  
  
23 2 3 2
 

0

  


2
  2


0 1 3 3 0 31 3 0 2



0 0 1 0 3
0 3 0 1
0 2


XIIh4
  

 4 322    0 
4
4
3
VII 41
 2  
VIII

1 1 4
 400  4  00 1 0 
34

 0
0
21   
2III 4 1

24


0
 
2

2 2  31   
0  3 02 00  
    
3 3 3 4
 
3
   2 0030 21 
0
 
13  0  1  01  
 
 2  
1 1 2


40
21 
4



0 0



3 3 1 0 2


2


1

0 3 0 2 22 11

 
1 0
0 0 33
2
1

2

 Etude no. 13
From 24 Very Easy Exercises, op. 35
Fernando Sor

3

4

5
G Major
”Everything rustic, moderately idyllic and
lyrical,

each quiet and satisfied Chords passion,and Rotations
each tender recompense for sincere
2friendship and true love; in a word, 3each 3

3  be of the Octave)


VIII VIII
gentle and serene Harmonized
motion of theScale  can
heart (Rule
4
1 2  41  0 
1 0 4 2 2
 2  02  02  0  3 3 1 1
0 0 0

expressed splendidly in this key.”

2 2 2
64 

  3
  4
1

 2
III 3  
3
 
4 VIII
III
4
3


    sincerity 
    4


3

    
4
“Favourite
  key 

1of youth, 
0expresses
 
3 
3 3
 1


4

 calm
 

0 1 3 3 2 3 1 3

 13  simple 2 1
3 2
0 V V
3 3  0 
0 2
of faith, quiet
4 II
4
love, meditation, 1 II 4
0 
0 2

 1  3pastoral 3
 and 1
3
 2 humour 2  13  1
3  1 
 VII
grace, 1 life a certain

 
2

 2      
2 2
4

2 2
and VIII
4brightness.”

4

4 2  3  1  4  4 0  1 
4
  2 0   1  4
4 III
   
4 4

 0 23 21    13 0  12  1 
3
1 1 
4

0  2  20  dinner
  
  0 

   01
4


0
0rustic0  03



1
03 
0
4
3

The - Samuel Palmer
 

1 2 02
3 2 3
0 (1805-1881)

V3 
III 3
3  4
4

 3 
III3


X
      1
1
V3
 0  00  0 1
0  3  2
 4 2 4  24  2  2
 0 0  V0 3
 
4 3 4

  3 0  0
 2 20 12 2 
     0 1  0
  24 1 2 12
2
    




2 0
 

0 1 1

0
     
 0  12 0  1
1

 
1
3  
0
3 3 2

12   
4


    
 0
 
3 0 1 3


0 0 3 1

 43  1 
3
0 
4 3 3 3

2 3
0


1 1 2 0 3

1
2 2

0 1 2  2 1
3 0
0 0 3  0 0
 2  02    0 0 021 
2 h4


XII
0
2
 
3

3


  1

 
2 2

0
 3

0

       
3 2 2
 
4
 
V 1 1

3  3 3 3   3  
4 4
  
1 
3

0
     0   4  3 0 0 1

4 4

       
4 4 1 1 4

  2 0  10 
4 3
0 1 

0 0 
0

0 2

21 

4

1 
 

0 2 2 1 0




0

2 0

3 1 2 1
2 1
0 3 1
2
2

4 2 
3 3
  1 
II II

 006    40   4 41
 3   2  0 
1

  1  13  0  13  0  2 


44

 2 
 0 
 

 4 1
4

  4 234 43 
0


2 2 1 3 3 31 2
1

 3  3 1 
0

 10III01   
2 1 0 0 III 3

23

3 0 3 0


0

42 4 2

    

1 1 0
 
3

      2 
3

01
0 1


0
  VII
2

2
4


0
02
2
 32
1
4 31



1 0 3 3 3

1
VII
VII 42  VII4
4

  1
4

0 4
   2  2 II 
4
3 3
  0 3

1

   24 
 1  3  II44 3 1 1
4    1 2
II
 31  4
2
 
2

III    
4 4 0
 
4 4

  21
1 4

0123
2   
2 0

  430 
2 2
    2 3
 13 0  
 2 0 
4 2 1 2 2

     
 32 

2 1
 

 
2


 
3

1  
2 3


3
42
0 0

001

0 1 1
0 1 0
0
2

3 h4 3 6

 
3 XII
VII VII V3
 4 34  
4 V 4

 
II II
1   
1
4 4 3
3 44 1

7

Etude no. 05
From 24 Progressive Lessons, op.31

Fernando Sor

8

9
E Major
“Loud

 shouts for joy, laughing pleasure,
and still not altogether full gratification lies
in E major.”

“The brightest and most powerful key,


expresses joy, magnificence, splendour and
the highest brilliancy.”

2
A Merry Party - Jan Steen
(1625-1679)

IV 3
  
IV 3
   
6 2 6
 2 2 
II 1 1 II
   
1

    

4 4


3


   
0 3 3 0


0 0
  

1 0 0 1

 
3 
3 1 1 1 1 3
2 3 3 2
3
5
IX3 IX3

    1
 
  
3 4   
1 4 1
  1 3  
  
2


   
2 2 4 2 2

 

3
4 IX 4 4

4 
1

  
1
 
1 3 1 1
2

2 2 2 4
  
4 4 4

0 1 
3 3

0 0   
4 4 4 4
 1  2 2  1

1 1 1 
1 0


0


2 2  2
0


3 
1 1


0 0
1
2
3


4
3 3
VII VII
  
4 4

IV IV
   0 
0   4 1 23  43 2    3
II 4 3
II4
 
II6
 0  0  II 6 
4
 0 1  
 1 
 
1   
1 1
 4

32 41   
1
1 01 
4 2

 3 4   
  4
4

13  3 1 3  
0
1
24 2

   
3 4 
32 3  1 1  
3 1 34

0 0


 42 
1


1 3 2
31

  4
12 1


0
3
13
3

3
4


0
2 4 2
4 0

 
IV4 6

6
0 
IV II
 

0


4

 
32 
 4 4 
012  
 3
4
 IV324III3 1 2    
 
1
32
1 1
3 32
34
I206
III 1 3
14  41  4 
IV

   4  4 13  4 4  2  2 
I6
2 2 
  4 1
 1
0   3  0 3 
2  33 
1
2
3 3 
1
2
  13  0  13  4 0  0 
 4 1  
  0     1  4 3 2 
2
 1  1 1 1 
  
1
3 2 1
3
23
 10

11
Etude no. 23
From 24 Progressive Lessons, op.31

Fernando Sor

12

13
  4 
  43 1 
III
4      
 3     
 12 2 23
4
  1 Chords
23
 and Rotations
1 0 3
02

 00

0 3

E Minor 

 VIII
3
 2 1  
VII 4
43 43 
VIII
3
VIII
4

3

        
III

23  13 10  01 
 4 2 2 2     

4
“Effeminate, amorous, grief,
  3    1 100

 2 01
 24  23  restlessness”
2 1 4
 0 22 2 0  
 
0

0
1 0
2 
4

3 
4 3
  
3 1
mournfulness, 1 0 0


0 0
2 2
3
3

4
1
“Grief, mournfulness and restlessness 3
of V3
  
V
 3  2  0 
4
II II 4
0 
1
spirit.” 1  
1
 13   
 1     1
3


3

4

2  4 2  
 4 4
2 2

 
1



3

 
2   4  4 
3 3
3 1V
       10 3  
 0 of
2

   
  1 3 1 
2 2

12 passion, 0 0 2  0
 and 
 0012   0 3
3

0 
4 4


4
“Full
2
1 painful  palpitation   2 12

 12
0 1 1 0


0 0 0

3 4
 
1 4 1

1 1

Contemplative
0
3 3
4 

2 0

 0
 autumn. Falling leaf and the
2 2
impetuousness.0 2 3 3

character,
bare-coming branches.”V3 III3 X4
V3
 4    3 4 1 
V3
3
  3  4 3  34
00    
III
  
3 1  120 0  12   21  1 42 42 43   4 0 

    42  
4
  21  0  
 2 0 002 0 2  3   2 3  1
0
   
3 0

1 1     
   3  0  1 30 

 
1 1
 2  - Peter
 10 03 
 0 in aLandscape
 
1 2

3 1 1
2Amorous 0 1
33 Couple
2

0   2 

30 2 2 0


2
0 0


3 3 0 2 0
Lely

4
 1 
   0 
h4
 0 1 2 
XII
4
1
0 0 3  00  0
3

 2  6 02     4 0 021 


2 1

 1 3  2 4   43   
2
0 

3 3

1 1 
3

13 III
0 1 


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2


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 023 1  
4

1 3
0

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4 2III

 0     
4 2

1
      

 4 1  
4 0 3

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01 0

0


  143


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0 3

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1 0 0 3
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4    413
3 4
  40
2 33 0 
III II
1  3
 0  
4

 40 
34
   
  41 1   
1
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II 4II
23  13 0  1  
 10   
40

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 
3

  
2  2 2  0 3 0  00121  01  213 
2 0
 
2


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 
0
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0

1 1

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0

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 
3  32  2  
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4

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  
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3 3 2
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3 0
1
4 4
VII3 VII3
 4 14  4 
VII VII
4 
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II II

 01   42   31 2   43    2  1 
 020

20 
14

0 0
1   
 0  3
4

 3 
 3 
23 4   4 24 
2

0 0 
4  3 2

0
 
2
3
1 41

 211  
002   
1
  
2 0

 
0
0
01 4 1  
0


2 2


  13
0 0 2 0

134
0

2 2
0 1 0

2

1 1 2
1

3 h4 3
VII XII VII

 1 1  0 V 3 41 4 4 1  41
 
V3
1
 2  0 2  3 34 
3 43      3 2 0 
4 4
   3 0  1 3 3
  01  0 
 0

II II
  00002  
 1
0

3  4   2 
43  

  0 3     
 2  12  1 13 

  
   
0


0 0
2 2
23  23  0  



 
0

 
2 13
1

3 1

4  4 
3 2

13   0
1


1 2 1 0




2
3 3
14

II
3
4  II
3

15

 Etude no. 11
From 12 Etudes, op.6
Fernando Sor

16

17

18

19

20

21
D Minor
“Expresses a subdued feeling of
melancholy,

 grief, anxiety, and solemnity.”

“A pensive key full of nobility and refined


feeling.”

2

I 2
 
6 I 6
  
III 1 III

       2 
3 3
  
4


  4 
  3Czachórski
1 4 3 4 1
 

2 2

3 3  (1850-1927)

2 2 2


2 2
4 4 4
3 Pensive - Wladysław
6

  
  
4
3   
X43
  0 1   4    124  14 
1 1

 2  3  
4 4
1
 2 
 1  1 3 
2 2 2 1

 
3
 
3 3 3 3
4 1 1 1
1


  

1 2 2

 012  3 

1 2 2

2 2
4 4 4 0

 4

3 1 0

 0
3 3
21


 
2

1
 
1
4 1 1
3 0 3

4
4 4
 
III III

1
  1   
  2  
4 4

  20  2    
4 4

   
3 3 1

0 

4 4


 
2


1 1 2

1 1
 
3 3 0
0
0 0




V6
 
   
43 4

X



6

 
  2 23    21
2
  23 21
4 3


4
2
3

 

3 3

  4
6

X
      
V6
    
 42 
4

21  32 2 23


3

 21 1
3 3
  2
4


4

3 

22

23

24

25

26

27
28
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About the Author
Daniel Nistico is quickly establishing himself as one
of the leading guitarists of his generation. Daniel is
a passionate performer, teacher, and pedagogue, and
specializes in the performance practice of 18th and
19th century guitar music. His teaching and
research aims to revitalize the concept of being a
well-rounded musician, with emphasis on musical
ideas that can lead to deeper interpretive
understanding, and tools for composing and
improvising.

“Daniel is one of the most gifted guitarists of his


generation”
--- Nicholas Goluses: Professor of Guitar, Eastman
School of Music

Daniel constantly strives to promote guitar music


that has not had the fortune of being widely performed, and his debut solo album Un Viaje
Mistico... A Mystical Journey contains some hidden gems of the guitar's repertoire. Speaking on the
inspiration for the album, Daniel says that “it is a testament to my experience learning under
[teachers] Tonié Field and Dr. Donna Coleman at the Melbourne Conservatorium of Music.” 

“Daniel’s interpretation [of Sevilla] brings a quality that I’ve not heard in many recordings. It’s
rather laid-back, unhurried, unfussy and the lines, voices and phrasing within the music are so
very clear... I may even be so bold as to say this is currently my favourite recorded version of
Sevilla.”
--- Nicole Neal: Classical Guitar n Stuff CD Review

Daniel has performed around the world, both as a soloist, and with his wife and flute partner as
Duo Vela. Daniel's goal through performance is to spread greater awareness of the scope and
expressive power that the guitar and its repertoire is capable of.

"Nistico gave an outstanding performance of Nikita Koshkin’s Poe-indebted Usher Waltz ... a
demonstration of technical virtuosity harnessed to a real interpretation."
--- Clive O'Connel: The Age Reviewer