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Erstes Rrpertoire Zwei Citarren filr editedby SIMON WYNBERG

FaberMusic Limited
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P,r,,r't' ]ItrsicLrd @ 1985b1' First priltlisltcd 1985 pr,1,r',' irr br, llltrsic Ltd lVCl\ 3.4U 3 Qrtt't'tt Sqtrart'L()ttd0n 1:1,,r1, ltltrsic drarytr lllalal.J by Pltoto.qroplt BtrrJttlntsttrt by Cttt,t'r grrIy I1 ti S Tttckcr r/c-si Lttl PrirttcdirrI:tr.qlurd W''atk's: b), Snulios AII riglrts rt'scrucd Thc publishcrs would likc to thank thc Ivor Mlirants MusiccutreLtd to fbr kindly allou'ins thcn.t ttsctrvo of fbr thcir instrurrrents thc covcr photouraph.

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Contents :
1. Minu6 d'Amore 2. Marcia 3. Waltz 4. Minu6 5. Minu6 6. Allenande 7. PiccoloI)uctto Nottttrno Two Contredanses: OP. 33 No. 7 Lc Souvcrtir U. La Dclia Op. 33 No. tl 9. and 10. IJarcarollc Allcgrctto ()p. 16 i 1. Air ( 1 2 . l ) u o F a c i l e) P . 5 5 N o . 1 O 1 3 . M o r c e a uF a c i l e p . 1 2 0N o . 1 4 OP. 120No. 1 0 14. MorccauFacile

Inhalt
Anonytrous Anonyrnous Attonymous Anonymous Anonymotts Kiiflircr Joseph
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Luiqi Castcllacci

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Ft'nnndtt Sttr FenmndttOarulli Cdrulli Ft:nmndtt

20 29 33 37 40

Preface
T h i s c o l l c c t i o r r o i I 9 t l r c c n t u r v q u i t : r r c l t r c t sc ( ) v c r s : l r v i c l c r a n g c o f b a s i c n r u s i c a l : r n c lt c c h n i c : r l c l c r r r e n t sl n r l conrplcnrcrrts thc firsl I?tputoirc -firr.Srr/rr (irrit,l. sencs. Thc picccs :rrc I:rrtcly unknou.'n, :rncl in r.r.rosr ir.rst.rnccs 'l'hc h a v c r r o t b c c n a v a i l a b l c s i r r c et h c i r f i r s t r r u b l i c r r t i o r r . quit:rr rrru:tc l.ri'ntetl clurirrg thc cl)ornrous anrount of last ccntury (arrclirr tltc prcscrrt) irrcluclcsarr rrnfirrtr.rrrltcll' l . t r g t 1 r . ' r i r . ' 1 1 t . ( q f( 't l t t ' r r r r i r r t t ' r t s t i r r .q r r t l l . . r n , r l .. r r r , l r l) r . v i t h i r rt h c b r i c f o f - ' c : r s yc l u c t s ' l h a r , ' c r i c d t o i n c l t r c l ct l t c t -I'hc rrrost eppcalitig cotttpositiorrs. rcpcrtoirc is et tlrc lcvcl of srlclc onc to thrcc but prcsu;rposcs :r littlc playirrg cxpcricrrcc. I havc proviciccl sourc firrqerinq iclcas,rrrainly firr thc lcft lrlnd; btrt tltcsc:rrc only sr.lgrrcsti()ils:rnd pl:r"'crs llrc cncorlrrgccl to :rcicl tlrcir o r v r r . A l l ; r r c h r r i c i o l i n - s t v l c n o t : r t i o n I r ; i sb c c n r r r o t l c r n v isccl to shos.' clc:rrly thc scpur:rtiorr of ;r:rrts ;rncl thc c l u r l t i o n o f b l s s n o t c s . A l l o t h c r l c l c l i t i r ) n s: r r c e r r c l o s c r ' l i n s r l u u r c b r : r c k c t s ,r " ' h i l e c h l r r g c s t o t l ' r cr r r u s i c a lt c x t : r r c i n t l i c : r t e d: r t t l r c f i r o t o f t h e r c l c v a l ) t p : l g c . l ) c r f i r r n r : r n c c alrd historic:rl notcs :rrc proviilccl at tlrc buck of cach scorc. ( ) r r c c : r q : r i r rl c l c b t o f - t h a r r k s i s o r v c c l t o l { o b c r t S p c n c c r f o r l l l o r v i r r g p i e c c s f r o n r h i s c o l l c < : t i o r rt o b c p r i n t c c l i n t h i s a r r t h o l o g y . ( ) t h c r s o u r c c sl r c s i v c n i n t h c l)()tcs ) r M ( ) Nw v N t a H t ;

Vorwort
I ) i c s c S a n r r r r l t u t g o n ( l i t l r r c n c l u c t t s : r u s l c r t r1 9 .- f e h r v c hunclcrtbchanclclt cinc brcitc Auswnhl von rrrusikalischen ( u n d t c c h n i s c h c ul n r r r c l f r : r g c n ,r r c il s t c l l r r r i t i r r cL , r g r i r r u c zung zl.rc'lcrrr IJlncl HrstL's l?t,pt,rtoirc.liir Srrhqitrrrrr,. l)ic l . r i c r u s g c w r i h l t c S t i i c k cs i n c lr r r c i s t r r r b c k : r r u utr c ls c i t a rr L tr i h r c r E r s t v c r i i l l c r r t l i c h u r rr r i e r r r c l r r v e r l c g t w o r c l c r r . g l ) i c u n g c h c u r cM l t c r i a l f i i l l c e n C i i t a r r e r r n r u s i k ,l i c i r r r c v c r q a n g c r r c nt r r r cllu c h n o c h i n u r r s c r c n rJ a h r h u r r c l c r t ( ) vcr<iffcntlichtwurclc, r-rnr la[]t lciclcr einc u rrvcrhriltnisn r i B i g g r o E c A n z a h l v o n u r r i n t c r c s s : r r r t u nrc l l r a n r l c n er S t i i c k c n . I c h h : r b c h i c r a b c r v c r s u c h t .c l i c r c i z v o l l s t c r r Kompositioncn :lus dcr Katceoric "l-cichtc | )ucttc" zusanrnlcnzustcllcrr. l{cpcrtoircist fiir cicrr I)as Schrvicrigkcitsgracl 1-3 ausgcwiltlt,sctztabcr ctr,v:rs Spiclcrf;rlrnrnu v o r a u s . l ) c r a n u c g l c b o r c i r r g c r s a t zl,. r l u p t s : i c h l i c f i i r F h d i c l i n k c l l a n c l , s t : r n r r l rv ( ) r r rH c r a u s q c l r e rE r s o l l a b c r t .
n t r r l l s A n r c g u r r g v c r s t : r r r c l c rrrv c r c l c n , r i : r n r i t s i c l r . j c c i e r S p i c l c r s c i n c r r c i g c n c r r F i n g e r s e t z c r : t r b c i t c n k : r r r r r .A l l e a r c h e i s c l r c nN o t r r t i o r r c n , r , v i c c s f i i r c l i c V i o l i n c i i b l i c l r w : r r , s i n d n r o c l c r n i s i c r tu ' o r r l e r r , r . r r r c l i c S t i n r r r r f i i h r u n g r cler cittzchrcrrStirnrrrcn trlllrsp:lrantcr zu ttrlchcrr. (ilcichz c i t i g c l a r r r i t i r d l t r t ' l r d l s l ) r o b l c r r r g c l 6 s t , r v i c l : r r r g ct l i c w I l l l l n o t c n z r . rh a l t c r r s i r r r l . A l l c r v c i t c r c n E r q . i n z u r r q e n flnclcn sich in cckigerr l{lenrnrcnr. Vcrinclcrungcr) :lln Notcntcxt sincl inrnrcr untcrr euf clcr Scitc lnr{cqcbcrr. Ilistorischc Annrcrkunqcn urrcl Atrgubcrr zu clcn Auffiihrrrnqor bcflrrclcrr sich Scrvcilsanr SchlulJ cincr l)artitr.rr. Mcin | )enk gcht r,vicclcr ln llobcrt Sf.rcnccr, clcr rttcltrcrc Stiickc uus scincr Sarrrnrlrrrrq unr Abdruck in z ( c l i c s c rA n t h o l o g i c f i c i q a b . A l l c a r r c ' l c r c n] r r c l l c n s i n d i r r dcn Arrnrcrkungcn vcrzcichnct. SrnoN WyNtlnr;

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duets ale taken frotn a tttanuscriptin tht' 1 Thcsc f-ivcanon,vnrous per Drrt' di sp.r,.", collcctionr.viththe title pagcRaroltd vdric stuntint Thc flrst trvo of thc scven cllncesitr thc orieinal havc becn 7jt,i,n,,r. onrittcd. Thcsc picccs arc probably Italian in origin' composcd ac-conraround thc turn oi-thc cishtcclrthcclltllrv. Thc sccondguitrr cvctl atrd llot playcd too loudly ln o"rlinr.nt, nrust bc rl-r,vthnricallv thc dottcd frgurc itr bar trvo is tnost ihc first [Iittrrd d"4nrt)r'r, sixtcctrthtrotc' pll,vcd u'ith a shortcncc] cf-fcctivclv . 1: I i"ld thc chordsi. bars 5 a'd (r tbr thc full quartcr r1otc. 2 6uitai i;uit.,. 2, Thc flrst :rn.l third brss E i' b:rrs 9 to 12 'ray bc a littlc

10 Luigi sagrini, likc carulli and castellacciwas an ltalian-emig_r6. Lo'do' as his adoptivehonre a'd it was hcrc that Ho*,e.i, he"chose was published. Tu,o Arran.gedJbr Airsfron Masiencllo his selcrr -Guitars or-Ld MuettedePortiri(The Dumb Girl of Portici) asit was L[asattiello first called, was conrposedby Daniel Aubcr and bccamc famous as ih. op"., which triggcrcd otlthe 1g30revolts in Bclgiun.r.Although it is rarcly hcard ior'v' save for the ovcrture, it was extrcmely arrangcmcnt is. only one of-many f.rp.,l". i,i its dty and Sagrini's varlous instrirmentsa'd combinations.In the Allcgro, fbr i.ri.r,p..,r"d bc thc gracenote in bar 17 of the first guitar pa,rt.should playcd vcry although tatked $ has a melody m ] and or'ri.[lv. Tl.rc Allcgrctto, accctrtcd. stcady throughout, i' order to be a havc a qctttlc lilt and f1ow, r'""'ith slight strcss tir. b"tt shotrld ti-rcrcforc kept 3 Thc l,'alt: sl-rotrd tr,vo lllctrcs. bring out the ou thc first bcat. 11 i.ound thc turtr of thc ccntury' nlany guitar works were also J 1-n. dccla.ratory or'aruou'ccr-.c't' scctiotr(bars 1-,1)shouldtrc instrument in its classical plevcd in rhc sanrcrcnrpo as thc mclody which follorvs. Sinrilarly, intcndcd for thc lyrc, a two-pronged shapc, and a partictrlrr favourite of socicty ladics' Many guitar iu bars 9 to 12' should not slolv down il,.',.rt-rp.,, l,ist.'r.ian,bclicvc that it was the influcrrcc o[ this now obsolete 5 Cluitar 1: Bars 9 to 12 may bc playcd on thc first string only' catl bc uscd tor thc rcpcat. instrumcnt which was rcsponsiblefor thc addition of the guitar's instcadofacross strings.This articuletiou sixth string. Thc lyrc gcncially had six single strrngsas opposcd to ij.ir^.:, Thc ficLrrcit t.t..s9 to 12 catr bc practiscd: Airs En u L-l thc guitar:s flvc c.trri,"s. Bochsa's Six Perite's 'Lyre D,o from rhythnr. tcr echicvc atr ac-crtratc or Guitar' is drawn' was one of the wlricir this Pastrtralt' (r Joscph Kiilfncr wASorlc of thc nrost prolific composcrsfor thc 'His N. publications.It was dcdicatcdto his fricnd 'fhc Gillcs, thc prrncipal wcrc intetlclcd for thc llrgc works, nrost of which suiiar. should be Pastorale tb,rirt of thc paris C)pcra tsuffa orchcstra. wcrc L'xtrcnlcly popular' This of Lr,.,r,nu,',ity lrnltcur 5iuit,rrists, of (lcinran t>riein which was thc prcclcccssor tra'quil i' spirit; thc rir'anrentation playcd dclicatclywithout cxces,, .lllr'r,n,,dr',' cla'cc of sivc acccntltrd trot too quicklypttur Derrx()itarts' a copy of tlrc W.rltz, is tlkcn f ronr Sr'ptSortatittcs 12 Fcrnanclo Sor, onc of thc nincteellth ccntury's best-known f i r s t { u i t a r p ; r t i s w r i t t c r ri t r a u , h r c hi s i n t h c l l r i t i s h L i b r a r y . ' T h c conlposcrsfbr guitar, publishcd his Trois DrrosOp' 55 around.1833' :rDdshould bc playcd with rtritrorthird lor,vcrthln thc sccotrcl, kcy l -I'hc first, p.crctttcd hc'rc, dividcs thc nrclody and accompanimcnt figtlrc which first , .,,oo,"rr., on thc third frct. Thc :rcconrpanirncllt bctwccn thc two guitars. Thc first guitar is trcatcd almost as if it in thc sccond guiter shoulclllot sw:ll'lfr thc rllclody' whilc .ppi"r. clarinet or wcrc a singlc-li'e: instrulrlcnt such as a'scamlcss' flutc a'd the bcyond thc flrst bcat' thi'bass notc ntust not sotttrcl legato of thcsc guitarist nust try to approxinlatc thc ;rlthouqh Ncepolitan by birth, spcttt ttruch oIhis lifc in 7 Clrulli, with thc use of onc right It :rnd c:rpitll of thc gtritar i,-,r,.,,rrt",.,,r. is'rvorth c'xpcrin-rcnting prris wl-ricl-r was a nrajor rnusical ccntrc , f-ingcr in pleying thc quartcr notc- passagcs i or nt bcing thc world. Irr this cluct fionr Sci Pirroli Drtt'ttiNottrnti I;arilct Proqt'c'i-sit'il-rarrd consistctrt. guitar ,rr.rrt r.,iiblc. hi this wry thc quality of thc sound rL-nr:rins first lncl sccoucl in ptrblishecl VicDne by cappi anclco..,.both :rtrd rv.id Most of thc finucrirrq irr this picce is Sor's and litde has bccn addcd. thc rcsts in thc chordal acconrpaninrcrtt lhoulcl obscrvc 13 and 14 Hcrc rrrct*o ntoi. charming, casy piecesby thc prolific playirrgthc f-rgurc 7 J1 t ."t ? )1. tlt Fcrdirrando crrulli fronr his Recueil DifferentsMorceauxFacilts et rcpc:rts'ray Lrc.r'ittcd :lt thc playcrs' cliscrcti.rt. b,rr,,. tf thc 'CouI)try l)a'cc', was vcry fishOp. 12t), a collcctiotr of works for otrc or two guitars' Itr Pro.qrcs-sif or U/9 fhc Orrtrtrttitttrst',orirli'ally arc played (lort/rcrl,lrt-sc.r thel'sccondguit,r pert of No. 13, thc acconrpanimcnts io,r,rblcirr thc flrst helf of ahc ninctccllth cclltury. Fivc .rr.,iir. thicc blss stri'gs. Thcsc.'otcs should be clearly hcrc arc trolrl 'rli'ly trstrelly conrpriscd t Qrntlrillt. Thc trvo incltrdc.l 'L)orr:t Therc is articrrirtcda'cl tl-rcfirst .otc of thc arpcggio patternsheld.'mucldy'. Iloth hevc :r fintl cieht Norr'r'/lc-r. Ootttt.t-I)a,-ir,-s C,rstcliacci's to r,vhichshoulclbc sonrctinlcsa tcnclcncyfbr thcsc low-lying passagcs soulld bar sccri()l i6 thc tonic nrinor (bcfirrc thc rcprisc) which bcgin at bars 9 and l)otc passagcs in pllycd rethcr nr()rc c\prcssiv'cly.castcllecci was born itr l)ise encl For No. 1,1, thc si-ttccnth 13, thc nrclodv (in cighth notcs) nrust bc morc pronounccd thln thc niuch firr thc quitar iikci Carulli scttlcclin liris wherc hc conrposcd arc arrd P repcatcd g't. Alt.t cnsurc that thc dynamics ;f Thc rcpcatclotsitt . incluclinqsokrs,ducts, sonqs enclchlrnbcr nrr.tsic. -i,ll ..r,,tirrtcd. Ncithcr guitar should prcdoninetc in thesct".,ilii. thcsc oicccsarc cciitorial.

Mantrskript dcr 1 Dicse fiinf :rnonynrcnl)ucttc sttnlnlclt .ru: cint'r.n di lttr Dtrt' Santrnlungntit ticnr Titel Rrrrolt,i l:arit S(),lrlflrf Spcrrcer 'f:inzc fi'hlcn sicbcrl crsttlD bciclcrl dcr trrspriinulicl-r Cl,ir,rrrr. I)ic Urspruttqs ttttd hicr. l)iesc Stiickc sintl rvlhrschciDlichit:rlicnischcn rvurdcn inr 1tl. Jh. um rlic Jrhrhtrndcrtrvenclckonrponicrt. l)ic Bcgleitungcniiir die 2. Gitarre h:rbcncinen schr stctigen Rhythnrus .rrrd dii.f.'l1 nicht ztr laut qcspiclt r.vcrden.In dcnr crstcu -lllitttlef lIBt sich dic Pglkticrupq inr 2. Takt l1r q,irkulqsv6llstetr d'Atrrorc rvicdcrgcbcn' cinc vcrkiirztc Scchzchtrtclnote durcl-r 2 1. Gitrrre: l)ic Akkorclc in Takt 5 r'rnd(r siliclcinc qlnzc Vicrtelnote auszuhrlten.2. (litarrc: l)as cxstcund cirittc c inr Ilell in Takt bcfottt rvcrclctr. 9 bis i2 k:urn leicl-rt j p". l.?lt: soll lcicht bcsch*'inqt sci', 'rit ciucnr lcichtc' Akzc't icu.cilsruf dcm crstclt Tlktscl-rl:lq. odcr i I)cr dcklan.r:rtoriscl.rc- "A'kiinclisttnqs" teil (Takt l--1) hat Mclodic. Ebenso drrf sich drs glcichc Tcnrpo rvic dic n.rchtbigcndc Tekt 9-i2 ruch nicht vcrlanqsrlrlell' das tcnrpo in

5 1 . ( l i t a r r c : T : r k t 9 - 1 2 k a n n n u r a u f d c r e r s t e nS a i t c , u n d n l u B nicht iibcr :rllc SaitcDgcspiclt wcrden. l)icse Spielweisceignct sich bci dcr Wicclcrholunq.2. Gitrt.., Ein akkuratcr Rhythmus ist hier r','ichtig.I)cshalb iibe nran dic schwierigc bcsonclcrs " UG S t c l l ci n T e k t 9 - 1 2 e u f f b l g e n d cW e i s c : (r Joscph Kiiflircr Vcrclankcn wir cinc Unzahl von Kompositioueu tiir fiir dic Gitarrc. Sein wcrk war l.rauptslchlich dic groBc Schardcr Laicnmusikcr scdacht, uncl crlreute sich grciBterBcliebtheit' l)icsc Vorliufcr des Walzcrs, cin Allun,ttttlc, Tettz dcutschcn LJrsprutrgs, Deilx Cuitdres, Einc Abschrift qelrort zu dcn St'pt Sort,rfirte.s P()ur befindct sich ir-n Besitz dcr British Library in London. Ktiffner hat t' den Part fiir dic 1. Gitarrc einc vernlindertc Terz tiefcr als dcn 1. Part nrit ciucm ci.itarrcnpartqcsctzt. I)eshalb spicle nran den dritte' Bu'd. Dic tseglcits.tim're, dic zuerst irl Kepodesicr ..if <.-1.t. dci2. Gitar.c arrtta'cht, soll 'icht dic Hauptnrelodieribcrto'e'. Dic BaBnotc-d:rrf nicht tibcr den ersterl Tilktschlag hin:rus ulqehaltell rvcrdctr.

7 Carulli war zwar gcbrirtiger Neapolitancr, vcrbrachte aber dcn gro8tcn Teil seines Lcbens in Paris, was damals als cines dcr bedeutcndstcn Zcntren ftir Musik und insbesor-rdcre Gitarrcnnrusik fr-ir galt. Bei diescm l)uett aus den Sei PiccoliDuetti N'oltrrrrrl Fatila t Progressiui von Cappi & Co. in Wien vcroffentlichr, nriissen bcidc Gitarren die Pausenin dcr Akkordbcgleitung cinhaltcn. 1 J1 t "*c..le,i. j darf nicht als gcspiclt l)ie mcistcn WicdcrJ. 7 holungcn sind nicht obligatorisch, sondcrn stehcn inr Bclicbcn dcr Spieler. 'country 819 Der Contredanse, ursprtinglich Dance' (Baucrntanz) erfreute sich in der ersten Helfre des 19. Jahrhundcrrs groBer Bclicbtheit. Eine Quadrille bestand gewcihnlich aus ftinf Contredanses. l)ie beiden hier abgedrucktcn sind Castellaccis Douze Contre-Danses 'Iaktc Nouuelles cntnomnlcn. Bci bcidc'nlicgcn dic lctztcn acht vor dcr Reprisc in der Molltonart der Tonika und solltcn mit groBcrcr Betonung gespielt werden. Castcllaccistamnrtc ursprtinglich aus Pisa. Ebcnso wic Carulli lebtc cr abcr in Paris, wo cr vicl Gitarrcnnrusik komponiertc, darunter auch Solosttickc,l)ucttc, Licclcr und Kammermusik. Dic Wicderholungszcichen dicscm Stiick stan'rnrcn in vom Hcrausgcbcr. 10 Luigi Sagrini war, ebcnso wie scine bcidcn LandslcutcCanrlli und Castcllacci,cin italicnischcrEnrigrant, nrachtcabcr Lonclon zu seiner Wahlhcimat. l)ort wurclcn auch scinc Selcct AirsJrom Masientllo 'l'uttt Arrangad Cuitars vcroffentlicht . A'Iasuiello odcr La Muettc dt' fttr 'l'itcl Portiri (Dic Stunrnrc von Portici), wic clcr urspriinglichc lautctc, wurdc von l)anicl Aubcr konrporriert. Scine Opcr vcrclankt ihrc Bcriihnrthcit dcr Tatsachc, da8 sic 1830 dic Atrfst:inclc lJclsicn in ()bwohl dasWcrk hcutenur rrochganzscltcnzur Aulfiihiurrg auslostc. gclangt, nur clic Ouvcrtiirc wird gclcgcntlich noch scspiclt, war schr bclicbt. Sagrinisl3carbcitrrng rrur cirrc von dicsc C)pcr clan'rals is fr.ir vcrschicclcne dcn vielcn, dic c'lanrals Irrstnrnrcntc scschricbcn wurdc. Im Allcgro bcfindct sich im 1. (iitarrcnp:rrt in lrukt l7 cinc Verzicrung, dic schr schncll zu spiclenist. Fiir das Allcgrctto ist cin obwohl dic Mclodic eincn '] Takt hai. Nur wcnn ! Takt arrgcgcbcn, dcr Bafl ganz glcichmillig gespiclt wircl, Irsscn sich clic bcidcn vcrschicdencn Taktarten hcrausarbeiten. 11 Um dicJahrhundcrtwcndc war cin grollcr Tcil von denr, was fiir dic Gitarrc gcschricbcn wurdc, tuch fiir dic Lcier bcstinrnrr. l)icscs Instrumcnt wurdc in scincr khssischenFornr von l)anrcn clcr

Gesellschaft bevorzugt. Viele Musikhistoriker, die sich besonders mit der Geschichte der Gitarre beschiftigt haben, ftihren die Einftihrung einer sechstenSaite bei der Gitarre auf den Einflu8 der Leier zunick, cin Instrument, was heute vollig in Vergessenheitgcraten ist. Im Gegens^tz zu den ftinf Saiten der Gitarre hatte die Leier im allgemeinensechseinzelneSaiten. Diese Pastorale eine von Bochsas ist Six Petites Airs En Dr.iound gehort zu den Stricken, diefilr Leier oder Citarre geschriebenwaren. Bochsa widmete diese kleine Sammlung seincm Freund N. Gilles, dem 1. Obo'istender PariserOpera Buffa. l)ic Payorale ist von der Grundstimmung her schr friedlich. Die Ornamentation sollte daher wcrder zu schnell noch mit zu starker Bctonung gespicltwcrden. 12 Eincs dcr bckanntcstcnNamcn in dcr Gitarrenmusik dcs 19. 'l-rois Duos Op. 5-5 Jahrhurrdcrtsist dcr von Fcrnando Sor. Scine crschicnenurn 1ti33. Bci dcm crstcn, dcm hicr abgcdrucktcn,sind Mclodic und llcglcitung zwischcn dcn bciden Gitarren vcrtcilt. l)ic crstc Clitarrc wird fast wic cin Mclodieinstrunrent, wic cine Klarinettc odcr Fkitc, bchandelt.Dahcr muB hicr der Effekt eincs ,,nahtloscn" Lcgato crziclt wcrdcn, wic cs cbcn bci cinc-nrMclodicinstrunrcnt moslich ist. Es lohnt sich hicr, bci dcn Vicrtclliulcn mit cincm Fingcr dcr rcchtcn l-{and zu cxpcrincnticren, anr bcstcn ',vohl rnit clcnr Zcigc- ordcr Mittclfingcr. Auf dicsc Wcisc blcibt dic Tonqualitit konstant. I)er Fingersatz in dicsenr Stiick stanrrnt, von wcnigcn Erginzungcn abgcschcn,von Sor. 13 und 14 llicr sind zwci lcichtc, abcr rcizvollc Stiickc aus dcr iibcraus prodr.rktivcnFcdcr von Fcrnando Carulli. Sic cntstanrncn ()p. clcr Rcrrrcilde DiflllrentsMorctarrx [:acilrs( Prrlgrc-s-sifi 120, cincr Senrrnlung von Stiickcn fiir zwci (litarrcn. Uci Nr. 13 wird clic Bcglcittrngim zwcitcn (iitarrcnpart hatrptsichlichluf dcn clrciticfi'n Saitcngcspiclt.l)icsc Notcn miisscrrdcutlich rrtikulicrt unrl jcwcils cliecrstc Notc clcsArpcggi<-r gchaltcnr,vcrdcn. Man achtcclarauf, da8 dicscticfen l)assagcn nicht'vcrw:rschcn'klingen. Nr. l4 - clicbcidcn scchszchntclPasslgcn lb Iakt 9 und 13: dic Mcloclic, n:inrliclr jcwcils dic crsten acht Tone, rnr.isscn trci dicscn Passagcn st:irkcr bctont wcrdcn als die Notc g, clic sich wicdcrholt. M:rn achtc auch atrfd'ic .tr unci pp Zeichcnl Bcidc C]itarrcnsinclqlcichrangis, k t i r r c d t ' r l r e i t l c rr l a r f t l o n r i r r i t ' r t r r . r (ausclenrEnglischcniibcrtragcnvon Alcxa llarncs)