> Download the score (pdf, 2 pages)
This piece is basically an arpeggio study with the main theme presented in the bass.
The video bellow presents a previous version of this guitar study. Soon I'll upload a video with the newer version.
Bellow is a copy of some correspondence between me and an Internet friend regarding some details of the piece:
by Eric - May 31, 2007 2:31 PM
I like your prelude; it's fun to play and it's certainly a good technical study of what I guess I'd call 'campanella' playing. But why do you drop this style briefly in the second half of bars 25 and 33?
OK if you particularly want to vary the sound at those places, but in bar 25 you could shift down 2 positions to play the C with finger 3 on string 3 and the D with finger 2 on string 2 - you've got to shift back up to play the next bar, but for anyone with the technical ability to sustain campanella fingering it's not going to be difficult.
In bar 33 the slide makes it slightly easier to get in position for the next bar, but I would do the same fingering as in bar 25.
my reply - May 31, 2007 3:07 PM
Thank you for trying my piece!
Bars 25 and 33 are bridges (or passages) that bring you to the opening motif of the B section (a tempo). They create an impulse towards that motif - like an upbeat bar (the eight bar of the sentence).
The harmonic structure of the first two sentences in this B section is a very basic one: 2 bars in the sub-dominant, 2 bars in the tonic, 2 in the dominant and 2 bars in the tonic of which the second contains the already mentioned bridge that leads to the beginning of the following sentence.
Those bars are still in campanella style but do not have the apoggiatura-like pattern that I used throughout the first 2 sentences of section B.
Now, tell me something: wasn't it enough clear that in bar 25 the C note is on the 3rd string stopped by 1st finger, A on the 4th stopped by 3rd finger, and B on the 2nd open string creating thus the campanella effect? I didn't write the fingering for those notes because I thought that the fingering in the previous bar would be enough to suggest the hand to stay in position.
Maybe the adjacent sequence of the notes suggests a scale-like playing instead of campanella? If it is so then I should immediately add fingering marks to bars 25 and 33.
About making the same fingering for both bars; no way! Each fingering is fine the way it is. They depend on the events of the previous and following bars. My chosen fingerings create a better fluency. I can guess what your argument is - making a similar fingering for similar parts.
Bars 25 and 33 are bridges to two differently structured sentences and don't come from exactly two same sentences although they share the same harmonic structure (first two sections of section B). They don't exactly mean the same.
You see, music justs develops like a story. Each moment is a new moment - that is many times presented exclusively through interpretation and many other times through composition.
I visited your website and I only have one word to describe it: EXCELLENT!!!!!
It's very informative, unpretentious and... just excellent!
Eric's reply - June 1, 2007 3:49 PM
I think I see what you're saying. Now you point it out I can see that the slide in bar 33 acts as a bridge to the next passage (it makes me want to pause on the open E), but I can't quite see it in bar 25 where the next two bars are a repeat of bars 18 and 19.
However the fingering is clear - the first half of bar 25 is campanella, it's just that the 1-3 slur stops the campanella in the second half of the bar (even more than a 1-4 slur would), but I guess that's what you want.
Thanks for your kind comments about my website which, by the way, is at http://www.GuitarLoot.co.uk; I haven't put anything new up on it recently, but I am currently working on several pieces that should eventually appear there.