INHALT Vorwort oe 5 Getiufigkeitsibungen, Ne. 1—13 boe5ou0 Bindeiibungen, Ne M42. 10 verschiedene Ubungen, Nr. 43—52 . io Quergriff- und Oberstredcungsiibungen, Nr. 53-66... ee ee Vierklangeerlegungen, Nr. 6774. 2 ev ee Chromatische Terzeniibung, Ne. 75 20 Weabselsclagibungen aut den Saiten © und ©, Ne. 78/1)-—20) 82 deitinmige Zeslegungen, Nr. 78/1)—22).Ameilgformen fir Ns. 76 auf den Saiten ©, © und ® 4 vierstimmige Zerlegungen, Nr. 79 (Anetormen fir Ne. 71) auf den Saiten ©, @udO...... tee 4 vicrstimmige Quergrif: und Zerlegungsibbungen, Nr. 80—83 13 sechsstimmige Quergriff- und Zerlegungsiibungen, Nr. 84, 85/1)—13) ‘Obung zur Ausarbeitung der Randstimmen, Nr.86 6. 6 2 5 ee Obungen in den hohen Lagen (XIL—XV. Lage), Nr. 87—90 . Boats 7 Gleitoktaveniibungen, Nr 91... 664k bbb oo no Erliuterangen 2. 0 ee ee ee CONTENTS Preface 2 2 2 Dexterity exercises, Nos. IIB. 2 ee ee Legato exercises, Nos. 1442... ee Ten various exercises, Nos. 43-52... eee Barré and finger extension exe Fournote chord arpeggios, Nos. 67—T4 Exercise with consecutive thirds, No.75 - . 5. se foo ee ——. Thityamo thre part arpeggion, Now. 7132) Patterns of wring for No, 76 on ating GO rn Oe rn Fourteen four-part arpeggion No. 79. (Pattern of striking for No. 72) om strings ©, ®, @ and . peeaeas Four four-part barré and arpeggio exercises, Now. 80-83 ow. part barré and arpeggio exercises, Nos. 84, 85/1) —13) Exercise for outer parts, No. 86.0. 5. high positions (twelfthfteenth postion), Nos. 87—90 Seven exerciees in glissando octaves, No.91- . . + + + Exercises i Explanatory Notes... s+ = (Noe ss 66 Seite 16 23 32 Bas ro 43, 50 52 54 55, Page 16 23 32 38 4 “ “4Samtliche technische Studien Complete Technical Studies / Etudes techniques completes Studii completi tecnici prea cali n Francisco Tarrega fant Sekai (1852-1909) 1969 by Universal Edition A.G., Wien Universal Edition Nr. 14431oie bai gi mim tmemin i tae : Poe ast Geko et Os) nego eaeVile id spspigie'mpie'nes pL taatelaitinipie'tiaip't ‘fapigle baie f Eset E fp ee Re ee oe ee === ‘ ‘EH eam ee mtn ee Salem iso é ete 03 UR 14931w Xvssessessessersessessoneensones nbd Sebo. elleaa [oteBe ae Be Be SS SS > wee te OO oe oe Oe ve waieT UE 1490112 im mim UE mast10152 Gasdid F rae fia Weep y, 7 m i m i m 7 —_ = — neha ape 18 SSS Species icioreiceUE tantMy hy badd aud Badu bd 28 O20 2a 2 220 a4 a0 29 s RulaRuaSed SJ Blas aad Bs Be pebBaceliied ced clcied lies ae se ES 202 g23- $25- 50a 4582 4340 30 ?31 32 : a r —- tee eae = ve a ae e ® eh a. i 8 a3 32021 UE 190m40 fy EE ee YC Bette OL —— “CE Cf sr a = rN h {SSS S=—_ cece oa an a ——— UE 1998123 ve 1441UE tsaUE tant26 | i | i | | | UE 14st27 UE saastvu... 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Es =a ee na » Sees ataliaee mim am Sim emi mam; ima Pp x ? 83 Piim%s mi UE saatTH TAI te Tele UE 1443149 UE taastUE 19851XM... i_mimimim 89 a) zs : eas ane swe sd , Fie = jad z 1 ard» ope Pee ee © UE tasst53 fi aia _ = ada 90 Delemeatmi i im ca sue pre Top Pode OP » al ay VE 1988154 om me SS _—18 — ts — F—-fNe. Nr Ne Nr Nr. Ne. Ne. Ne, Ne Nr. Ne. Ne. Ne. Nr Nr. Nr. Nr. Nr. Ne. Nr. Ne Nr. Ne. Ne Ne. Ne Nr. 0 und 12 M441 2 48b St 5369 206 6768 76 und 77 78 79 80—84 85, 86 7 88a sab 89d 906 o ERLAUTERUNGEN Drei ‘Tonleitertypen wurden 2u einer Triolenibung zusammengefatt. Die Fingersicze fiir die rechte Hand, unter den Noten, stammen vom Her- ausgeber. In allen Lagen 2 dben. Zur Obungserleichterung wurden Ne. 11 und 13 in eine tiefere Lage transponiert. Obungsvorgang: Ohne Bindung — linke “Hand allein — mit Bindung. In allen Lagen und auf allen Saiten zu iben, Dbung ftir die linke Hand allein Auch auf dem Saitenpaar © © zu liben, Variation aust Térrega, Jota. Variation aus: Tirrega, Carneval in Venedig. Vorerst ohne Quergrff 7 iiben, Alle Noten ohne” Fingersatzbezeichnung sind mit dem ersten Finger 4 greifen. In allen Lagen 2u ben, In allen Lagen 2u iben Die Fingersitze fur die rechte Hand, ‘ber den Noten, stammen vom Heraus- ageber. Vierklinge ber 200 Vierklinge tber = © @@O Vierklinge ther © ® @ © Vierklinge aber © @ @ @ Vierklinge ther @ @@ O Vierklinge ther © @ © @ O auch in hdheren Lagen und auriic Vierklinge uber © © @ © O Vierklinge ber O@ OO mit Uberstreckung, 2. Finger auf © wnd 1. Finger auf © bleiben legen und fiihcen. Es sind nue 2wei Takte angegeben. Ausfuhrung wie Nr. 75 a) Als Wechselchlagibungen auf den Saiten © und ® (ohne Bab) 20 verwenden.Vorerst auf leeren Saiten tben b) als Anschlagformen fir Ne. 75 bis 78/20) und ©) als Ansdilagformen fir Ne. 76 20 verwenden Anschlagformen fir Ne- 77 In allen Lagen und auch abwirs 20 ben Amschlagformen fir Nr. 84, auf leeren Saiten 2u ben. bung. zur Ausarbeitung der Rand- Auch abwirts 2 ten Bic in die V. Lage zu ten Bis in die XV. Lage 20 iben. Wie Ne. 894 xu iben, jedoch cine Okeave hiker Wie Nr. 90% 24 bbe, ‘Oktave hier. ‘Auch abwirts 20 den jedoch cine No. No. Nos. Nos No. No. Now Nor. No, No. No. No. No. No. No. No: Neo. Nos. No, No. No. No. No. No, 10 and 12 41 2 4g St 53-60 2-66 67 and 68 “7 68 69 70 a n rz 7” 76 and 77 78 ” 0—85 85; 86 87 88a, seb 89 90 on EXPLANATORY NOTES Three types of scales have heen puc together as a triolet exercise, The righthand. fingering (beneath the notes) has been added by the edivor. To be practised in all positions Should be practised first of all in a lower position. (Nos. 11 and 13 have already been transposed.) Should be practised: non-legato — left-hand alone — slurred. Practise in all positions and on all strings. Exercise for the left-hand alone. Also on string:pair © @. Variation from Tarrega’s Jota Variation from Tarroga’s Carnival. in Venice. Practise first without bareé. All notes without fingering should be stopped with first finger. Practise in all positions, Practise in all positions ‘The fingering for the rightchand (above the notes) has been added by the editor. Four-note chords on Four-note chords on @ Four-note chords on © Four-note chords on © @ © ® Four-note chords on Four-note chords on © also in higher positions and again. Four-note chords on © @O OO Four-note chords on © @ © @ using finger-extension. Leave second finger on @ and first finger on @ chen sliding to new position. Only wo bars are explained. Per- form just like No. 75, 3) Use as alternating-stroke exer cises on strings @ and @ (without bass notes). Practise first on open strings. b) Use these patterns of striking for Nos. 75—78/20), ©) Use these patterns of striking. for No. 76. Use these patterns of striking for No. 77, Practise in all higher positions too and back again, Use these patterns of striking for No. 84. Practise first on open strings. Exercise for getting the outer pars right, Practise also in lower positions. Practise up to fifth position. Practise up to fifteenth position Practise as No. 892, but an octave higher. Practise as No, 90a, but an octave higher. Practise also in lower postions ® ® ® o ® 58