2 Hercules’ Dance

Tilman Susato (c. 1500 –1560) Arr.: Stephan Schmidt

Susato was a calligrapher, trumpet player and composer in Antwerp, where he played in the town
band. From 1543 onwards he was also a music publisher, issuing works over 90 composers in-
cluding Orlando di Lasso The powerful and restained “Hercules’ Dance” comes from a collection
of “all kind of jolly dances played on many musical instruments”.

A
1 4 4

8 3 2
2
3
C G Dm Am C G
0 0 0 1 1 0 0
1 3 3 1 3 3 3
2 0 0 2 0 0
3 3 3 2 0 3 3
3 3 3

4 4 1

8
2 2 3
3 3
C G Dm C G C
0 0 0 1 1 0
1 3 3 1 3 0 1 1
2 0 0 2
3 3 3 2 3 2 3 3
3 3

A
1
3

8 2

C G Dm Am C G
0 0 0 1 1 0 0
1 3 1 1 3 1 3 3 3
0 0 2 2 2 0 0 0 0
2 0 0 2 0 0
3 3 3 2 0 2 3 0 3 3
3 3

C G Dm C Am G
0 0 0 1 1 0
1 3 1 1 3 1 3 0 1 1
0 0 2 2 0 2 0 0 0
2 0 0
3 3 3 2 0 2 3 3 0 3 3
3

9
 3 Dance for a Fugger lady
Melchior Neusiedler (1531–1591) Arr.: Stephan Schmidt
Melchior Neusiedler was a son of the Nuremberg lutenist Hans Neusiedler. At the age of twenty
he went to Augsburg, where families such as the Fuggers were generous patrons of the arts and
musical life flourished. The composer dedicated this dance to a Fugger lady by way of thanks and
included it in his “German Lute Book”, published in Strasbourg in 1574.

A
2 3 2 2 2 3
2

8
1 3

2 2 2 0 2 3 2 2 0 2 3 3
2
0 0
0 0 0 0 0 0
2 3

B
2 3 3
2 2 2
2

8
1

2 0 2 0 0
3 3 2 3 2 0 0 2 3 0 2 0 2 3 2
2
0
0 2 0 0
0

C
2 3 3 1 3
1

8
2

0 0 0 0 2 0
1 2 1 1 2 1 2 2 1 2 2
0
0 0 0
0 0 0 0 2 0

3 1 3
2
8
2

0 0 0 2 0
1 2 1 1 2 1 2 1 2 2 1 2 2
4 2 4 0 2 2
0 0 0
0 0 0 2 0

10
 4 The Parlement
from England (c. 1530) Arr.: Stephan Schmidt
The title of this lively piece means something like “The Conversation” or “The Discussion”. In the
16th Century composers were starting to see music as a tonal language, a concept which later
characterised the music of the Baroque era. This composition by an unknown master was copied
down by the celebrated John Dowland (1562–1626).

A
4 2
2 3 3 2 4 2
1 2 3
3 2 2
1 1 1 1

8
3
D A G D A D
2 3 2 0 0 0 2 0 2 2
3 3 2 3 2 0 0 2 3 3 2 3 3
2 2 2 2 2 2 2
0 0 0 0
0 0
3

2 4 3 3 4 2 4
1 2

8
3
D A G D A D
2 0 2 3 2 0 0 2 0 0 2 0 2 2
3 3 2 3 2 0 0 2 3 3 2 3 3
2 2 2 2 2 2 2
0 0 0 0
0 0
3

II
B 4 4 4
1 2 1 2 2 1 4 1 4 1 4
1 2 3
2 1 2
1

8 3 3
D C
2 5 2 3 5 2 3 5 3 2 0 0 3 0 1 3 0 1 3 1 0
3 3 1 3 2
2 2
0 0 0
3 3 3 0

4
2
3 4
1

8
D G D A D
0 2 0 2 2
3 3 3 0 2 3 3 2 3 3
2 2 0 2 2 2 0 2 0 2 2 2 2
0 4 0 4 0 0 0
0
3

11
 5 Lesson For Two Lutes
from England (c. 1530) Arr.: Stephan Schmidt
This Lesson For Two Lutes is by no means merely a technical study, but a bright and lively composition
which also happens to be easy to play. Like “The Parlament”, this “Lesson” was also found in a collec-
tion put together by John Dowland. The first guitar part can alternatively be played as
a solo piece.

Guitar I (or solo version) IV

A 3 1 2 4
1 2 4
2 3 1 1
1

0 2 4 0 2 4 5 7 4 5 7 5
2 3 0
2
0 0 0 0
0 0

IV
II
4 2
1 3 3 1
1

0 0 2 4 5 4 0 2 4 2 4 5 4 5 7 4 5 4 5 7 5
2 0 2 3 3 0 0

0 0 0 0
0 0 0 0

B
2 3 2
2 3 3 2 3

1 1
8

0 2 0 0 3 2 0 0 0 0
2 3 0 0 3 2 0 0 3
0 2 2 0 0 2 2
0

IV
II
3 1 2 3
1 1 2 3 2 3
2
1

0 0 2 4 2 4 5 4 5 7 4 5 0 3 2 0
2 0 2 3 3 3 2 0 2 3 2
2 2
0 2
0 0 0 0 0
0 0

12
 Almost all the pieces in the Renaissance and Baroque sections were originally written for the lute,
as the guitar did not established its supremacy until the end of the 18th Century. The lute has a short
neck and a rounded body without ribs, made from between seven and thirteen pieces of wood. Its
timbre is warmer and more tender than that of the guitar.

A Guitar II
2 3
2
2 1
1
8

0 0
0 2 3 0 0 2 3 2 0
2 2
2 2
0 0 0 0
0 0 0 0

2 1 2
1

0 0 0
0 2 0 2 3 3 2 0 0 0 2 3 0 3 2 3 2 0
2 1 2 2 2
2
0 0 0 0
0 0 0 0

B
3
3 3 3
2 2
1
1
2 2
8

2 0 0 0 0 2 0 0 0
2 2 1 2 1 2 2 2 1 1 1 2 1
2 0 2 2 0 0 4 2 4
0
0 0

3 1 3
3
2 2
1
8 2

0 0 2 0
0 2 0 2 3 3 3 2 0 0
2 1 2 2 2 1 2 2
2 0 2 2 2
0 0 0 0 0
0 0

13
 6 Bianco fiore
Cesare Negri (1536 –1605) Arr.: Stephan Schmidt
This wonderfully simple and expressive piece with the title “white flower” is a jewel from “Le
Grazie d’Amore” (1602) by Cesare Negri. The composer with the nickname “Il Trombone” (the
trombone) founded his own dance school in Milan and served as a musician and dance master in
the houses of nobility and at state banquets.

II
A 4 4 343
4 2
2 1

1 2 2
8
6 =D
0 2 3 5 2 3 5 7 5 3 232 0 2
3 2 3
0 5 4 2 0
0

4 4 2 1
3 2 2 1 2

3 3
8 1
1

0 2 3 5 3 2 0 0
3 2 3 3 3 2 3
0 4 4
2 2 0
0

B 2 4 232
3 2 3 1
2
1 1

8
1
2 2 0 0 5 3 2 0
3 3 2 0 3 232 0
2 2 2 2
0 0
2 0 0

2 2 1 2
1
1
3
8
1
4

0 2 0 0
3 3 2 0 0 2 3 3 2 3
0 2
4
2 0
0 5 0

14
 7 Branle gay
Jean-Baptiste Besard (1567–1625) Arr.: Stephan Schmidt
The Branle is a French dance from the 16th Century with many variants. Branle gay is one of the fast
damce forms. Besard came from Besançon and, after first studying law, went to Rome to study music.
Later he spent many years working in Cologne, where he published books for the lute as well as
books on the law.

A II
1 2 4 1 2 4 2 1

8
6 =D

2 2
3 5 3 5 2 3 5 2 3 0 2 3 0 2 0 2 3 2
0 0
0 0

2 1 2 3 1
3 1

2
0 1 3 1 0 1 0 0
2 0 2 2 2 2 1 2 1 2 1 2
0 0
0 2

B II
1 2 4 1 2 4

2 2
3 5 3 5 2 3 5 2 3 0 2 3 0 2 0 2 3 2
0 0
0 0

1 2 1 2 1 3

0 2 0
3 2 3 0 2 0 0 2 0 0 2 0
0 2 4 0 4 4 4
0 0 0

15
 8 Romanesca
Vincenzo Galilei (1520 –1591) Arr.: Stephan Schmidt
The Romanesca was a popular dance and variation from in the 16th and 17th Centuries, often accom-
panied by a steady repeated pattern in the bass. In this popular piece by Vincenzo Galilei the bass
line is played as an introduction, later coming to a point of rest in section A’, after which it forges
ahead again with the impetus of the dance.

8
6 =D

0 0 0 0
0 0 0 0
0 0 0 0

A II 2 2 4
2 4
1 1
2

0 2 3 5 7 3 0 5 2
3
0 0 0 0
0 0 0 0
0 0 0 0

0 0 2 3 0 2 3 0 0 2
3 3
0 0 0 0
0 0 0 0
0 0 0 0

4 4
2 1

0 2 3 5 7 3 0 5 2
3
0 0 0 0
0 0 0 0
0 0 0 0

16
8

0 0 2 3 0 2 0 2 3 2 0 0 2
3 3 2 3 3
0 0 0 0
0 0 0 0
0 0 0 0

2 0 2 2 0 5
3 3
0 0 0 0
0 0 0 0
0 0 0 0

2 0 5 3 0 0 2
3 3
0 0 0 0
0 0 0 0
0 0 0 0

3 2 0 2 3 2 0 2 5
3 3
0 0 0 0
0 0 0 0
0 0 0 0

0 0 2 3 0 2 0 2 3 2 0 0 2
3 3 2 3 3
0 0 0 0
0 0 0 0
0 0 0 0

17
 Vincenzo Galilei grew up in Florence. At an early age his lute playing impressed influential patrons who
enabled him to go to Venice and Rome to further his musical studies. Later on in Pisa he married a
noblewoman whose first child by him was a son, Galileo. Galileo also learned to play the lute, but is was
for his scientific research that he achieved world renown – Galileo Galilei (1564 –1642).

A
1 3

0
0 2 0 2
0 2 4 0 0 2 0 4 0
0 0 0
0 0 0 0

0 0
2 0 2 4 2 4 4 2 0 0 2 4 0 0
4 2 4 0
0 0 0

2 0 2 2 0 5
3 3
0 0 0 0
0 0 0 0
0 0 0 0

2 0 5 3 0 0 2
3 3
0 0 0 0
0 0 0 0
0 0 0 0

18
 Galilei wrote his lute tutor “Fronimo” (Venice 1568) in the form of a stimulating dialogue. Most of
his compositions (Passamezzi, Saltarelli and other dances) are contained in an unpublished collec-
tion, however. The lutenists of Munich are proud of the fact that Vincenzo Galilei spent a year in their
city in 1578, making music at the court of the Duke of Bavaria.

3 2 0 2 3 2 0 2 5
3 3
0 0 0 0
0 0 0 0
0 0 0 0

3 2 0 2 3 0 2 3 5 2 3 5 3 2 0 0 2
3 3
0 0 0 0
0 0 0 0
0 0 0 0

VII 4
4 4 4
1
1

10 10
10 10 7
7
0 0 0 0
0 0 0
0 0 0

A 16th Century lute.

19
 9 Le Rossignol
from England (c. 1600) Arr.: Stephan Schmidt
The “Nightingale” is the title of this elaborate dialogue between two birds, whose very similar voices
are cleverly interwoven. This beautiful Duo is easy to play; it appears in Jane Pickering’s Lute
Book (c. 1600), which is now kept in the British Museum.

A II
4 4 4
2 1 2 2
2 1 2 3 1 3

8
4 4
3 3 2 3
2
3

8 1 1 0
1
1

4 2 2 1 4
1 1 3 1 3 1 3 2

8
II
2 4 1
4
4
3
3
1
8
1
1

4 4
3 3 2 3
2
3

8 1 1 0
1
1
II 2 4 4 4
1 2 2
2 1 2 3 1 3

II
2 4 4
4
3
3
1
8
1
1
2 4 2
1 1 3 1 3 1 3 2

20
 Advanced players may enhance the effect of birdsong further by adding trills. This would be par-
ticularly appropriate at the beginning of bar 18 and 20, as well as bars 28 and 30. The trills –
examples are to be found in “Bianco fiore” and elsewhere – should be performed with precision by
both guitars at the same thime.

A
3 2 0 2 3 2 3 5 7 5 3 2 0 0 0 2
3 2 0 2 3 1 3 3 3 0 1 3 0

0 2 3 5 7 5 3 2 3
0 3 0
0 0
2 4
2 0 2
0 0 3

0 2 3 0 5 3 2 0 0 2 0 0
1 3 4 2 4 3 2 0 0
2 1 1
4 2
0 0

2 0 0 0 0 0 2
4 0 0 2 3
4 5 4 2 1 2 1 2
2
0 2
3 0

0 2 3 5 7 5 3 2 3
0 3 0
0 0
2 4
2 0 2
0 0 3

3 2 0 2 3 2 3 5 7 5 3 2 0 0 0 2
3 2 0 2 3 1 3 3 3 0 1 3 0

2 0 0 0 0 0
4 0 0
4 5 4 2 1 2 1
2 2
0 2
3 0 0

0 2 3 0 5 3 2 0 0 2 0 0
1 3 4 2 4 3 2 0 0
2 1 1
4 2
0

21
 II II
B 4 2 2
2 1 0 1 1 0 1
4 4

3
8 1
II
2 4 2
0 1 1 0 2 1
4 4

3 3
8 1 1

4
1 1
4 3 4 4
4 3 4 2
1

2
3
8 2

1 2
3 2
1
2

8
II II
1 1 2 1 1
4 4 0 0 4

3
8
1
4 4 4 2 2 1

4 2 4
2 1 1 4
3
1
2

8
II
4
1 2 1 4 3 4
4 0 0 4 1
2
3 3
8 1 1 2
2

2 2

8
4
1 1 4
3 4
2 1 4
1

3
3
8
1

22
B
7 7 7 7 7 7 5 3 2 0 2 3 2 0 2
4 4
4 4
2 2

0 2 3 2 0 7 7 7 7 7 7 5 3 2 0 2
4 4
4 4
2 2

3 2 3 7 8 5 7 5 3
1 0 0 5 7 5
2 0 0
2 0 7 0
3

3 0 2 3 5 2 3 5 3 0 0 2 3 2 0 2 3 2 3
0 1 3 1 3 3
0 2

2 0 0 0 0 2 3 2 0 2
0 4 0 4 4
1
4 2 4 4
0 2 2 2
0

5 3 2 0 0 2 0 0 2 3 2 3 5 7 7 7 7 7 7 7 7 5 3 2
4 4

7 7 7 7 7 7 7 7 5 3 2 0 2 3 0 2 3 5 2 3 5 3
0 1 3
0 2

0 2 3 2 0 0 3 2 3 7
4 4 1 0 0
2 0
4 4 2 0
2 2
3

0 0 2 3 2 0 2 3 2 3 5 3 2 0 0 2 0 0
1 3 3 4 4 2 0

8 5 7 5 3 2 0 0 0
5 7 5 0 4 0
0 1
7 0 4 2
0 2
0 0

23
 10 Tarleton’s Resurrection
John Dowland (1562–1626) Arr.: Stephan Schmidt
“Tarletons Resurrection” is a lament without words for the famous court jester Richard Tarleton,
who provided entertainment at the court of Queen Elizabeth I. John Dowland became renowned
chiefly for his expressive and usually melancholy songs with their elegant and richly ornamented
lute accompaniment.

II II
A 3 4 1 2 4 4
1
1 3
2 1
2 1 1

0 2 3 5 4 5 7 5
2 3 2 3 0 2
2 2 2
0 0
0 0 0
0 0

II II 4 4 2
2
1 4
2 3 3
1 1
1 1 1
1
8 1
1

0 0 2 4 5 4
2 4 0 2 3 5
2 2 1 2 2 4
2 0 4
0 0
2 0 0

II
4 2
3 2
2 1 3
1 1
1 2
8 3 1 1

0 0 0 5 4 2 0 2 0
2 0 2 4 5 0 0
2 4 1
2 4
0 2 2
4 2 0 0

B 4 4 2 II
2 1 4 3 2
3 2 3
1 1
2 1 1 1 1
3
8 1
1 1
0 7 5 4 0 2 0
2 5 2 3 2 4 0 3 2
2 4 2 2 2 2
0 4 2
0 0 0
4 2 0

24
 The composer, who was born near Dublin, spent time in France, Italy, Germany and Denmark be-
fore finally securing a post in London. Shakespeare extols him with the highest praise in his sonnet
“The Passionate Pilgrim” (1599): “Dowland … whose heavenly touch upon the lute doth ravish
human sense.”

3 2 4 3 4
3
1 1 2 2
3 2
8 2 1

0 2 0
3 0 3 2 3 0
2 1 2 2 2 1 2
0 0 2 2
0 0
0

II
C 1
4 4 4 2
4 1
3 1
2 1 3 2
3 1 2 1
2
8
1 1

5 5 5 9 7 5 4 2 4 0
5 2 4 5 2
6 9 4 2
7 7 6 4
0 0 2 0
0 2 0

4 4
1
3 2 4
2 2
1 1 3 3
1 2 2
1
8

2 4 5 0
3 2 3 2 3 0
2 2 2 1 2
0 0 0 2 2
0 0 0
0

25
 11 Dance
from England (c. 1590) Arr.: Stephan Schmidt
This lively dance movement is taken from an old book of lute tabulature. It consists of sections A and
B, each of which is followed by a variation. The variations are marked as A’ and B’ respectively. The
first chord can by strummed with the thumb (indicated with an arrow) so that a powerful accent is
given at the beginning.

II
A 4 2 4
1
3 2 2 3 3

8 1 1
1

5 3 2 0 0 0 0 2 0 0
2 3 2 0 2 3 3 0 4 0
2 1
2 0 2 0 2 4
0 0 2
0

II
A 4 4 4
2 1 2 3 3 2 3
2
1

8 1 1
1

5 2 3 5 3 2 0 2 0 0 0 2 0 0
2 3 2 0 2 3 0 2 3 2 3 3 0 4 0
2 1
0 2 0 2 4
0 0 2
0

B II
4
1 2 4 2 4
2 2 1 2 2 1 3

2
1 1
8 1
1 3

0 0 2 0 2 4 2 4 5
2 0 2 3 2 3 3 2 0
2 1 2
0 2 2
0 2 4 0 0
0

B II
4
1 4 2 4 1
2 2 2 2 2 3
1 3 1 1

2
1 1
8 1
1 3

0 0 2 0 2 4 0 2 4 5
2 0 2 3 2 3 2 3 3 2 0
2 4 2 1 2
0 2 2
0 2 4 0 0
0

26
 12 Minuet in C
from Thuringia (c. 1680) Arr.: Stephan Schmidt
The minuet was originally a folk dance from France: it was introduced at Court under Louis XIV and
was eventually to become the most popular dance form of the Baroque era. This, the first of four
minuets in present collection, is a simple yet elegant miniature with sequences in the melody that
are typical of the period.

A
4 4

8
2
0 1 0
3 1 0 1 3 1 0
2 0
3 2 0
3

4 3 3
3

8
1 2
0 1 0 3 3 2 3
3 0
0
3 2
3

B
4 4
1 1 4

2
2
8 2 2
3
3 1
3 5 3 1 3 1
4 2
2 3 2 0 2 0

0
0 1 0 1 3 1 3 0 1
0 0 0
0 2
3 3
3

28
 13 Minuet in A minor
from Lithuania (c. 1680) Arr.: Stephan Schmidt
3
A minuet is always written in ⁄4 time and usually begins on the first beat of the bar. The most com-
monly used form consits of two parts, each eight bars long. It was a dance for couples, who stood
some distance apart to perform elegant sequences of steps and bows. The minuet was later super-
seded by the waltz as a dance, yet it continued to figure regularly in instrument music in stylished
form.

A
2

0
0 1 0 0 0 3 1 0 1 3 0 1
2 2 2 2 1 1 2
2 2
0 0
0

4
1 2
1 3
1 1

8 2 2
2 2 2 1

1 0 1
3 0 3 3 1 0 1 0 0
1 2 2
0 2 2 2 0 2
3 2 0 3 2
0

B 4
1 4
4 4

8
1 2 3

0 5 0 1 0 1 0 3 0 0
3 3 3 3 3 1
0
3 2 3

1 0 0
3 1 0 3 1 0 1
2 1 2
0 2 2 0 2 0 2
3 2 3 0

29
 14 Gassenhauer
Valentin Rathgeber (1682–1750) Arr.: Stephan Schmidt
3
The Gassenhauer is a leaping dance in ⁄4 time which follows on from a striding dance. This piece
appeard in the “Augsburger Tafelkonfekt” as a song with harpsichord accompaniment. The song
begins: “False tongues leave me no peace. / Wherever I turn, hey attack me. / First I am too quiet for
them, then too garrulous. / and then I offend them again by some action or other.”

Guitar I (or solo version)

A 4
4 1 4

8
3 3
3 3
C G C G C
0 0 1 3 0
1 1 0 1 3 3 1 3 3
0
3 3 3 3 3 3
3 3 3

Fine
1 4

8
2
3
G C G C
1 1 0 1 0 0 0 1 0
3 3 1 3 3 3 1 3
0
0 2
2 3 3
3 3 3

C G C G
0 0 0 1 3 0 0 1 0 1 3
3 3 3
0
3 3 3 3
3 3 3

4 4 4 D. S. al Fine
4

1 3 1
8
3 3 3
2
C C F C G
0 0 0 1 3 0 5 3 3 1 0 1
3 3
0 0
3 3 2 0
3 3 3 3
3

30
 Valentin Rathgeber was a Benedictus monk who belonged to the monastery of Banz, in Franconia.
On his own initative, however, he spent nine years on a “grand tour” which took him to places in-
cluding Bonn, Stuttgart, Augsburg and Munich. In this period he published the “Augsburger Tafel
konfekt” already mentioned, with dances, songs and chamber music, as well as church music.

Guitar II
A
1 4

8
3 3

C G C G C
0
0 0 0 1 1 3 0 1
0 0 0
2
3 3 3 3 3 3
3 3 3

Fine
4 4 1

8
2
3 3
G C G C
3 3 1 3 0 1 1 0 0 3 1 0 1 0
0 0
0
2 3 3 3
3 3 3

C G C G
1 1 0 1 0 0 1 1 3 1 3 0 0
2 0
3 3 3 3
3 3 3

D. S. al Fine

C C F C G
0 1 0 0
1 1 0 1 3 1 3 1 3 0
0
3 0
3 3 3 3
3

31
 15 Rujero
Gaspar Sanz (1640 –1710) Arr.: Stephan Schmidt
4
The Rujero (or Ruggiero) is an instrumental dance in /4 time followed by a dance (Paredetas) with
three beats in a bar. Both the two dances introduced here are part of the “Suite Espagnola” by the
Spanish composer Gaspar Sanz and appear in a book of tabulature published in Saragossa in 1674.

A II 121 4 2
2 1 2 1 2

0 2 3 2 0 0 232 5 3 2 3 2 0
3 2 3 3 3 3
0 0 0 0

2
3

3
2
4 1
8
1

0 2 3 2 0 0 2 0
3 2 3 3 3 2
1 2
0 0 0 2 4
0

B
3 3 2 3 2 3
2

8 1

0
0 2 3 2 0 0 2 0 3 2 3 2 0
2 1 2 2 2 2
2
0 0 0

4 4 4
2 1
1
3
2 3
8 2

5 5 3 3 2 3 2 0 0 0 2
3 0 2 3 3 2 3 3 3
4 2 0 0 0
0

32
 16 Paredetas
Gaspar Sanz (1640 –1710) Arr.: Stephan Schmidt
Sanz came from the region of Aragon; after studying music, philosophy and theology he went to Italy
to extend his musical knowledge. He used the five-string guitar customary at that time, without the
bottom E string. Sanz was also an organist, playing for many years in the chapel of the Viceroy of
Naples.

A II 12 1 4 4
121
1
2
1

8 2 2

0 2 32 0 2 5 3 232 0
3 2 3 3 3
0 0 4 2 0

II 12 1 12 1
12 1
2
1

0 232 0 232 0
3 2 3 3 3 232 0
2
0 0 0
0

B 12 1 121

0
0 2 32 0 0 3 232 0
2 2 2
2
0 0 0 0

4 4
2 2 2
1 2
1

5 3 2 3 2 0 0 0 0
3 3 3 2 3 3
4 2 0 0
0 0

33
 17 Aria
Jan Antonin Losy (1643–1721) Arr.: Stephan Schmidt
Aria is a term used to describe a stately piece with the emphasis on the melodic line. The Bohemian
lutenist, violinist and composer Jan Antonin Losy von Losimthal came from a wealthy noble family,
studied Philosophy in Prague and travelled extensively in Italy, Spain and Germany.

A 4
4 4
3
3

8 1 1
1
0 0 0 0 5 5 4 5 5 3 1 0 1 0 0
1 1 1 1 5 5 3 3 0
2 0 5 4 1
3 2 3 2 2 0 0 2 3 2
3

III
B I 4
1 3 4 4 1

1
8
3
3 3 5 0
0 1 3 1 0 1 3 5 6 3 1 0 1
1 2 2 0 0
2 2 0 3 2 3
3 0 3
3 1 3 3

1
3 3 1 3

8 2

0 1 0 0 0 1
3 1 1 0 0 0 0 1 0
2 0 2 1 2 2 2 1 2
3 2 0 2 0 0 2
3 0

1
3 3 1 3

8 2

0 1 0 0 0 1
3 1 1 0 0 0 0 1 0
2 0 2 1 2 2 2 1 2
3 2 0 2 0 0 2
3 0

34
 18 Bourrée in D minor
Robert de Visée (1650 –1725) Bearb.: Stephan Schmidt
In 1768 Jean Jacques Rousseau described the Bourrée as a “cheerful dance with four beats in a bar”.
Visée was a guitarist and lutenist at the court of Louis XIV. In 1672 he published his book of pieces
dedicated to the king. “Livre de pieces pour la guitare dédié au roy”. It contains the famous Suite in
D minor from which this Bourrée is taken.

III
A 4
4 1 4 1
4 3 3 4 3 4

2 1 2 2 2 2
8 3

0 1 1 3 5 5 0 1 3 1 1 0 0
3 3 3 3 2 3 3 2 3
2 3 0 2
0 2 3 0 3 2
4

III
4 4 4
1 4 3 1
3

2 1 2 2
8 3

1 1 3 5 5 0 1 3 1 0
3 3 3 2 3 2
2 2 3 0 2
0 2 3 0
4 0

B 3
1 4 4 4 3 3 3
2 4 4

1
8 3 2
3 1
2 1
0 0 1 0 0 2 3 3 2 3 3 5
3 2 2 3 3 1
0 2 3 2 3
2 3 2 0 0
0 3 1 0
3 3

4 3 4
3 1 3 1
3 3 4 3 4

2 1 2 1 2 3 2
8

6 5 3 1 0 1 5 3 1 0
3 2 3 3 2 3
0 2 2 0 2 3 0 2 2
0 2 3 0

35
 19 Sarabande
from Poland (c. 1710) Arr.: Stephan Schmidt
The Sarabande probably originated as a folk dance in Mexico. In the 17th Century it was popular at
all the courts of Europe and metamorphosed from a quick to a slow dance with three beats in a bar.
In this form it was included in the Suite, taking its place between the Courante and the Gigue.

A 4
4 2 1
4 3
1

8 3
2
2
3 0 0 5 3 2 0
0 0 1 3 3 3 1
0
0 2 3 0
3 3 3

4 2 1

3 0 0 5 3 2
0 0 1 3 3
0
0 2 3 0
3 3 3

B
2 4 2
4 3

8
2
3 2 3
0 0 2 3 2 0
3 3 3 3 3
0
2 0 0
3 2 2 3

4 2 4 2

8 1
3 2
1 3
3 2 0
3 1 0
2 0 2 0
2 0 0
3 2 0
3 2 3

36
 The Suite (Fr. Sequence) emerged from the pairing of contrasting dance movements, the first of them
is slow quadruple time and the second in quick triple time. In the Baroque era the typical sequence
of movements was Allemande – Courante – Sarabande – Gigue, with other dances (Minuet, Air,
Bourrée) frequently inserted. All the dances in a Suite are in the same key.

A 4
4 1 3 2 3
4 1

8 3
2
2 2
3 0 5 3 2 0
0 0 1 3 3 1 3 1
0 0
0
0 2 3 2 0
3 3

3 0 5 2 2
0 0 1 3 3 1 3
0 0
0 0
0 2 3 2 0
3 3

B
1 3
4

8
2
3 2 3
0 2 3 3 2 0
3 3 3 3 3 3 3
0
0
2 0 0 0
3 2 2 3

4 2

8 1
3
3 2 0
3 1 0 0
2 2 0 0
2 0 0 4
3 2 0
3 3

37
 20 Air
Georg Friedrich Handel (1685–1759) Arr.: Stephan Schmidt
Handel was so fond of his melody that he used it in a number of versions in various different com-
positions. This guitar version forms the basis of the last movement of a harpsichord Suite published
in 1720. In the original, this noble melody forms the theme upon which five variations are based.

A
1
1
1

8 3 3
3 3

0 0
2 0 2 0 0
2 2
4 0 0 4
4 0 4 0

2 3 4
1 4
2
1
1 2
8 2
2 1

2 0 0
2 4
2 2 1 1
6 4 2
0 2 4 0 2
0

Georg Friedrich Handel was born in Halle on

the Saal in 1685. It was his father’s wish that he
should study Law, but his talent and enthusiasm
for music soon took him to Hamburg, where
he started out as an orchestral musician (second
violin). His first opera “Almira” was a resounding
success when first perforemd in 1705 at the
famous “Haus am Gänsemarkt”. A notable fea-
ture of this youthful composition is the use of
three languages: Italian, German and Platt-
deutsch. Handel then spent some years studying
in Italy before eventually moving to London in
1711. In London Handel had to endure financial
difficulties as an impresario, in spite of the great
success of his operatic creations. His best-known
competitions include the “Water Music”, the
“Fireworks Music” and the oratorio “Messiah”.
Operas such as “Xerxes” and “Julius Caesar” have
been performed more often in recent years, after
a long period of neglect on the German
stage. Handel festivals take place every year
in the German town of Göttingen, Halle and
Karlsruhe.

38
 The terms Air and Aria denote a peceful, often solemn instrumental piece. Both words are derived
from the Greek “aeros”, a breath of air. In Italian the term “aria” originally ment “sung meldoy”,
as in our operatic arias.

B 4 4
1 1 1

8 2 3 2 3

0 5 0 2 0 0 5 0 2 0
2
0 0
4 0 4 0 4 4

4 3
4 3 4

8 1 2
3 2

0 5 4 4 2 2 0 0 0
2 3 2 3 0
1
2 0 2 0
0 4 2 0

1
2 1 1 1 1

8 1
4 3 3 3

0 0
0 2 0 0
2 2 2 1 2
2 0 0
4 4 0 4 4

4 3 3
1 1 2

8 2
3 2

0
0 3 2 0 2 0
2 1 2 2
2
0 4 2 0 0
0

39
 21 L’inverno
Antonio Vivaldi (1678 –1741) Arr.: S. Schmidt /N. Baur
“The Four Seasons” are among Vivaldi’s most famous compositions. A violin concerto with three
movements is dedicated to each season in this cycle. The slow middle movement of Winter (l’in-
verno) with its tempo indication “largo” (broad) has been arranged here for solo guitar. The notes
with upward stems form the melody, and should of course stand out in performance.

A
4 1

8
3 3
3 1 0 1 0 1 1 0 0
1 3 1 3 3 1 0
0 0 0 0 0 0 0 0
0 0 0 0 0 0
3 3 2 3 3
3 3 3 3

4 4 1
4 2 4
1 4 1 3 4
1

3 3 2
8 3

0 1 3 5 7 5 0 1 3 0
3 5 6 8 0 1 3 0 1 3 1
0 0 5 7 0 2 2
7 7 0 2
2 2 0 0 0 0
3 3

4 2 3 1 3
4
1 4
8
3 3
0 2
0 3 3 1 3
0 0 0 0 0 0 0 0 2 2
0 0 4 0 0 4 2 4 0 4 0
2 2 3 3
3 3 3 3

8
2 2 2

3 3 3 2 0
3 1 0
0 2 0 2 0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 2
3 3 3 3

40
 The sonnets commenting on the seasons may well have been written by Vivaldi himseelf. The follow-
ing lines correspond to this largo section of Winter: Passar al foco I di quieti e contenti / mentre las
poggia four bagna ben cento. (Peaceful and contented days are spent by the fireside / while many
outside are soaked by the rain.

B
2 1
3

8 4
1

3 1 0 1 0 1 1 0
0 2 0 2 2 0 0
0 0 0 0 0 4 0 0 0 0 0
0 0 0 0 5 0
3 3 2 2 3 3

8 2

1 0 1 1 0 0 0 1 0 1 3
3 1 0 0 1 3 0 1 3
0 0 0 0 2 2 0
0 0 2 0
3 3 0 0
3 3 3 3

4 4

8
3
0 1 3 5 0 1 3 0
1 3 0 0 1 3 0 3 0 1
2 2 0 0
2 0 0 0 0 0 0
0 0 2 3
3 3 3 3 3

0 1 3 0 3 0
3 0 3 3 3 1 0 1 1
2 0 0 0 0 0
0 0 0 0 2
3 3 3
3 3 3 3

41
 22 Canarios
Gaspar Sanz (1640 –1710) Arr.: Stephan Schmidt
The name of this quick dance from the gigue family refers to its place of origin in the Canary Islands:
it is an instrumental dance without words, generally in 3⁄8 or in 6⁄8. In this composition by Gaspar
Sanz there are some charming thythmic changes of accent from 6⁄8 to 3⁄4.

A II
1
1 2 1 3 2
2 2
1

0 2 0 2 3 2 3 2 0 0
3 0 3 3 2 0 2 3 3 2 3 3
0
0 0 0
0

2 0 2 3 2 3 2 0 2 3 2
0 3 3 2 0 2 3 3 2 3
0
0 0 0 0
0

B 4
1 2 2 3 1 2
1

4 3
8 3 1

0 2 0 0 0 2 3 2 5
3 3 2 3 2 0 2 3 3
2 0 2 0
4 0 4
4 2 0 0

C 4 4 4
4
2 1 2
1
4
1
8 2
1

7 7 9 9 10 10 2 3 3 5 5 2
7 3
0 2
7 0 0 4
0 2 4

42
 4 2 4
2 2
1

3
8
1
3
5 3 3 0 0 5
0 0 2 2 3 3 3
0 2
4 0 0
0 0 2 4
3

A
1 2 3
2

2 3 5 0 2 3
3 3 0 2 3 0 2 3 3 3 2 0
0 2
0 0 0 0
0 0

D 4 2 1

3 1

5 3 2 3 2 0 5
0 0 2 3 3
2 2 0 2 0 0 2
4 2 0 0
0 0

0 0 2 0 2 0 2 3 2 0 5
3 3 3 3 2 3 3
0 0 0 0 4
0 0 0

C 4 4 4
2 2
4 1
1
2
1
3
8 3
1
7 7 9 9 10 10 5 3 3 0 0
7 7 3 3
0
7 0 4 4
0 2 4 5 5

43
 23 Largo
Antonio Vivaldi (1678 –1741) Bearb.: Stephan Schmidt
Largo means “broad” and is not only a tempo indication but also the title of movement in Baroque
concertos. This is the famous middle movement of a concerto for lute, two violins and basso con-
tinuo which Vivaldi probably composed while staying in Prague in 1730. The lute part is nowadays
often played on the guitar, with the melody being varied in the repeats.

A 4 2
2 4 2
2 1
1

2 3 5 2 5 2 7 5 3
3 3 5 2 3 5
2
0 0 0 0
0 0 0 0

4 4 4
1 2 1 4 4
2
1

2 5 2 5 2 5
3 5 3 5
2
0 0
0

4 4 4 2
1 4 1 4
2

8
5 2 5 2 7 5 7 7 7 5 7 7
5 3 5 3
0 0
0 0

4 4 4
2 4 2 2 4 1
3

8 2
1
7 7 5 3 5 5 5 3 5 5
5 7 5 5 7 5
4 4
4 4

44
 Vivaldi spent most of his career in his home town of Venice.His red beard and theological training
earned him the nickname “Il prete rosso” (the red priest). In 1703 he was appointed to teach string
playing at the Ospedale della Pietà, the famous orphanage in Venice, where he was in charge of inten-
sive musical instruction.

4 4 4 4
3 3 1
2 4 4 2

8
1

5 5 4 5 7 5 4 2
3 5 3 3 5 3 5 3

2 2
0 0

1 3
1

5
2 2 5 2 2 5 2
4 2 4 2 4 2 4 2
0 0 0 0

242
4 4 2 1 4 2 2
1 3

5 7 5 7 5 7 5 7 5 75 4
7 5 3 2
4
0 0

II
4 4 4
1 1 3
1
1

5 4 5
2 5 2 2
4 2
0 0
0

45
 In his function a a music teacher Vivaldi composed numerous concertos for solo instruments, in
addition to liturgical works; the solo concertos were performed on Sunday afternoons. Although the
“prete rosso” also wrote almost 100 operas, his greatest achievemnt was the introduction of the solo
concerto as a musical genre in Europe, influencing even J. S. Bach.

II
B
1 1 4 1 2
3 2 3 3 4
1
2
3

8
1

3 3 7 3 3 2
5 5 5 2 2 5 5
4 3
4
0 0 2 2

3 3 3
2 2

8
1 1

2 2 2
3 2 0 0 2 0 2 0 2 0 0 2 0 2 0 2 0

2 2 2 2

3 3 121
2 4 2 2 2

8 3
1

7 7 7
7 8 7 8 7 8 7 7 8 7 8 7 8 7 7 5 3 2 3 2 0
0 4
7 7 7

2 4
2 2 1

8
1
2 3 5 2 5 2
0 3 3 3
0
2

46
 4 2
2 1 1 4 2
1

3 7 3 2 5
5 2 3 5 5 3
2
0 0
0

2 4 4 4
2
2
1

8
3 1
5 7 5 3 2 7
5 3 1 0
2 0
0
3 3

4 4 4 2 2 2
1 4 2 1 1 4
3
1

7 9 7 5 3 2 3
5 3 2 2 5
0 4 2
0 0

2 3
1

2 2 0 3
0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0

4 020
2 2 2 1

2
3
8

2 3 5 02 0
3 3 3
0 4
0 5

47
 24 Jesu, Joy of Man’s Desiring
Johann Sebastian Bach (1685–1750) Arr.: Stephan Schmidt
This Chorale from the Cantata “Herz und Mund und Tat und Leben” [My Heart, my Mouth, my
Deeds, my Life] was composed for a four-part choir and chamber orchestra, with violin and oboe
playing the celebrated opening theme. The choral entries (the first of them in bar 9) are marked by
the use of block harmonies. The first guitar (or solo arrangement) on the accompanying CD can be
heard through the right speaker.
Guitar I (or solo version)
A 3 3 3
4 2 4 3
1 4 4 4 1 1
1 1 2 3
3 4

8 2 1 4
1 2
2

0 3 2 3 0
0 3 1 1 3 3 3 0 0 1 3 3 1 0 0 1 0
0 2 0 0 2 2 0 0 2 2 2
2 2 4 0 4 0
2 0 2 3 5 0
3 0

4 2 4 3 4
4 1 4 4 1 3 3 3
3 1
2 4

8 2 1
3 1 3 3
4 2
0 3 2 3 3
0 0 3 1 1 3 3 3 0 0 3 1 0 0 3 3 0 0 3
0 2 0 2 2 0 0 0 0
2 2 0 2 0 4 0
3 2 3 4
3 3

B 4 3 3 3
4
1 2 4 1
1
3 3
3 4

8
2 1 1 3 2 3 1
3
0 1 3 3 1 0 1 0
0 0 2 0 0 2 2 0 2
0 2 4 0
3 2 0 2 3 2 0 2 3 2

1
2 2
4

8 1
2 3
3 2

1 1 0 0 1 3 0 0 1 0
2 2 2 0 0 0 0 2 2
0 4 0 4 0 0 2 0 0
2 3
3 2 0

48
 A shortened version of this guitar arrangement is conceivable with the sequence A-B-A’’ (solo
version or duo). The second guitar part comes through the left speaker and may be turned down,
included or listened to on its own, as required. It functions as an accompaniment and its melody has
been given the same bass line as for Guitar I.

A Guitar II
3 3
2
4 1 4

8 1 1
1 1 2
1

0 0
0 0 2 2 0 0 0 2 0 2
4 2 2 2 0 2 4 0 2 0 4 0 4
2 0 2 3 0
0

4
3 3
2 1
4 4 4 1
2 1

8 1 1
3 1 2 3
2 2
3
0 0 0 3 3
0 0 2 2 0 0 2 0 0
0 4 2 4 2 0 4 2 0 0
3 2 3 4 3 2
3 3

B
1 4
2

3 3 4
8
1
2 2 2 3 2 2 3 1 3
3
0 1 3 3 1 0
2 2 0
0 2 0 2 0 0 2 4
3 2 0 2 3 2 0 2 3 2

3
1 3 3 1 4
2 2

2 1 4 1 4
8
2
3 2

1 0 1 3 0 0
2 2 0 0 0 0 2 2
0 0 4 0 4 0 2 2 4 2 4
2
3 2 0

49
 Guitar I (or solo version)
A 3 3 3
4
3 3 4 2 3 4 4 1
1 1 3
1 1 2
3 4

8 2 1 4
1 2
3 2

0 3 2 3 0
0 0 3 1 1 3 3 3 0 0 1 3 3 1 0 0 1 0
0 2 0 0 2 2 0 0 2 2 2
2 2 4 0 4 0
2 0 2 3 5 0
3 0

4 2 4 3 4
4 1 4 4 1 3 3 3
3 1
2 4

8 2 1
3 1 3 3 1
4 2
0 3 2 3 3
0 0 3 1 1 3 3 3 0 0 3 1 0 0 3 3 0 0 2
0 2 0 2 2 0 0 0 0
2 2 0 2 0 4 0 2
3 2 3 4
3 3

C 4
3 3 3
1 1 1 4 2 4

1 3 1
2 2 3
8 3 2 2
0 1 0
3 0 1 1 0 1 3 0 1 0 1 3 3
2 1 2 0 2 1 2
0 3 2 0 2 3 0
3 2 0 2 0

II
3
4 3 4 4
0 4 1 4 3 3 2
3 4 1
3 3 1 2

1 1 2
8 1 1
0 5 4 5 0 0 5 0 0
6 5 3 1 0 1 3 1 0
5 2 4 5 2 2 1 2 0
3 2 0 1 2 2
3 0 2 3 0

3 3 3

4 1
2 2
1 3 1 4
3
3
8 3 3 1
2
0 1 0 3 1 3 0
3 3 1 1 0 1 0
0 0 2 3 2 2 0 0 2
3 0 2 3 0 3 0 2 3 2 0 2 4 0
3 3 3 3 2
3

50
A Guitar II
3
3 3
2
1 4 1 4

8 1 1
1 1 2

0 0
0 0 0 2 2 0 0 0 2 0 2
0 4 2 2 2 0 2 4 0 2 0 4 0 4
2 2 0 2 3 0
0

4
3
2 2 1
4 4 4 1
2 1

8 1 1
3 1 2 3
2 2
3
0 0 0 3
0 0 2 2 0 0 2 0 0 0
0 4 2 4 2 0 4 2 0 0
3 2 3 4 3 2
3 3

C 3 3 3
2 1 4 3
4 2

8 3 2 2

0 1 1 0 1 3 0 0
2 2 2 1 2
0 0 2
3 2 0 2 3

0 0
1 0 1 1 3 1 0
2 2 2 1 2 2 0
3 4 0 2 2
2 0 2 3 0

3 3 3 3

4
8

0 1
3 3 1 1 0 3 1 1 3
0 0 0 2 0 2
3 0 2 0 2 3 4
3

51
 Guitar I (or solo version)
3 3 3
1 4
1 1
4

8 2
2
2

0 3 2 3 0
0 0 3 1 1 3 3 3 0 0 1 3 3 1 0 0 1 0
0 2 0 0 2 2 0 2 0 2
2 2 4 0 2 4 0
2 0 2 3 5
3 0

1 1
2 2 2
4 4

8 1
2 3
3 2

1 1 0 0 1 3 0 0 1 0
2 2 2 0 0 0 0 2 2
0 4 0 4 0 0 2 0 0
2 3
3 2 0

3 3 3
4 1 4
3 3 4 4
1
2
4

8
2 3 3
3 1 0
0 3 3 0 0 3 3 0 0 3 1 1 3 0 0 1 1 0
0 0 0 2 2 0 0 2 2 2
4 2 4 0 4
3 3 3 3 3 3

A
4
3 3 4 2 3 4 4 1
1 1 3
1 1 2
3 4

8 2 1 4
1 2 2

0 3 2 3 0
0 0 3 1 1 3 3 3 0 0 1 3 3 1 0 0 1 0
0 2 0 0 2 2 0 0 2 2 2
2 2 4 0 4 0
2 0 2 3 5 0
3 0

4 2 4 3
4 1 4 4 1
3 1
2 4

8 2 1
3 1 3 3
4 1
2
0 3 2 3
0 0 3 1 1 3 3 3 0 0 3 1 0
0 2 0 2 2 0 0 0
2 2 0 2 0 4 0
3 2 3 4 2
3 3

52
 Guitar II
3 3 3

0 0
0 0 0 2 2 0 0 0
0 4 2 0 2 4 0 2 0 0 2 4
2 4

1 4
1 1
3

2 4 1 4
8
2
3 2

1 0 1 3 0 0 1 0
2 2 0 0 0 0 2 2
0 0 4 0 4 0 2 2 4 2 4
2
3 2 0

3
3 4 3 3 3 3
3 3 4 1 3 3

8 1
2
2 3
3
0 3 3 0 3 0 1 0
0 0 0 2 0 2
4 0 4
2
3 3 3 3 3 3

A 3
3 3
2 1
1 4 1 4

8 1 1
1 1 2

0 0
0 0 0 2 2 0 0 0 2 0 2
0 4 2 2 2 0 2 4 0 2 0 4 0 4
2 2 0 2 3 0
0

2 2 1
4 4 4 1

8 1 1
3 1 2 3
2 2 1
2
0 0
0 0 2 2 0 0 2 0 0
0 4 2 4 2 0 4 2 0
3 2 3 4 3 2
3 3

53
 25 Bourrée in E minor
Johann Sebastian Bach (1685–1750) Arr.: Stephan Schmidt
The Bourrée, originally a folk dance from the Auvergne, reached the courts of Europe in the 17th
Century and eventually found a place in the Suite, between the Sarabande and the Gigue. The famous
pedagogue Jean-Jacques Rousseau wrote of its form: “The Bourrée is in two parts, like most dances:
each part has four bars or a multiple of that number.”

A II II II
1 2 1 2 1
4 4 4
1 1
2 2 2
4 4 2

8
1 1 1
3 1 3 1 2 3 3 1 3 1

0 2 3 2 0 0 2 0 0 2
4 0 2 4 3 1 0 0
2 0 0 2 2 0
4 4 2
0 2 0 0 2 0 2
3 2 0 3 2 0 2 3 3 0 2 3 2

MZ MM Z M M Z
D D D D D D

II
2 1 2
4 4 4
1 1
2

8 3 2
1 3 3
3 1 2 3
G
3 2 0 0 2 0
4 0 2 4 3 1 0
2 0 0 0
4 0
0 2 0 3 5 5 2
0 3 2 0 2 3 3

M M Z M M Z
D D D D

J. S. Bach (1685 –1750)

54
 Bach probably composed this extremely popular, fast Bourrée during his time at Weimar (1707–17).
It forms part of the Suite in E minor for the 13-course lute. Like other works by Bach, this piece has
found its way into pop music. In 1969 the group “Jethro Tull” issued their legendary version for flute
and E-bass on the LP “Stand Up”.

B
4
4 3 4
1 3 1 3 1
2 3 1 3 2 2

8 2 2
1 1 1
3 3 2 2 3
1 1

3 0
0 3 1 0 3 3 0 0 1 0 3
0 2 4 5 2 1 2 2 2 2
0 0 2 2 0
2 3 0 0 2 0
3 2 3 4 5 0 3 2

4 4
4 4 3
3 1 3 3 2
3 3 3
2

1 3
8 1 1 4 1
1 2 1 1 2 1 2 2
3 2 1

3 0 5 2 0 7
0 3 3 5 2 3 2 0 0 0 7
4 5 3
0 2 4
2 3 4 1 2 6
3 4 5 2 7 6 7 9 7

4 4 2 4 4
2 1 3 4 1 2 2 4

8 1
2 2 3 1 1 1
1 3 4
1 2

4 2 0 5 0 3 2 0 3 1 0 5 0 2 0 0
3 3 2 4 0 0
2 0 0
4 0 3 2 3 2 0 2 3 2 0
3 2 4

II
2 2
1
1 1
1 4 2 1 3 4 2
1
3 3 2
8 1 3 3
3 2 1
1

1 3 0 1 0
2 0 2 0 0
2 4 1 2 4 4 2 1 2 4 4 2 2
0 4 6 0 2 0 2
3 2 0 0

55
 26 Minuet in E
Adam Falckenhagen (1697–1754) Arr.: Stephan Schmidt
This simple but effective minuet has survived in manuscript form in the Bavarian State Library.
Fackelhagen was born in Grossdalzig, near Leipzig, and began his career in Gera and Weimar,
later moving to Bayreuth in 1632 as court lutenist. His compositions include chamber music and
numerous Suites for lute solo.

A
4 1
2 2 1
2

8
3 3 1
0 0
0 0 4 2 0 0
1 2 2 2 1 1
2 4 4 2
0
0 4 4 2 0

II
4 2 1 1 4 3 3 2 3

8
1 1
3 1 1
0 2
0 4 2 0 2 5 4 2 4 2 0 0
3 3
2 2 2
4 2 0 2

B 4 4 4
1 3 1 3
3 1 3 4 4 2

8
1 1

2 5 5 4 2 4 0 2 5 4 2 0 0
2 4 5 4 2 2 0
4
2 0 2
0

4 1 3 4
1
1
3

8
2
3
0 2 0 0 0 0
4 2 0 4 2 0 4 0
0 1 1
4 2
0 2
4 0

56
 27 Andante
Joseph Küffner (1776 –1856) Arr.: Stephan Schmidt
The Italian word Andante means “walking”: in music it denotes a moderate tempo. It corresponds
to a relaxed walking pace (c. 80–100 steps per minute). In the following piece a meldoy is presented
in a variety of ways at this tempo: with two voices in thirds, in chords, with a single voice and un-
accompanied, in the minor and the major.

A 4 1
3 2 1 4
2

0 1 0
1 1 1 5 3 1 0 3 3 1 0 1
2 2 2 5 4 2 1 2
0
0

4 1
3 2 1
2

0
1 1 1 5 3 1 0 3 1 0
2 2 2 5 4 2 1 2
0 0
0

B
4
4 4

0 1 0 0 0 3 1 0 1
1 1 3 3 1 3 3 1 3
2 0 0 0
2
3

Fine

0 0 0 0 0
1 1 0 3 1 0 1 0 3 1 0
0 2 1 2 1 2
3 0 0
0 0

58
 Küffner was born in Würzburg and gained high esteem as a violinist and director of music in the
employment fo various princes. Although not really a guitarist himself, he wrote numerous catchy,
usually short pieces for the guitar, as well as duos and chamber pieces. He expressed his support for
the Polish liberation movement by writing Polonaises and Polish songs.

0 2 2 2 2 0
C 2 1 2 3 1 2 0 3 1 1
2 3 2 0 2 3 2
1 1 1
2

2 2
2 2
0 0
0 2 0 0
3 2 3 2 3 2 0 0 2 3 2 3 2 0
4 4 2 1 1 2 4 4 2 1
0 0
0 0 0 0

0 4 1 2
2 2 3 4 2
1

8
2

0 0 2 2 0 2 0 0
2 2 2 0 0 0 0 4 0 3 2 0 0
2 2 1 1 2 1 1
0 0 0 2
0 0 0 0 0

0 1 0 2 2
D 2 2
2 2 2 3 1
0 2 3 1
1 1

0 2 0
0 0 2 3 2 0 2 2 3 2 3 2 0 0
1 1 2 4 2 1 2 4 2 1 1 2
2 4
0
0 0 0 0 0 0 0

D. C. al Fine
2
2 3
1

2 2
2 2
0 0
0 2 0 0
3 2 3 2 3 2 0 3 2 0
4 4 2 1 1 2
0 0 0
0

59
 28 Ländler
Anton Diabelli (1781–1858) Arr.: Stephan Schmidt
The Ländler, a folk dance with a slow 3/4 beat, was one of the precursors of the waltz. Famous
figures among the Early Romantics such as Beethoven and Schubert were particularly fond of
composing Ländler. In recent times the guitarist and composer Siegfried Schwab has been one
of those to take on this musical form, writing twelve wonderful Ländler in A major.

A
4 4

8 3

0 3 3 1 1 1 0
1 0 0 0 1
0 0 0 0 0
2 2 0 0 2
3 3
3 3

4 1
4 2
1
3

0 0 1 1 1
1 2 3 0 0 0 1
0 3 2 0 0 0 0
2 3 0 2
3 3
3 3

B
4 3 4 4
4 1 3 1 1 2
2

8
2 3 3
0 3 2 3 0
3 3 1 1 0 1 1 2 3 3
2 2 0 0 2
0 0 0
2 3 3

4 3 4
1
2

8
2
3 2 2 3
3 1 1 0 1 1 0
2 2 0 0 2 0 0
0 0 0 0 2
2 3 3

60
 Diabelli, whose name indicates Italian ancestry, was born in Mattsee in Austria and played an im-
portant part in Viennese musical life with his playing, composing, teaching and publishing activities.
He was well acquainted with Beethoven, Haydn, Schubert, Giuliani and other composers: Beet-
hoven, for instance, wrote 33 Variations on a waltz by Diabelli.

A
4 4

8 3

0 3 3 1 1 1 0
1 0 0 0 1
0 0 0 0
2 0 0 2
3 3
3 3

4 1
4 2
1
3

0 0 1 1 1
1 2 3 0 0 0 1
0 3 2 0 0 0 0
2 3 0 2
3 3
3 3

In 1908 the Viennese newspaper “Wiener Extrablatt” reported an acrobatic vari-

ant of the Ländler dance: “Balanced in handstands on the lasses’ powerful
shoulders, the lads stamp out a Ländler on the wooden roof”.

61
 29 Tarantella
Mauro Giuliani (1781–1829) Arr.: Stephan Schmidt
The Tarantella is an old Neapolitan dance that was said to have originated as a treatment for the bite
of the tarantulla spider. People would often go on dancing for hours “as though bitten by a tarantulla”,
driven on by the furious playing of violins and guitars, reinforced with noisy percussion and shouts
of encouragement from bystanders.

1 1 1
2 4

0 0 0 0 0
3 1 1 0 0 0 1 1 0 0
2 1 1 1 2 2 1 1
2 4 2
0 0 0 0
0 0 0 0

4
1 1 2
2 4

8 1
3

0 0 3 3
3 1 1 0 0 0 1 3 0
2 1 1 1 2 2
2 4 2
0 0 0 0 3 0
0 0 0

8 3 2
3
0 0 3 1 0 0 3 3
1 3 3 1 3 1 0
0 0 0 0 2 0
2 2 0 0 3 2 0
3 3 2 2 3
3 3

1 4

8 2

3 0 0 3 1 1 0 0 0
1 3 3 1 3 0 1
0 0 0
2 0 2
3 3 2 2 3 3 3
3

62
 Giuliani learned to play the flute and cello in his youth, before devoting himself entirely to the
guitar and eventually becoming one of the greatest guitar virtuosos of all time. At the age of 25 he
left Italy for Vienna, where he made the guitar so popular that Beethoven attended his concerts and
Haydn performed with him.

0 0 0
3 1 1 0 0 0 1 1 0 0
2 1 1 1 2 2 1 1
2 4 2
0 0 0 0
0 0 0 0

3
2

0 0
3 1 1 0 0 0 1 3 0 0
2 1 1 1 2 2
2 4 2 2 2 2
0 0 0 0
0 0 0 0

4 3 4
1
1
3 1
2 2 2 2

0 0 0 5 4 5 0
1 0 0 1 1 3 0 1
2 2 2
2 2 2 2 2 2
0 0 0 0 0
0 0 0

4
3
2

2 1 2
1
3

0 5
3 5
2 1 2 1 5
2
0 0 3 0 0
0

63
 30 Andantino
Niccolò Paganini (1782–1840) Arr.: Stephan Schmidt
Andantino, the diminutive form of Andante, is slightly faster than a simple “walking” pace. This
popular miniature by Paganini begins almost like a dance, with happy, light-hearted steps. The
graceful lightness of this piece has sometimes led to imaginative alternative titles such as “Melodie
d’amour” or “Romance”.

4
A 2 1
2 3 2 2 1 2 1
3 1 3

2 0 0 0 3 2 2 0 0 0 2 3 7 5 2
3 6 7
0 0 0 2 0 0 0
0 0
0 0 0 0 0 0

Fine
3 2 3 2 1 1
1
2
8 3

0 0 0 3 2 0
3 0 3 2 3
0 0 0 2 2 0 0
0 4
0 0 0 0 5

B
2 3 2 3 2

8
1 1
1
2 2 3 2 3 2 0 2
3 2 0 0 2 2 3 2 0 2 3 0
4 4
2 2 2 2 2 2
2 2 2

3
2

8
1 1

2 3 2 3 2 0
3 2 0 0 2 2 2 3 2 0
4 4
2 2 2 2 2 2
2 2 2

64
 Paganini was born in Genoa and grave his first public concert as a “child prodigy” at the age of twelve,
although he had never received regular formal tuition. Numerous concert tours established his fame
all over Europe as a “diabolically gifted” violinist, as his incredible virtuoso playing had an almost
hypnotic effect on his audience.

C 4 4 4
1 2 1 2 3 2 3

2 7 5 5 3 2 5 3 3 2 0 5 3 3 2 0 3 2 2 0
0 3
0
0
0

D. C. al Fine
2 3 2

8
1 1

2 3 2 3 2 0
3 2 0 0 2 2 2 3 2 0
4 4
2 2 2 2 2 2
2 2 2

Niccolò Paganini (1782–1840)

65
 31 Allegretto Scherzando
Niccolò Paganini (1782–1840) Arr.: Stephan Schmidt
The tempo indication allegretto lies somewhere between andante (walking) and allegro (cheerful)
and can best be translated as “fairly lively”. The performance indication scherzando (pronounced:
skertsando) means “joking, mischievous”. The underlying rhythmic scheme is identical in the major
sections A and B, and only slightly varied in the minor sections D and C.

A
4 2
4 4 4
2

8 1
3
3 1
2
3 2 0
3 1 0 0 3 3 1 0 0 1 0 3 1
0 0 2 2
2 0 0 0
3 2 0
3 3 3 2 2

4 Fine
2 4
1 3

8 1 1
3
3 2 2
2
3 2 0
0 0 3 3 1 0 0 1
0 0 2 0
2 0 0
3 2 0 2
3 3 2 3

B 3 1 3 1
4 3 4 4 4 3 4
4 3 4 1 1
1

8
2 2
7 5 5 7 5 5
8 7 8 5 7 8 7 8 5 3 3 1
7
0 0 0 0
0 4 0 4

1
3

8
3 2
2
3 2 0
0 0 3 3 1 0 0 1
0 0 2 0
2 0
3 2 0
3 3 2 3

66
 The guitar became Paganini’s second instrument: he used it to help him compose the orchestral
accompaniments to his violin concertos. He once said: “I love the guitar for its sound and its scope
for playing harmonies. It is my constant companion on all my travels.”

C 3 4 3 1
1 2 4 3 2
3

8
1

0 2 3 2 0 7 8 7 7 5 0 0 2 0 2
8 7 4 0

2
0 0 0 0 0

II
1 4

8
1

3 2 0 7 8 7 7 5 0 2 2 0
8 7 4

2
0 0 0 0 0

D 4
2 1 2 1 1
4
1

8
1
3 2 0 5 3 2 0 0 2
4 0 0 0 0
2 2 2 2
2 2 2 2
0 0 0 0

D. C. al Fine
3 4 3
2 1 4
1 3 2

8
1

3 2 0 7 8 7 7 5 0 2 0 2 0
8 7

2
0 0 0 0 0

67
 32 Divertimento
Napoléon Coste (1805–1883) Arr.: Stephan Schmidt
The term Divertimento comes – like almost all technical terms in music – from the Italian language
and means “amusement, entertainment”. It is used as the name for a merry instrumental piece. In the
present example this mood is expressed in the technically accomplished use of high positions an in
the use of the key of A major, which is often symbolically associated with joy.

IX
4 IX 4 4
A 1
2 2
1 1 4
1
2
2 2

1 3 1
8

12 9 0 0 0 9 12 9 0 12
10 2 3 2 10 12 9
2 4 2
0
0

IX
1
2 2 2
2

1
8

9 0 0 0 9 12 9 12
10 2 3 2 10 12 9 10
2 4 2
0 0 0
0

IX IX 4 4
A 1
2 2
1 1 4
1
2
2 2

1 3 1
8

9 0 0 0 9 12 9 0 12
10 2 3 2 10 12 9
2 4 2
0
0

IX
1
2 2 2
2

1
8

9 0 0 0 9 12 9 0
10 2 3 2 10 12 9 10
2 4 2
0 0 0
0

68
 Coste was born in 1805 in the French Jura (in the Doubs area). His father was an officer and for a while
mayor of his town; his mother was an accomplished guitarist. In 1815 the family moved to
Valenciennes (in the north of France) where Coste gave his first concert at the age of 18. When he
was 30 he went to Paris and met the classical guitarists Sor, Aguado, Carulli and Carcassi, all of
whom lived there at the time.

IX
4 4
B 2
4 4 2
1 2
4 4 2
1
1 1

10 9 0 12 10 9 12 0
12 9 12 10 12 9 12 10

0 0
0 0

IX
4
1 1 4 1
4 4 2 1 2 2
2

1 2
8

2 4 5 7 9 12 9
10 12 9 10 10
0 2 4 0
0
0

4
1
3 2

1 1 1
2 2
3 1 3 1
8 2 3 3
2

0 0 0 0 0 0 0 0 0 0 5 5 5
3 2 0 2 2 0 2 2
4 2 1 2 2 2 1 2
2 0
4 2 4 0 0

Napoléon Coste (1805 –1883)

69
 33 Barcarole
Napoléon Coste (1805–1883) Arr.: Stephan Schmidt
A Barcarole (barca = boat) originally refferred to the singing of the gondoliers in Venice. In the 19th
Century it became a popular form of composition with a rocking melody and three beats in a bar.

A 4 4 2
3 4
2
1
1 1 3
1 2 2

0 5 5 4 0 4 7 7 5
2 3 3 5
2 4 4 6
0 0
0 0

1 1
3 1 2
2 2 4 1 2
3
1
2
1

5 4 2 2 0 4 2 0
7 5 3 3 2 0 3 3 2
2 4 4 2
0 0 0
0

4 4 2
3 4
2
1
1 2 3
1 2 3

0 5 5 4 0 4 7 7 5
2 3 3 5
2 4 4 6
0 0
0 0

Flag. 4 4 4
14 1 1 1 3 3
2 1 1 Fine
2 3
3
2
2
2
8 3

575 4 2 0 < 12 > 9 7 5

7 5 3 2 5
9 7 7 6
6 7
0 0 0
0

70
 In Paris Coste was particularly friendly with Sor and gave concerts with him; he also published a
new edition of his guitar tutor. In 1865 he won second prize in a composition competition in Brus-
sels. After breaking his arm falling downstairs in 1863 he was no longer able to give concert
performances himself and mainly composed chamber music for oboe and violin.

B 4 4
4 3 4 4
4

1 1 2 1
8 3 1

4 7 0 0 2 4 5 5 4
0 4 0 0 0 0 0
2
4 1 2 4 4 2
0

4 4
4 2 4 4 4
3 3
1

2 2 2 1
8 1

7 12 11 11 9 7 5 4 4 2
0 10 0 0 0 0 0
9
6 6 4 2 2 1
0
0

4 4
4 3 4 4
4

1 1 2 1
8 3 1

4 7 0 0 2 4 5 5 4
0 4 0 0 0 0 0
2
4 1 2 4 4 2
0

IX IV
4 3 D. C. al Fine
4 1 4 2 1 4 4 4
1
1
3
2 1
8 3
2

7 12 11 11 9 7 5 4 0 2 0
0 9 7 0 0 4 0 2 3
1 2 2 1
6 4 2
0 2
0 0

71
 34 Capriccio
Fernando Sor (1778 –1839) Arr.: Stephan Schmidt
Capriccio means “mood, or caprice” and is used to denote a lively and original instrumental piece,
not unlike a Scherzo. In the course of this jolly piece by Sor the melody is gradually enriched with
ornaments, which may need separate practice, as in bar 21 for example.

A 4 4
2 1 1 2
4 2

1
8 1

5 3 2 0 2 3 0 0 2 3 2 2 0 0 5 3
2 3 3 2 0 3 2
0 1 2
0 0
0 0

1 2 1
2
2

1 3
8 1

2 0 5 3 0 0 2 0 2 3 0 2 0
3 2 3 3 2 0 2 3
0 2 2
0 0 0 4 0
0

B
3 2 3 2 1 2 3

1 1 3 1
8
2 0 0 0 0 2 0 0 0 0 2 0 0 0 0 2 0 0 0 0
0 2 3 2
1 2 4 2

4 4 3 2
3 2 3 2 1 1
1

1 1 3
8

2 0 0 0 0 2 0 0 0 0 2 0 0 2 4 5 5 4 3
0 2 3 3 2
1 2 4
0
0

72
A 4
1 4 1 1 2
4 2

2 3 1
8 1

2 0 2 3 0 0 2 3 2 2 0 0 5 3
2 3 3 2 0 3 2
0 0 1 2
0 0 2 4
0 0

21
4 2 1 2 1 2 1

2 2
8
3

2 0 5 3 2 0 0 2 3 0
3 3 2 3 3 2 0 3 2 0 2 3
0 0
0 0 4 4 0
0 0 5 5 0

C
2 1
2
1 1
3 3
4
2 2
8
3

2 3 2 0 2 5 3 0
3 2 0 2 3
2 2 0
4 4 4 4 0
5 0 0 5 5 0

2 1
2
1 1
3 3
4

8 2
3

2 3 2 0 2 5 3 0
3 2 0 2 3 3 3
2 2 0
4 4 4 4 4
5 0 0 5 5 5

73
 35 Larghetto
Ferdinando Carulli (1770 –1841) Arr.: Stephan Schmidt
Larghetto is the diminutive form of largo (broad). A piece with this title should be played “rather
broadly”: faster than a largo, but slower than andante. A relaxed walking pace would not be appro-
priate for this piece, as it represents the progress of an individual who has to stand his ground in the
face of difficulties.

A
4 4
3
4

8 1 1 2
1 1 1
Em B7
3
3 2 0
0 0 0 0 0 1 0 0
0 2 0 2 0 0
2 1 2 4
2 0 1 2
0 3

4
1
3

8 3 2
2 1
2

3 2 0
0 0 0 3 3 1 0
0 2 0 2 0
2 1 2 0 0
2 2 3 2
0 2 3

B 4
4 4 4 4

2 2 2
8 1 1
B7 Em 2
2 2 3 3 5 3 2
0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 2 2 4 2 1
2

8 1

2 2 3 3 5 3 2
0 0 0 0 0 0 0 0 0 0 0 0
1 1 2 2 4 2 1

74
 At the beginning we hear sober resolve, forging ahead undeterred, and with early signs of hope
(bars 7 and 8). Section B shows repeated and dogged approach to obstacles and section C express
confident determination with a powerful bass line. In the lively conclduding section (D) all problems
have been resolved and overcome.

C
4
3
1 4 4
2
2 2 3

8
1 1
1 3
0 3 2 0
1 4 0 4 0
2 2 0 2 0
4
0 0 1 2 2
2 3 0

8
1

0 3 2
1 4 0 1 4
2 2 0
0 0 2
2 3 0

D
4 3 4 3
1
2 4

8 2

0 3 2 3 2 0 3 2 3
0 1 0 0 0
0 2 3 0
2 2
0 2
0 0

8 2
1

2 0
1 0 0 0
2 3 0
2
0 2 2
0

75
 36 Duo in G
Ferdinando Carulli (1770 –1841) Arr.: Stephan Schmidt
Many of Caruli’s compositions were inspired by his work as a teacher. This Duo meant to be played
by pupil and teacher. As the teacher’s part (second guitar) is also fairly easy, however, this refresing
piece with its echoes of Mozart can be played by any guitarists who enjoy making music together.

A 2
4 2 2
3 1
1

4 4
1 1 2
4

8 1
2 3 1
3 2

4 3 2 3 1

1
2 1 3 1
8 4 2 1

8 4 1
1
3 2

4 4
3 3 3

2
2
1 1
3 3 4 2
8
3
3

76
 Carulli was born in Naples. At anearly age he learned the cello, studied music theory and taught
himself to play the guitar. As there were few opportunities for guitar virtuosi in Italy at that time, in
1818 he decided to go to Paris, where he enjoyed great success with his concert performances and
also won the highest esteem as a composer and teacher.

A
0 3 2 3 2 0
0 3 1 3 3 1 0
0 2 4 2 0

0
0 1 3 3 1 0
0
0 4 2
0 2 3 6 0 2
3 3

0 0
0 1 0 1 4 1 0 3 2 3 1 0
2 1 2 2 2

0 0
0 3 2 0
2 2 2 2 2 0 4 2 0
3 3 3 3 4 3 2 0

0 3 2 3 2 0
0 3 1 3 3 1 0
0 2 4 2 0

0
0 1 3 3 1 0
0
0 4 2
0 2 3 6 0 2
3 3

0 3 3
1 3 3 3 1 0 3 0 3 0
2 1 2 2 0 0

0
2 0 2 0 0 0 0
2 2 0 0 4 0 0
3 3 2 2
3 3 3

77
 While the second guitar purely serves as an accompaniment in Section A, only occasionally be-
coming prominent with bass runs, here in section B it achieves greater independence. A dialogue with
guitar I gradually emerges, culminating in the third line, where a balance is established between the
two. The original distribution of roles is restored in the last line.

2 4 1 2 1 3 1
8

4
8

1
3
4
2

1 3 1
8 3
3

4 3 4 2
8
2

4 4
3 3

1
2

4 2
8 3 3
3
78
B
0 0
3 1 0 0 3 1 3 0 3 1
2 1 1 2

0 0
1 1 2 2 1 2 0 0
2 2 4 4 2
0 0
0

1 0 3 1 0 3 1 1 0
2 2 0 2 0
4 4

0 1 3
2 0 2 0 0 2
4 0 2 4 4
5 5
3

0 0
0 1 3 3 0 1 3
2 0 2

1 0 1 0 0
2 0 3 0
4 4 2
3 2

0 2 3 0 3 3
1 0 3 1 0 3 0 3 0
2 2 0 0

0
1 3 1 0
0 2 0 0 0 0
0 0 4 0 0
3 3 2 2
3 3 3

79
 37 Minuet from “Don Giovanni”
Wolfgang Amadeus Mozart (1756 –1791) Arr.: Stephan Schmidt
Mozart’s opera “Don Giovanni” was a great success at its first performance in Prague in 1787.
This minuet from Act I first gives a musical depiction of the presentations for a happy celebration.
Mozart then shows his masterful ability in using the same minuet to accompany singing.

A 1 1 1 4 4 2
2 1 2 2 3
4

5
5 5 5 5 5 5 7 5 3 3 3 3 3 5
6 6 6 6 6 6 6 4 4 4 4 4 6 7 6 7 6
7
0 0 0
0

II 3 4
4 2 1
1 4
3 3
2 2
1 3 1

8 2
1 2 1 1

0 2 4 4 5 2 0 0
4 4 4 4 4 2 4
2 2 2 2 2 1 2 4 4 2 1 1
4 2
2 0 2 2 2
0 0

A 1 3 3
4
3
2 1 2
1

8 1
4 3
2
0 0 0 0 0 0 5 0 0
2 2 2 2 2 2 2 3 3 3 3 3 2 3 2 3 2
4 4 4 4 4 2
2
0 4 0 0 4 0 0 0 0 0 0
0 4 0

II 3 4
4 2 1
1 4
3 3
2 2
1 3 1

8 2
1 2 1 1

0 2 4 4 5 2 0 0
4 4 4 4 4 2 4
2 2 2 2 2 1 2 4 4 2 1 1
2 4 2
2 2 2 2 2 0 2 2 2
0 0 0 0 0

80
 In this guitar setting of the famous minuet, the melody begins quietly (as though in the distance) with
two voices playing in thirds; it starts gently (bars 1 and 2) in fifth position. A process of repetition
(A’ and B’) with an embellished bass line brings a marked intensification of power and emotion.

B 4
1 2
3 2
3
1
2
3 2

4 4 4 4 4 5 0 0 0
0 0 0 0 0 2 2 2 3 3 3 3 3 2 3 2
4 4 4 4 4 2 4
0 0 0 0
0 0 0 0

4 4 4 II
1 4 3 3 1 4 4
3 3 4 4 1 3 1
1
3 3
2

8 1 1
2 2

2 4 5 5 5 5 5 7 9 9 10 7 5 4 5
3 5 7 7 7 7 5 7 2 0 2
7 9 9 7
0 0 0 2 2
4 0 0 0
7 0

B 3 4
1 2
2 2
3
1
2
2 3 2

8 4 4
1 1

4 4 4 4 4 5 0 0 0
3 3 3 3 3 2 2 2 3 3 3 3 3 2 3 2
4 4 4 4 4 2 4
2 2
0 4 0 0 4 0
0 0 0 0

4 4 II II
1 4 3 1 4
3 3 4 4 1 3 4
1
3 3 1
2
1

8 1 1
2 2

2 4 5 5 5 5 5 7 9 9 10 7 5 4 5
3 5 7 7 7 7 5 7 2 0 2
7 9 9 7 2
0 0 0 0 0 0 2 2
4 0 0 0 0 0 0
7 0

81
 38 Das klinget so herrlich
Fernando Sor (1778 –1839) Arr.: Stephan Schmidt
The stage directions say “Papageno plays on the glockenspiel. At once Monostatos and his slaves
begin to dance and sing; they march off singing.” The song is reproduced on page 82 with chords
for accompaniment, so that you may sing it yourself in preparation for learning the following in-
strumental version.

A 4 2 4 1 4
1 1 3

2 3

7 5 4 4 4 4 7 5 5 4
0 5 0 5 0 5 0 0 7 0 7 0

4 1 1 2
1

3 2

2 2 2 2 5 4 4 5
0 4 0 4 0 4 0 0 5 0 5 0

1
1 2 1
4 1 3 1 3
1 3
3
3

7 0 7 0 7 0 7 0 5 4 5 7 9 5
9 9 9 7 6 7 9 10 7

0
0 0

2 3 4

3 2
1 1
1
8 1
1

4 4 2 2 0 4 0
5 5 0 0 0 0
4 4 2 2 1 1
2
2
0 0 0

83
 The theatrical effect of figures dancing against their will on the operatic stage may have inspiried Sor
and other composers who admired Mozart to arrange the Minuet for guitar and compose variations
upon it. Sor’s legendary Opus 9 includes another five variations on this theme and is dedicated to his
brother Carlos Sor, who was also a guitarist and composer.

B 4 4
3 1 1 1 1

3 2

5 4 2 2 2 2 3 4 4 7
0 4 0 4 0 4 0 0 5 0 5 0

4
1 1 1 1 1 1 1 1 2

3 3 3 3 2
3 2

5 5 7 5 4 5 7 5 4
0 7 0 7 6 7 7 0 5 0 5 0 9 10
8

2 1
2 1 1 1 1
3 1
2 3
1 2 2 3
2
8

0 0 0 0 5 4 5 7 9 5
12 12 12 12 10 7
13 13 13 6 5 6 9
12 12 12
0 0
0 0

2 3 4
3 2
1 1
1
8 1
1

4 4 2 2 0 4 0
5 5 0 0 0 0
4 4 2 2 1 1
2
2
0 0 0

84
 The “theme” by Sor printed here is itself a variation on the original melody by Mozart which appears
on page 82 in C major. Mozart himself used the key of G major (for a tenor voice). Sor decided upon
the “guitar friendly” E major and wrote a B’ variant of section B (only different in bars 21 and 22).

B 4 4
3 1 1 1 1

3 2

5 4 2 2 2 2 3 4 4 7
0 4 0 4 0 4 0 0 5 0 5 0

4
1 1 1 1 1 1 1 1 2

3 3 3 3 2
3 2

5 5 7 5 4 5 7 5 4 4 5
0 7 0 7 6 7 7 0 5 0 5 0
8

1
21 22 1 2 1
4 4 1 3
1 4
3 4
2 2
1 3
8

7 7 7 7 5 4 5 7 9 5
6 6 6 7 6 7 9 10 7
7 7 7 6
6 6 6 7
0

2 3 4

3 2
1 1
1
8 1
1

4 4 2 2 0 4 0
5 5 0 0 0 0
4 4 2 2 1 1
2
2
0 0 0

85
 39 Allegro Moderato
Fernando Sor (1778–1839)
The expression allegro (joyful) indicates a “lively” tempo. In order to avoid extremes, the qualifying
“moderato” has been added. The typical “guitar key” of E minor has the advantage, among others,
that the tonic chord can be played with open strings and a powerful bass note. For this reason
popular guitar pieces are often in E minor – the “Spanish Romance”, for example.

A 3 2 3
3 4 3 3
2

8 1

7 7 6 6 7 7 0 0 2 2 3 2 0 0 2 2
0 0 0 0 0 0 0 0
0 0 0 0 2 2 0
1
0

4 II
4 4 3
3

4 1

2 1 2 1 3
8 1 2 1
3 3 7 7 5 5 2 2 3 3 0 0 2
0 0 0 0 0 4 4 0 0
3
2 5 4 1 2
3 2

B 3 2 3
3 4 3 3
2

8 1

7 7 6 6 7 7 0 0 2 2 3 2 0 0 2 2
0 0 0 0 0 0 0 0
0 0 0 0 2 2 0
1
0

4 2
3 4 2 2 4 4

3 1
1 1 1 3 3
8 2 2 1 2

3 3 4 4 7 5 3 2 0 3 2 0
0 3 0
5 2 0 2 0
2 2 1 2
0 0 2 2 2 2
0

86
 The melody, almost always heard on the e' string, immediately sets off on a restless search which
leads through dissonances (mirroring conflicts in life) to resolutions. Necessary pauses are followed
by undaunted new departures: these start on familiar paths and continue boldly into the unknown
where triumph is acknowledgeed with restful harmonies.

C 4
3 4 2 4
4

1
1 2 2 2 3 2
8

2 2 5 5 3 3 0 0 2 2 0 0 3 3
0 0 0 0 4 4 0 0 0
0 4 2 0
1 4 2 4 2

4 3
3 4 3 1 4

2 2 3 3 2
8 1 2 2 1

2 2 5 5
0 0
1 4
3 3 2 2 0 0 2 2 7
0 0 0 4 0
3 4
2 0 4
3 3 2 2

A 3 2 3
3 4 3 3
2

8 1

7 7 6 6 7 7 0 0 2 2 3 2 0 0 2 2
0 0 0 0 0 0 0 0
0 0 0 0 2 2 0
1
0

4 II
4 4 3
3

4 1

2 1 2 1 3
8 1 2 1

3 3 7 7
0 0
2 5
5 5 2 2 3 3 0 0 2
0 0 0 4 4 0 0
3
4 1 2
3 2

87
 Sor, who was born in Barcelona, lived and died in Paris: his grave can still be found there in the
cemetery at Montmartre. He travelled all over Europe as a celebrated guitar virtuoso; as a gifted
composer he wrote songs, operas, ballet music, symphonies and church music in addition to a wealth
of pieces for guitar and chamber music.

D 3 2 3
3 4 3 3

2
8 1

7 7 6 6 7 7 0 0 2 2 3 2 0 0 2 2
0 0 0 0 0 0 0 0
0 0 0 0 2 2 0
1
0

4
3 4 4
3 4

2 3
2 2
1 1 2
8 1

3 3 4 4
0 3
2 2
5 5 8 8 0 2 0 0
0 4 0 0
5 0 2 0 0
7 2 2
0 0 2 2

E
3 4 3 3 4 3

2 2
1 2 1 2
8
1
2 3 2 0 0 2 3 2 0 0
0 0 0 0 0
2 2 0 0 2 2 0 0
1 1 2 2 1 1 2 2
2

8 2 2
1

0 0 0
0 0 0
0 0 0 0 0 0
2 2 2 2 2 2
2 2 2
0 0 0 0

88
 40 Mazurka
José Ferrer (1835–1916) Arr.: Stephan Schmidt
The Mazurka (dance tune from Masuria) is considered the national dance of Poland and, like the
Ländler, became a popular artistic form on the European musical scene. This jolly Mazurka in A
major from Spain has captivating downward slurs in section A and C. Sections B and C begin with
the characteristic dotted Mazurka rhythm.

A 4 1 4 4
II
3 1
2 3
1 1

5 0 0 5 0 4 7 0 0 7 0 5
2 3 3 2 2
4 4 7 2 2
0 0
0 0

4 4
3
1

8
1 2

5 0 0 5 0 4 0 0 4 0 2 2 0
2 0 0
2 1
1 2
0 2 2
0

B 2
3 2 2 2
3 1 1

0 0 0 0 0 0 0 0
3 2 3 2 1 2
4 3 4 2 1 2

0 0 0 0

rit.
4
1
1 1
4 2 1
8

0 0 0 0 0
3 2 3 2 0 3
4 3 4 2 1 2 1 1
4 2
0 0 0 0

90
 José Esteve Ferrer from Torroella de Montgri (Catalonia) studied with the virtuoso José Broca,
among others. After Broca’s death in 1882 Ferrer went to Paris, where he worked as a guitarist at the
Comédie Française. Later on he returned to teach at the Conservatoire in Barcelona. He wrote about
a hundred works for guitar and composed chamber music as well as church music.

C a tempo 13 1 14 1
3 4
2 2
2 1 2
1 2 2
2
3
3 1
8

0 5 454 2 0 0 4 242 0
2 5 3 2 3 0 3 2 3 2
2 4 1 4 2
0
0 0
0

4 4
4 4 4 1 2 1
1 2 1
2 3
1
2

8 2

0 5 4 2 4 2 2 0 2 4 5
2 3 3 3 3 2
2 4
0
0 4 0
0

91
 41 Scarborough Fair
from England (c. 1650) Arr.: Stephan Schmidt
The title of this folk song refers to the market at Scarborough, in the north of England. The words
describe a series of impossible tasks set for a man by his former lady love as preconditions for a
reconcilation. This instrumental version presents the melody first unadorned (part A) and then
embellished with a lively accompaniment (part B).

A
2 1
2

8 1 1
3
3
0 0
3 0 1 0
2 2 0 0 2 2
2 0 2 2
0 3 0 3 0
3

4 4 1 4
3 4
3
2 2

8 1
2 1
3
0 3 5 3 0 2 0 5
1 5 3
5 2 0 0
2 0 2 2
3 0 2
3 0

B 4 1

3
2

5 5 3 0 0
5 0 3 1 0
5 0 0 0
2 0 0
0 3 2
0 3 3

4
2 2

8 1 1
3
3
0
3 1 0
2 0 0 2 0 2 2
2 0 2 2
0 0 3 0
3 0

92
A
4
2 3 3

8 2
1 3 2
0 0
3 0 1 0 1 0 0 1 3
2 2 0 0 0 0 2 2
2 2 2 0 0 2 2 2 2
0 0 3 0 0
3

4 4 1 4
3 4
1 3 3
2

8 2 2
3

0 3 5 3 0 2 0 0 5
1 5 5 3 0 0 0 5
0 0 0 5 5 2 2 2 0 0 0
2 0 2 2
3 0
0

B 4 1
4

3 2 1
2
2 1
8 3
3

5 5 3 0 0
5 5 0 0 3 1 0 1 0 0
5 5 0 0 0 0 0 2 0
2 0 0 0 2 0
0 3
0 3 3

4 4 1 4
1 3 3
2

8
1 2 2
3

0 0
3 1 0 3 1 3 1 0
2 0 0 2 0 2 2 0
2 2 2 0 0 2 2 2 2 2 2
0 0 0
3 0

4
C 3
2
1 3 1
3 2
2

8 2
3 1
3
0 5
1 0 0 0 1 5
2 2 2 0 0 0 2 0 2 5
2 0 2
0 3 2 0 0 0
3

93
 42 Taberna
from Spain (c. 1850) Arr.: Stephan Schmidt
This mood of this piece is melancholy and cheerful at the same time, evoking an evening in a
Spanish wine bar. It may be played either in slow and stately measures or as a fast dance. In the last
bar of the penultimate line the upper note is played on the lower string, as may be seen in the
tabulature.

Einleitung
1 2 1 4
1 1 1 4 1 2 2
1 1

3
8

7 8 7 5 7 5 3 5 3 2 3 2 3

9 7 5 4

A 2 1 2 3 2 1 2 3 2
3 3
2

8
1

7 6 7 8 7 6 7 8 7 6 7 8 7 0 2 2
0 0 0
0 0 2
2
0 0 0

II
3 2 4 2 2 2 4 2 2
1 1 4 2
1
1

8 1

5 4 5 7 5 4 5 7 5 4 5 7 5 5 3 3
4 4 7 0 0
4 4 0 0
4 4 4
0

4 V
2 2 3 2 2 3 2
1 1 1

1
1
8

7 6 7 8 7 6 7 8 7 6 7 8 7 12 12 5 5
0 0 5 5
0 0 5 5
0
0 0 0

94
 4 3 4 3 1
1 4 2
3 3 4 3

2
8 2
1 1
3
8 5 7 8 7 0 2 3 2 0 2 0 0 3
5 0 0 4 0 0
5 0 2 0 0
2
0 2 2
0 3 0

IV
2 B 4
2 1 2 2 2
3 3
1
4
2 1
1 1
8 1

2 2 5 4 5 7 5 3
0 1 0 0 0 4 4 0
3 2 4 4 0
1 4 4
0

IV
2 1 2 4 2 2
3 3
1 4

2
8 1

3 2 2 5 4 5 7 5 3
0 0 1 0 0 0 4 4 0
0 3 2 4 4 0
1 4 4
0

VII
2 1 2 4 4
2 1 2 4 3 3
1
3
1
2 1
1 1
8

3 2 3 5 0 2 2 8 7 8 10 7
0 1 7 0 0
0 2 7 7 7
0 7 5
0

IV
4 2 4
2 1 4 3 4
2
1
1
2
1
8 3 1
1

7 5 3 2 0 3 2 0 7 0
0 1 1 0 1 4 5 7 0
0 0 0 0 4 0
2 4
3
0

95
 44 Boogie in G
from the USA (c. 1925) Arr.: Stephan Schmidt
The Boogie-Woogie was originally a form of Blues dance music that was played solely on the piano.
Two things are typical of the Boogie: the blues chord sequence and a continuous bass melody, which
also forms the basis of this guitar piece. As with Ragtime, the pairs of quavers are played more with
the feeling of a triplet rhythm.

8
G G7
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0
0 2 2 0 0 2 3 2 0
2 2 2 2
3 3

8
C G
0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0
0 2 3 2 0 0
2 2 0 2 2 0
3 2 2
3

B 1

8
D C G D7
2 2 2 2 0 0 0 0 3 3 3 3 2
3 3 3 3 1 1 1 1 0 0 0 0 1
2 0 0 2
0 4 4 2 2 0 2 0
3 2
3

G
3
0
0 0
0 2 4
2 3 4
3 3

97
 45 Habanera from “Carmen”
Georges Bizet (1838 –1875) Arr.: Stephan Schmidt
This famous Habanera from the opera “Carmen” is the aria sung by the heroine of the title on her
first appearance in Act I. Unlike a typical operatic aria, this is a song in verses with a repeated
chorus. The gypsy Carmen introduces herself and begins with the famous line: L’amour est un oiseau
rebelle / que nul ne peut apprivoiser. (Love is a wilful bird / That no-one can tame.) The first few lines
of the text were written by Bizet himself, who gave them to his two librettists and asked them
to continue in the same vein.

The opera is set in Seville (like “Don Giovanni” and other famous operas) and the plot can be traced
back to a story written in 1845 by the French author Prosper Mérimée. It does seem reasonable to
ask why a work that is considered as the French national opera should have so much that is Spanish
in it: the reason for this may be found in the enthusiasm for all things Spanish which prevailed in
nineteenth Century France, inspired by the virtuoso violinist Pablo de Sarasate, among others.

VII
Intro Guitar I
A 4 3

10 9

VII
2 V 4 3
1 2 1 2 4 2
4 4 2 4 2
1 1

8 3 3

8 8 8 7 6 5 5 10 9
9 8 6 8 6 5 6 8 6 5

3 3

2 1 2
1V 4 2 1 2 1 2
III IX
3 1 1 1 4 3

8 3 3

8 8 8 7 6 5 5
8 6 5 6 5 5 6 5 3
7
12 11

3 3

98
 Bitzet borrowed the melody for his Habanera from the folksong “El arreglito”, which was published
in Paris with the subtitle “chanson havanaise” in a collection of Spanish folk music. The editor
was the singing teacher Sebastian Yradier, who had brought the song back with him from a visit to
Cuba. He also brought us the famous habanera “La Paloma”. The habanera (derived from Habana
= Havana) is a Cuban folk dance which has similarities to the tango.

Basing his Aria upon “El arreglito”, Bizet nevertheless used his enormous creative gifts to the full in
refining his composition. He wrote a clever bass ostinato to accompany the melody with a suggestive
effect: in this duo version it is played by the second guitar. Every bar begins with the same note in
the bass part (a pedal note on D), while the other notes vary according to the shape of the melody.
The characteristic habanera rhythm is repeated insistently, bar after bar. The meldoy of the verse
section (A, A', B) develops its sensual allure through a chromatically descending sequence of notes
from tonic to tonic which spans the octave with hardly a gap. To this is added a dance-like rhythm
that sounds confident and provocative.

Intro
Guitar II
A

3
8
2 2
6 =D

8 8 8 8
0 7 7 0 7 7 0 7 7 0 7 7

3
8
2

8 8 8 10
0 7 7 0 7 7 0 7 7 0 8 8

3
8
2

10 10 10 8
0 8 8 0 8 8 0 8 8 0 7 7

99
 Section A' is set an octave lower in the guitar version, so as to introduce a new tone quality. In
section B Bizet has the melody move almost imperceptibly into the major key, with a foreboding
alternation between minor and major. The chorus (section C) of the chanson-like Aria is firmly in the
major key and here glows with the subtle interplay of two voices.

A Guitar I
VII IX
2 1 2 1 3 4 3

4 4 1 2 4 2 1
8 3 2 4 2

10 10 10 9 8 7 7 12 11
11 10 8 10 8 7 8 10 8 7

3 3 VII
4 3
VII
3 V

4 2 1 2 1
8 3 1 1 0 1
2

10 9

10 10 10 9 8 7 7 0
10 8 7 8 7 7 8 7 5

3 3
VII
B 2 1 2
V
1 3 4 3
4 3
4 4 4 3
1 1

8 3 3

8 8 8 7 6 5 5 10 9
9 8 7 8 7 5 7 8 7 5

3 3
II
V 4 1 3 1 III 4
3 3 1 3 1 1 2 4

8 3 3

8 8 8 7 6 5 5 5
8 7 5 7 5 5 7 5 3 3 5
7

3 3

100
 Bizet began his studies at the Paris Conservatoire at the tender age of ten. His teachers there inclu-
ded Gounod (“Ave Maria”) and Halévy, who later became his father-in-law and also helped to write
the libretto for “Carmen”. Bizet won several composition prizes, including a three-year stay in Rome.
Alas, he did not live to see the worldwide success of “Carmen”.

A Guitar II

3
8
2

8 8 8 10
0 7 7 0 7 7 0 7 7 0 8 8

3
8
2

10 10 10 9
0 8 8 0 8 8 0 8 8 0 7 7

3
8
2

9 9 9 10
0 7 7 0 7 7 0 7 7 0 9 9

3
8
2

10 10 10 9
0 9 9 0 9 9 0 9 9 0 7 7

101
 II
Guitar I V III
C 4 1 4 4
1 1 1 3 1 1
4 2 4 0
3 3
2 2
1
8
2 5 2 2 3 5 5 5 5 7 5 3 7 0 2
3 5 3 5 3 7 5
2

VII V II
4 1 4
1 2 1 4 1 4
1 0 1 2 4
2
3 3 3

8
3 7 3 2 0 2 3 5 7 7 7 7 9 7 5 5
5 5 8 7 3 5

VII
V 4 VIII
3 1
4 3 1 1
1 1 4 2 4 1 3 1

3 2
2 2
1
8
2 5 2 2 3 5 5 5 5 10 9 7
3 5 3 5 3 7 8 7
2 9 9

VII 1
1 3 3
2 2 1 4 1 4
1 3 1 3 1 1
3 3

8 3 3
7 9 7 5
8 8 7 7 8 10 8 7 5 3
9 9 9

3 3
2 4 2 4 2
1 1
4 2
1

3
8
9 14 12 14 12 10
12 9 10

3
102
C Guitar II

3
8
2

9 9 9 10
0 7 7 0 7 7 0 7 7 0 9 9

4 4
8 3
0 2

10 10 12 0 9
0 9 9 0 9 9 0 11 0 7 7

3
8
2

9 9 9 10
0 7 7 0 7 7 0 7 7 0 9 9

3
8
2

10 10 0 8
0 9 9 0 9 9 0 0 7 7

2 VII
4 4
3 1
1

10
10 7
9 7 “Carmen“ in the first performance
0
0 0 in 1875
0 0

103
 47 El Testamento d’Amelia
from Catalonia (c. 1780) Arr.: Stephan Schmidt
This enchanting melody comes from the Spanish province of Catalonia, which has its own language
and traditions. In this guitar arrangement the melody is first heard on the upper E string, with a few
rather “weird” chards appearing in the accompaniment in section B. In section B' the meldoy appears
in the middle voice and in the concluding section C it is played on harmonics.

2
A 1 4 4
4
3
2

8
2 2

0 0 0 3 5 7 3
0 5 0 0
0 4 0 0
2
0 0 0 7 0

V VII
4 4 2
1 3 2
1 1
1 1

8 1
1

5 8 7 8 10 8 7
5 7 0 0 0
5 7 0 0 0
0
0 7
0 7

10 11
B 2 4 2 4
2 1 4
2

3 3
3
1
8 2

7 3 5 7 8 5 3
6 4 0 0
4 5 7 5 0 0
6 4 2
0
0

14
II
4 4 4 1 2
1 3

8 2

0 3 2 3 5 3 0
4 0 0
3 2 0 0
3 2 2 2
0 0

106
 2 10 11 14 19 20
IV IV 1 2 VII 1 2 IV 1
3 4 1 3 2 3
1 1 2 2
2 3 4 3
4 4
3

4
B 3 3 19 20
1 2 3
3 1

2 2
1 1 1
8

7 10
0 5 7 7 5 5
0 10 8 8 4 4
7 9 10 7 5
0 0

3
0
2
1 2
4 3
8
1 1

2
0 0 0
0 0 2 0 0 0
2 5 4 2
2 2 2
0 0 0

C Flageolett-Teil
3 1 3
3
1

8 2

< 12 >
< 12 > < 12 >
< > 7
< 7> < 7>
< 12 > < 12 >

1
3
1

< 12 > < 12 >

<7>
< >
7 < 7>
< 12 >

107
 48 Spanish Romance
from Spain (c. 1850) Arr.: S. Schmidt /N. Baur
This is probably one of the best-loved guitar pieces there is. It was used as the film music for the
award-winning French anti-war film “Jeux interdits” (Forbidden Games) of 1954, played on that
occasion by Narciso Yepes. In addition to the traditional solo version on the following page we
present a second guitar part.

Guitar I (or solo version)

A 4 2 4
2 1 1

8 3 3 3
Em
7 7 7 7 5 3 3 2 0 0 3 7
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0

V
4 4 4 4 4 3 3 4
1
1
1

8
Am
12 12 12 12 10 8 8 7 5 5 7 8
0 0 0 0 0 0 5 5 5 5 5 5
0 0 0 0 0 0 5 5 5 5 5 5
0 0
0 0

19
VII
3 4 3
1 1 1 3 2
1 2 1
2

8
B7
Em
7 8 7 11 8 7 7 5 3 3 2 0
7 7 7 7 7 7 0 0 0 0 0 0
8 8 8 8 8 8 0 0 0 0 0 0

7 7 0 0

3 3 4 3 Fine
2 2

8 2
1
B7 Em 3

2 2 2 2 3 2 0 0 0 0
0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 0 0 0 0
2
2 2 2
3 0

108
 9 19 20 21 22 28 30
VII 1 VII 1 V 1
2 3 1 1 2 2 1
2 3 4 3
3 3 4 4
4 4 4 4

19 20
B II
4
4 4 4 2 4
1 1
2 3

8 3 3 3
1
E B7
4 4 4 4 2 0
0 0 0 0 0 0 5 4 4 4 3 4
1 1 1 1 1 1 2 2 2 2 2 2
4 4 4 4 4 4
2 2
0 0

21 22
VII
3 3 4 4 4 4
1
1 2 3
2

8
1
B9 E
9 9 9 9 11 9 9 7 7 7 9 11
7 7 7 7 7 7 9 9 9 9 9 9
8 8 8 8 8 8 9 9 9 9 9 9

7 7 0 0

IX 28
V
4 3 2 2 4
1 1
3
2

8
A
E
12 12 12 12 11 10 9 9 9 9 7 5
9 9 9 9 9 9 10 10 10 10 5 5
9 9 9 9 9 9 9 9 9 9 6 6
0 0
0 0

30
II
D. C. al Fine
4 4 4
3
1 1

8 2
2
B7 E 4
E
4 4 4 4 5 2 0 0 0 0
0 0 0 4 4 4 0 0 0 0
1 1 1 2 2 2 1 1 1 1
2
2 2
0 4 0

109
 You may already have discovered what a pleasure it is to make music with others quite spontaneously.
If you meet other guitarists while travelling, for example, at a festival, or on a summer course, there
are pieces you can play together straight away because they are known everywhere. The “Spanish
Romance” is one such piece – crossing every language barrier.

Stephan Schmidt (1999)

A Gitarre II
II 3
1

1 3 4
8

4 2 2 4
2 4 5 5 4 2 5 5

2 4 5 5 4 2
5 4 2 2 4 5

2 4 2
5 4 5 5 4 2 2 4 5

Fine

2 2 4 2
5 4 5 4 2 2

110
 While it is a wonderful experience to play a well-known solo piece in unison with others in a group,
the effect of such a performance can be intensified with the addition of a second guitar part. This
simple yet very effective accompaniment sounds particularly good if there are two or three other
guitars playing the solo part together.

1 4 2 2 3 4
8

1 1 1 2 2
4 2 2 4 4 3 4

1 2 2 4 2 2 1 1 2 4
4 4

1 1 2 1 1 2
4 2 2 4 4 4

D. C. al Fine

8 2

0
0
4 1 1 1
2 4 1 2 2

111
 49 Prelude
Francisco Tárrega (1854 –1909) Arr.: Stephan Schmidt
This elegant little piece is an example of Tárrega’s endeavours to use the full range of sounds on the
guitar.
The piece begins with the high F sharp and ends with a D on the E string which has been tuned down.
The delicate opening, ornamented with a harmonic note, is balanced by a powerful energetic con-
cluding section.
1a 1b 2a
4 4 2
1 1 1 4
2 3 3 3
4

3 3 3
8 Fl. 3
6 =D

14 12 10
10 10 10 12
11 12 11 11
0
0
0 <12 >

3a
4a
2 4
3 2 2
1

3 4
8 1 1
3

0
10 2 3
12 2 4
11 4
0 2 2
0 4

4
1
2
4 1 4 1
1
8 3 3
0
2 5
3
2 2 2
5 5 0 4
4 0

7b 8a 8b
4 4
4 4

2
3 1 3 2
1 3
2 1
8
1
7 9 10 7
0 7 9 6
0 9 10 7
8 9 6
5

112
 Tárrega was not only a brilliant virtuoso but also a dedicated teacher and composer. Especially in
his later years it became increasingly important to him to see his outstanding gifts and his fasci-
nation with the sound of the guitar not as an end in themselves, but as a vehicle for genuine musical
expression.

1 9a 9b 10a 10b
II
4
1 1 3
2 4
3 2 2
1 3
2 1
3 1 1
8

5 7 5 2 3 2
7 3 3 5 3 0 2
2 2 1 0
7 4 3 2
0 0 0 0 0

2 II
4
1 1
3 2
2 1
8
3 4
2 2
2
1 1
3 1 1 3
3

5 7 5 2 3 2
7 7 7 3 3 3 3 5 3 0 2 3
2 2 2 2 2 2 1 0 2
7 7 7 4 4 4 3 2 4
0 0 0 0 0
0

1a 1b 2a 3a 4a 7b
X 1 X 1 X 2 X 2 V
2 3 3 1
3 4 4 4 2 1
4 2
4 3 3 4

8a 8b 9a 9b 10a 10b
VI VI 1 2 V 1 1
3 4 1 1
2 4 3 2 3
1 2 3 2 3
3 4 4

113
 50 Adelita
Francisco Tárrega (1854 –1909)
This Mazurka, which begins in E minor and changes to E major in section B, is a good choice for an
encore with its virtuoso passages. It begins with the highest note of a melody whose descending line
has a sobbing quality. In bars 13 and 14 the motif from bars 9 and 10 is repeated an octave lower.

VII
4
A 3
1
4 2 2 1
3 43
4
1 1
2 2 3 1
3 3
2
4
1

12 11 7 10 8 8 7 0 3 7
8 7 8 78 7 5 0
9 9 8 8
10 7
0
0 7 0

VII
4 3 4
1 2 2 1 Fine
2 1 2 3
3 3
3 4 2
1
1
2
8

12 11 7 10 8 8 7
8 7 8 5
9 9 8 8 4
10 7 5
0
0 7 0

IX VII
IV 34 3 343
4
B 4 4
3 3 1 4
1 4 1 1
2 2
2
1 2
1 3 1
1
3 1
8 1

4 7 4 7 4 7 12 11 11 12 11 9 9 11 9 7
5 5 7 5 5 7 5 10 7
4 6 4 6 4 9 8 8
6 6 7 9
0 0 9
0 0 0 7

VIII
II D. C. al Fine
242
3 1
4 2 3
3 4
1 1 3
2 1
1 2 1
1 3
4 1 2
8
1
1
0 0 0
0 2 0 9 4 0
4 1 8 9 11 9 6 4 2 1
6 2 4 8 8 9 7 6 4 2
0 2
0 0 8 7 0

114
 Adelita is the diminutive from of Adelaida and corresponds approximately to the name Adele –
a word also used in Southern Germany as a farewell. This appears aptly at the end of our book, as
the German editor signs off with the last of fifty pieces and a traditional salutation: Ade!

1 2 3 4
VII 1 VII 1 VII 1 V 1
2 2 2
3 3 2 3
4 4 3
3 4
4

5 6 7 8
VII 1 VII 1 VII 1 IV 1
2 2 2 2 3
3 3 2 3
4 4
3
4

9a, 10a 9b, 10b 11b 12a

IV 1 IV IX 1 VII 1
2 5 2
3 6 3 3
4 4
4

13b 14b 15a 15b

VIII VI 2
1 2 2 1 3

4 4 3 3 4

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