Twenty-five a Melodious and Progressive Studies for Guitar MATTEO CARCASSI, Op. 60 Edited and fingered by Vahdah Olcott-Bickford Splendid for scale technique; should be played slowly at first until every note is of equal inte which it should be played allegro, Careful attention should be paid to the alternating of right- marked. Allegro Staccato 3. iy and smoothness, after ind Fingers and thumb as a Tm Si © MCMIX by Corl Fehr, Ine, New York Invenaionl Gopyngh Seared Copyright Renewed ion Pubhed 1963 ‘performance Nau+ Excellent for obtaining equality of tone on rapidly reiterated notes. ‘The left-hand chord positions should be taken at once in each instance, without a perceptible break between chords Moderato con espressivoFypecially good for the practice of carrying the melody note with the third right-hand finger snd lls for strengthening that finger. It should play the notes with upward stems, well accented. Andantino $4.P cinta ees oe az ay pres tt Et A enesc T Harré gl . Alay ral. An exceptionally fine slur study. The left-hand Fingers should remain in their chord positions while the slurs are being Executed — not moved until necessory tor other notes Allegretto resPoaPos A sis th Pos.Splendid for interval practice and position chord work; should be practiced daily until perfect smoothness in all shifting of positions is achieved. Moderato a3 7 ] NAO7 One of the best ever written for the purpose of teaching the sustaining of the melody while a running accompaniment is carried on throughout. Great care should be taken with the alternating of right-hand fingers and thumb as marked in the aecompaniment, ‘The melody should be made to sing in a very legato manner. A beautiful litle cassie when well playei Moderato Naost8 Splendid for the development of tonal equality on reiterated notes, as well as for arpeggio and slur practice. The bass should be well accented throughout, keeping the allegro tempo with a marked rhythm, Allegro = an Poco ritenuto ,9 Very good practice for slurring notes on the inside strings, as well as for the easier slurs on the first string. Left-hand fingers, except for the one executing the slur, should be held firmly in chord positions. Moderato to Sete orese. ‘th Pos. ‘7th Pos. ‘ath Pos. Bur ‘A beautiful and graceful study for slurs and position shifting, ee Allegretto graziogg ap my my r 7 7—_—_ ? # of P 6th Pos. i IZ PF r ‘NaoNena dim. th Pos. ee ?This study is perhaps the most interesting of its kind in guitar literature, ‘The slurred triplets should be very gracefully played and should only be plucked with the right-hand fingers on the first note of each group, the other notes. being slurred by the left-hand fingers Allegretto Sih Pos. aye oe 17th Pos. 34. Pos. cg = BIN Pos = : Pos Aan 10 Forse 7 st i : 7 BAPo = tt Pons se HbR =P gape nf? fr of both hands, presenting some unusual shifts forthe lft hand and requiring considerable: nimbleness in alternating right-hand fingers; careful attention should be paid to fingerings. The tempo should be quite rapid to eve the proper agitato effect Agitato s ‘yaos1‘ent positions of the instrument Andante mosso Neon13° urticularly interesting for the practice of the continuous open note, giving an effect peculiar to the guitar The notes ith downward stems, which comprise the melody, should be accented and blended one into the other. ‘The continuous ‘open E should be played distinetly, yet with a feathery, graceful, and dainty touch Andantino grazioso, gg 40 ans“ Execllent for equalizing the different fingers in scale passage work; good shifting exercise will also be found. Allegro moderato 2 ‘ond Pon ng! a e fo oF FF Re To -— > 5 r fr 2nd Pos. 2] IL wn in| Nani15, Splendid right-hand study, including use of the first finger on the D string, necessary in some figures, The fourth finger of the left hand is also given some good work in this study Allegro moderato ey2 Grant baer 3 - Hits — td A =r i aim. a mf a ‘A gem of sufficient beauty 10 use a8 a solo, yet algo a fine study forthe development of a singing, legato melody wih a Sedbrcinne, yet distinct accompaniment. ‘Care should be exercised in fone. production and- observance of expression farts Andante fee rintay. La 16 SPR RR 5 Boyt setae s ~ — a oO eee Pf TT r I fa melodia motto legate Ae al Ae Jee) NeosExcellent for the practice of intervals, usual as well as unusual Moderato = a a pr = _ C5 — 6th Pos,18, Primarily a study for rapid shifting of positions, demanding perfect action of all fingers — splendid for building up tech- rnique. Should be practiced daily until it can be played at a good allegretto tempo without a break in connecting positions. Allegretto th Pos Pa at ) & The Glide = produced by striking the first notes with the right hand and then immediately sliding with ‘the fingers of the left hand to the second chord. = NAO19 A study for both hands in carrying an even, singing, legato melody while maintaining a rapid accompaniment figure. The latter should be distinct and even, but subordinate. Allegro moderato20 Interesting study in arpeggios and slurs. The arpeggios should be smooth whether or not the position is changed. This is splendid for daily practice in keeping the hands in good condition and the fingers agile Allegro brillante Sth Pos. et21 Excellent slur and grace note study, employing the double grace note or mordent, which should be executed very smooth- |y, without jerkiness or uneven accent or rhythm. Andantino % 2 the base well marked co SEF eas —= [Tr = Naot22 This study brings in many important technical points: descending arpeggio with slurs, scale passages, shifting positions, unusual chromatic runs, ete. It requires considerable study and, when perfected, is excellent for daily practice to keep the technique in good condition, Allegretto a ax Grand harré i orese. th Pos. ne Fe23 Splendid for sturs in shifting positions, including slurs on the B string. All slurs should be made smoothly ae Allegro Ms Another study with a variety of technical points: glissandas, single and double grace notes, chords in many positions, ete We requires deal of study and demands st good technique to execute properly. A splendid daily study for the artist, as well as the student Andantino 24 pm 7 7 7 7% avai2b Na031This study covers the fingerboard up to the twelfth fret with great rapidity. changing from one position to another in both scales and arpeggios. Many slurs are included, including some from high’ notes to the open F. All guitarists would do well to keep this in the repertoire of daily studies for keeping the fingers of both hands in fine condition, Allegro brillante 2th Pos 4 eee (a Ath Pos. Grand bared