Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Alternatives in Guitar Notation: Towards a Practical Implementation of Clef and Score Reading on the Guitar Gonzalo Gallardo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ALTERNATIVES IN GUITAR NOTATION: TOWARDS A PRACTICAL IMPLEMENTATION OF CLEF AND SCORE READING ON THE GUITAR By GONZALO GALLARDO A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2011 Gonzalo Gallardo defended this treatise on October 7, 2011. The members of the supervisory committee were: Denise Von Glahn Professor Directing Treatise Matthew Shaftel University Representative Bruce Holzman Committee Member Leo Welch Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my parents, with immense love and admiration. iii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to the following people: Denise Von Glahn, Bruce Holzman, Leo Welch, Matthew Shaftel, Teresa Montoya de Gallardo, Eduardo Gallardo Arciniega, Yessenia Gallardo, Eduardo Gallardo Montoya, María Lourdes Gallardo Montoya, Alonso Acosta Ojeda and Édgar Valcárcel Arze. Each has contributed immeasurably, in his or her own unique way, to my development as a musician, as a scholar, and as a person. iv TABLE OF CONTENTS List of musical examples.................................................................................................viii Index of studies for Part II.B...............................................................................................x Index of trios for Part III.................................................................................................xvii Abstract..........................................................................................................................xviii PART I: TOWARDS AN IMPLEMENTATION OF CLEF AND SCORE READING WITH GUITAR...................................................................................................................1 CHAPTER ONE: BACKGROUND........................................................................2 CHAPTER TWO: LITERATURE REVIEW........................................................17 CHAPTER THREE: LIMITATIONS AND SIGNIFICANCE.............................38 CHAPTER FOUR: PROCEDURES AND METHODS.......................................44 PART II: PREPARATORY EXERCISES IN CLEF AND SCORE READING WITH GUITAR............................................................................................................................61 About the clef reading studies (Part II.A)..............................................................62 II.A. CLEF READING STUDIES.........................................................................64 1. The treble clef........................................................................................64 1.1. Studies in first position...........................................................64 1.2. Studies in third position..........................................................68 1.3. Studies in fifth position...........................................................70 1.4. Studies in seventh position......................................................72 1.5. Studies in tenth position..........................................................74 2. The bass clef..........................................................................................77 2.1. Studies in first position...........................................................77 2.2. Studies in third position..........................................................79 2.3. Studies in fifth position...........................................................81 2.4. Studies in seventh position......................................................83 2.5. Studies in tenth position..........................................................85 3. The soprano clef.....................................................................................88 v 3.1. Studies in first position...........................................................88 3.2. Studies in third position..........................................................89 3.3. Studies in fifth position...........................................................91 3.4. Studies in seventh position......................................................93 3.5. Studies in tenth position..........................................................96 4. The alto clef...........................................................................................99 4.1. Studies in first position...........................................................99 4.2. Studies in third position........................................................101 4.3. Studies in fifth position.........................................................104 4.4. Studies in seventh position....................................................106 4.5. Studies in tenth position........................................................109 5. The tenor clef.......................................................................................112 5.1. Studies in first position.........................................................112 5.2. Studies in third position........................................................114 5.3. Studies in fifth position.........................................................117 5.4. Studies in seventh position....................................................119 5.5. Studies in tenth position........................................................122 II.B. SCORE READING STUDIES, ADAPTED FROM 19th CENTURY SOLO GUITAR WORKS...............................................................................................125 1. Studies in one stave..............................................................................125 2. Studies in two staves............................................................................131 3. Studies in three staves..........................................................................214 4. Studies in four staves...........................................................................245 APPARATUS FOR PART II.B...........................................................................259 1. Sources.................................................................................................259 2. Editorial method...................................................................................262 3. Critical commentary.............................................................................264 PART III: 21 SIMPLE TRIOS, ADAPTED FROM 19th CENTURY SOLO GUITAR WORKS...........................................................................................................................272 vi About the trios......................................................................................................273 21 SIMPLE TRIOS..............................................................................................276 APPENDIX A: “Solfege exercises, Nos. 50 and 51”......................................................311 APPENDIX B: “Le Lutin”...............................................................................................313 APPENDIX C: “Romance de Nina”................................................................................315 APPENDIX D: “Air du Mariage de Figaro”..................................................................317 APPENDIX E: “Accompaniment for The Creation”......................................................319 REFERENCES................................................................................................................322 BIOGRAPHICAL SKETCH...........................................................................................327 vii LIST OF MUSICAL EXAMPLES 1. Sor Fantasy, Op. 7, mm. 9-10. In original vs. standard notation.............................7 2. J.S. Bach, Allegro from BWV 1003/964, mm. 11-14..............................................9 3. Doisy, proposed notation for the lyre-guitar, from Principes généraux de la guitare, p. 72..........................................................................................................19 4. Doisy, example of dual-stave lyre-guitar notation, from Principes généraux de la guitare, p. 72..........................................................................................................20 5. Carulli, Andante from Metodo completo per lo studio de la chitarra, mm. 1-8...21 6. Carulli, guitar part from L’harmonie: Appliquée à la guitare, p. 22.....................22 7. Carulli, tempo examples from L’harmonie: Appliquée à la guitare, pp. 25-26....22 8. Carcassi, Exercise No. 8 from Méthode complète pour la guitare........................25 9. Carulli, Solfèges et vocalises, No. 5.......................................................................31 10. Carulli, Solfèges et vocalises, Nos. 50 (mm. 9-14) and 51 (mm. 1-9)...................32 11. Locating notes on the stave with reference points.................................................45 12. The chromatic scale, on all six strings up to the twelfth fret.................................49 13. Scale construction, taking the open fifth string as a different scale degree...........49 14. Points of reference for the treble clef, in positions I, III, V, VII and X.................52 15. Locating and fingering notes relative to points of reference, in position V. White noteheads differentiate the reference points..........................................................53 16. Sor’s division of the guitar’s range into three clefs...............................................55 17. Aguado, Op. 10, No. 5, mm. 1-8. In bass clef.......................................................55 18. Sor, Op. 60, No. 2, mm. 1-16. In alto clef.............................................................56 19. Sor, Op. 60, No. 2, mm. 1-4. In standard notation.................................................56 20. Giuliani, Op. 73, No. 9, mm. 1-8. In treble (lower-octave) and bass clefs............57 21. Giuliani, Op. 73, No. 9, mm. 1-8. Playable solution for Example 20....................57 viii 22. Giuliani, Op. 73, No. 9, mm. 1-8. Unplayable solution for Example 20...............57 23. Giuliani, Op. 50, No. 12, mm. 1-7. In two treble clefs..........................................58 24. Sor, Op. 31, No. 10, mm. 1-8. In treble, alto and bass clefs..................................59 25. Sor, Op. 43, No. 3, mm. 1-8. In soprano, alto, tenor and bass clefs......................59 26. Location of middle C (C ), in each of the clefs studied in Part II.A......................62 4 27. Maestoso from Sor’s Study, Op. 6, No. 10 (and the first system line of No. 11). Portion of the Simrock edition’s facsimile (Rischel & Birket-Smith’s Collection of guitar music, 690, the Royal Library of Copenhagen)....................................261 28. Theme from Giuliani’s Variations Op. 20. Portion of the Orfeo edition’s facsimile (Boije Collection, 170, The Music Library of Sweden)......................................262 ix