Guitar
SKU:
UT.CH-387
Composed by
Ferdinando Carulli.
Edited by Romolo
Calandruccio. Classical.
Score. Ut Orpheus #CH
387. Published by Ut
Orpheus (UT.CH-387).
ISBN 9790215328235. 9
x 12 inches.
Opus
114 is certainly one of
Carulliâ??s most
important didactic works,
so much so that the
author himself made a
point of writing in the
second edition of his
famous Method op. 27
(1819): The student, when
moving on to the second
part, must continue to
practise on the easy
pieces which are to be
found in opus nos. 50,
15, 35, 36, 93, 7 and
above all in opus 114. He
maintained this
indication also in later
editions of the Method
itself, unlike what he
did with other
collections of studies
which were no longer
recommended.
The
purpose of op. 114, in
particular of the
preludes, is clearly
explained by the author
himself in the preface of
op. 265: I have already
offered preludes in my
opus nos. 71 and 114 to
people, but they serve to
study and learn to play
all sorts of difficult
passages, to practise
modulating, and learn to
improvise on the guitar.
Carulli seems to want to
provide his students with
a large handbook of
formulas typical of his
musical writing and he
does so by making use of
the keys which, in his
opinion, are most
congenial to the guitar.
In his Method he points
out: Each instrument has
its favourite keys: the
guitar can be played in
all keys, but the best
ones are: A major and
minor, D major and minor,
E major and minor, C, G,
F. The others are
difficult; [â?¦].
However, some of the
difficult ones are
included but only in the
fourth part. Of course,
the easiness of a key
essentially depends on
the possibility of
extensive use of the open
strings, especially in
the low notes, ensuring
the accompaniment on the
main degrees.
This
edition has some unique
features. First of all,
it is the first complete
modern edition of
Carulliâ??s op. 114; it
presents an important
critical apparatus in
which the Carullian
technique is presented
and analysed; finally,
Carulli's original
fingering is indicated in
the score (including that
of the thumb of the left
hand) and the missing one
was obtained from the
comparison of his other
fingerings present in
other works. All this
allows an easy and
complete reading both for
those who perform the
pieces following the
nineteenth-century
performance practice with
a historical instrument,
and for those who play a
modern instrument.
Easy Does It
