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Great Guitar Tips, Issue #009 -- Information Packed Articles About Guitar
September 09, 2004

Here's your latest issue of...

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Great Guitar Tips - The World's Most Useable Guitar E-Zine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A free, monthly E-Zine dedicated to providing you with useful information and tips for your guitar playing ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ September, 2004 Issue #009 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ If you like this E-Zine, please do a friend a big favor and pass it on. If a friend DID forward this to you and if you like what you read, please subscribe by visiting... ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Table Of Contents

1. News

2. Composer Spotlight ~ Agustin Barrios-Mangore

3. Music Theory - Tempo Markings

4. A Quick Look ~ The Tarrega Rules

5. Recommended Resource Classical Guitar Christmas Collection

6. Free Music - Pavana by Luis Milan ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Welcome to the ninth edition of my E-Zine/Newsletter Great Guitar Tips! I hope you find it helpful and enjoyable...

1. News

Welcome all new & old subscribers! Indeed, I'm glad to sat there's nearly 600 of you. (Pretty good for just 9 editions!).

Thanks for all the nice comments and suggestions over the months. To Franklin D'Silva, I hope the edition of "Pumping Nylon" was useful and thanks for the midi file and text note in your last e-mail. It's nice to see my newsletter is inspiring people to become better guitarists. Keep up the good work everyone. Now, on with the show, as they say...

2. Composer Spotlight - Agustin Barrios-Mangore

Agustin Barrios-Mangore was probably the finest composer to ever come out of Paraguay. His sensuous, melodic music almost assaults the senses with its raptuous beauty.

Indeed, the world famous John Williams has stated..."as a guitarist/composer, Barrios is the best of the lot, regardless of ear. His music is better formed, it's more poetic, it's more everything! And it's more of those things in a timeless way. So I think he's a more significant composer than Sor or Giuliani, and a more significant composer ---for the guitar--- than Villa-Lobos".

Born in Paraguay in 1885 into a musical family, Barrios studied the guitar masters from a very early age. The effect that the music of Sor, Aguado, Tarrega and others had on Barrios is clear to see, not only in the formal structure of his music but the melodic beauty as well.

Writing over 300 pieces for guitar, Barrios' music wasn't always appreciated. In fact, it is only relatively recently that his music has gained universal appeal. Barrios performed not only in his native Paraguay but all over South America and even Europe.

Check out some Barrios music here...

3. Music Theory - Tempo Markings

There are many tempo markings in use but I'll give you a quick overview of the one's most in use with their traditional Italian names and meaning in English...

Adagio - means to play slowly

Adagissimo - means to play extremely slowly

Allegro - means to play lively

Allegretto - fairly lively but less so than Allegro

Andante - means to play at a "walking" pace

Grave - means to play fairly slowly and in a solemn manner

Largo - means to play "broadly" in a dignified manner

Larghetto - means to play slowly but not as much as Largo

Lento - means to play slowly

Moderato - means to play at a moderate pace

Prestissimo - means to play very quickly

Presto - means to play quickly

Rallentando - means to slow down gradually

Ritenuto - means to play slower immediately

Vivace - means to play in a very lively fashion

I hope this small overview gives you a better understanding of the composer's intentions of how their music should be played.

4. A Quick Look - The Tarrega Rules

Following is a small excerpt from Frederick Noad's Solo Guitar Playing Book 2 about the rules that Tarrega applied to the playing of arpeggios...

Rule 1: Before playing the arpeggio, p, i, m, and a are placed on the strings as if to play a chord. Then when the thumb plays the i, m and a fingers remain in position awaiting their turn to play. When i plays, the m and a fingers remain. When m plays, the a finger remains until it plays the final note. In practice, when there is a fast succession of arpeggios the i, m, and a fingers will tend to find their places as the thumb is playing rather than before it plays. The advantage of playing upward-moving arpeggios this way is that the right hand gains security and accuracy by having the notes prepared in advance.

Rule 2: This rule applies to arpeggios that, after the thumb stroke, move in a downward direction. Only the outside fingers should be placed on the strings in advance.

The purpose of the Tarrega rules is to increase security by a degree of advance preparation. However, for reverse or downward-moving arpeggios, the placement of all fingers is considered unnecessarily cumbersome.

Both Noad's books 1&2 are worth buying for your library. You can get them here...

and here...

6. Recommended Listening - Classical Guitar Christmas Collection

With Christmas bearing down on us at a great rate, here's a present you can reward yourself or a guitarist friend with... click here...

7. Free Music

Here's your music for this month. There's a Pavana by Luis Milan. Hope you enjoy it! Milan Pavana...

Well that's it for the 9th issue! Please let me know what you think or if you would like a particular topic covered in the future and I'll try to help out.

See you next month!

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