Mauro Giuliani (b. Barletta 1781 - d. Vienna 1829)
A self taught guitarist like most of the players in the late eighteenth and early nineteenth centuries, Giulianis’ brilliant playing inspired Beethoven to comment "the guitar is a miniature orchestra in itself".
Giuliani lived in Vienna from 1807 to 1821 where he was appointed chamber musician and teacher to the Archduchess Marie Louise and counted such great musicians as Moscheles, Hummel and Diabelli as his friends.
His works range from easy teaching pieces (including the famous "Papillion" op. 30) to very demanding works of the highest quality; much of it written in the Italian style of his great contemporary Rossini.
Giulianis’ duets for two guitars, guitar and violin and guitar and flute are amongst the finest ever written as is his magnificent "Concerto for guitar and small orchestra op. 30".
Playing Notes: Both of these studies utilize low bass harmonies which must be played very clearly. Be sure to obey all right hand & left hand fingerings.
Playing Notes: Play this study gracefully using legato and pay careful attention to the smoothness. Note the chromatic voice at bars 9 through to 13.
Playing Notes: Study 35 involves most of the techniques used in the previous G major studies, as well as a "question and answer" effect in the top line followed by the bass line e.g., bars 1 & 2. Remember to "alternate" your right hand fingers.
Playing Notes: The new key of E minor is also very well suited to the guitar due to the use of the chords Em and Am, both of which have open basses: Em ^ & Am %. B7 is the 3rd chord or "Dominant 7th". In Study 36, be sure to clearly dot the eighth notes as indicated.
Playing Notes: Play each chord in this study "together" & strongly. It is very good practice in the "spreading" of the right hand fingers, i.e., in the first chord, a plucks #, m plucks $ and i plucks therefore leaving @ clear.
Playing Notes: Play this study slowly, making sure to make all the chord changes clean and distinct.
*The scale should be practiced using both free stroke and rest stroke.
Playing Notes: Study 39 incorporates repeats and 1st and 2nd time endings (refer to Progressive Classical Guitar for more information). Left hand fingerings are extremely important as is the "tie" at the end of bar 21.
Playing Notes: This study introduces the important right hand arpeggio p i m a m i which, when mastered at a high speed is very effective. To accommodate speed, "grip" p i m a at the beginning of each group and "peel off" the fingers one at a time keeping each finger movement as small as possible. N.B. Accidentals occur quite often and these must be observed for the whole bar.
Playing Notes: Use rest strokes on the top line of this study and make the left hand changes as smooth as possible.
Playing Notes: Study 42 is a "Mazurka" or the Polish variant of the waltz which uses a dotted rhythm in the second section of this study. It is another good example of the key change from Em to G then finishing on Em.
Playing Notes: The new key of D major includes a C sharp in the key signature as well as retaining the F sharp from the previous keys G & Em. Study 43 provides good practice in holding down one finger, in this case 4 and moving the other fingers around it. Keep the left hand steady and do not arch the wrist too greatly.
Playing Notes: Note the use of the "pedal bass" in this study, using D notes in the first section and A and D notes in the second section. Keep the right hand very steady and move the right hand thumb in a circular motion (see Progressive Classical Guitar ) independent of the fingers.
Playing Notes: This study is marked Allegro but as with all pieces practice them slowly at first until completely sure of the timing, fingering etc. The quarter note rests in the bass line can be easily achieved by resting the thumb on the string.
Playing Notes: Pay special attention to the timing of Studies 46 & 47 as both include the use of quarter, eighth & sixteenth notes. In particular, Study 47 has a group of triplets (see Progressive Classical Guitar ) from bar 20 to the end of bar 23 before returning to sixteenth notes.
Playing Notes: This Study is in B minor, the relative minor to D major. Be sure to alternate the right hand fingers and observe left hand fingering positions, accidentals etc. In bar 16, the "BII" indicates that the second fret is barred by the first finger. Refer to Progressive Classical Guitar for more information.
Playing Notes: The key of A includes a new sharp, G sharp along with that of F sharp and C sharp. Studies 49 and 50 are similar in structure but whereas Study 49 must be played very legato, Study 50 has more of a "hopping" feel due to the dotted eighth notes.
Playing Notes: Study 51 must be played extremely smoothly and steadily with careful attention given to the left hand chord changes. It also involves the use of the half bar (see Progressive Classical Guitar ) which must be placed correctly in order to accommodate the 4th finger in its stretch to the top note A.
Playing Notes: This Study is in two voices and makes use of both pivot and slide fingers (see Progressive Classical Guitar ). The left hand fingering is of particular importance.
Playing Notes: The new key F major includes one flat, B flat, in the key signature. Study 53 is a "Siciliana" as was Study 20. Note that the 3rd section modulates into C major before returning to finish in F.
Playing Notes: Study 54 is a fairly straight forward scale and arpeggio study but has an interesting technical feature in the 3rd to last bar. To accommodate both the sustain of the top voices (dotted half notes) and the open A note in the bass, the student must lift the tip of the bar finger while holding down the three notes on # @ and ! before lowering the bar finger to finish the piece.
Playing Notes: The new key of D minor uses B flat in the key signature and is the relative minor to F major. Study 55 is an excellent arpeggio study requiring a clear strong sound, both with the right hand fingers as well as the thumb which plays the melody.
Playing Notes: Study 56 uses many of the techniques studied up to now including chords, arpeggios, bars, half bars, pedal notes etc. Special attention should be given to the rests.
