SOR IN TABLATURE, BEN BOLT. 2CD TABLATURE
LIBRO CON 2 CD E TABLATURE
Fernando Sor (1778-1839) è stato il più importante chitarrista-compositore spagnolo della prima metà dell’Ottocento. Si cimentò anche in altri generi come l’opera, il balletto, la musica corale, orchestrale e per pianoforte. ... essenzialmente nelle composizioni per chitarra sola e per due chitarre, il genere nel quale riuscì a esprimersi più congenialmente. La sua biografia – scritta dal musicologo britannico Brian Jeffery e validamente integrata dagli apporti di altri musicologi quali Josep María Mangado, Richard Long, Emili olcina, Matanya ophee – ci rivela un uomo dal carattere difficile e finanche conflittuale, affetto – almeno per quanto riguarda la sua presenza nel mondo della chitarra, allora fittamente popolato – dal complesso del primo della classe e acribiosamente impegnato nel dimostrare al mondo la propria superiorità. Questa era di per sé evidente nelle pagine per chitarra che egli andava scrivendo e non avrebbe avuto bisogno di alcun sostegno polemico: l’osservazione si rende necessaria di fronte al fatto che una considerevole parte della Méthode pour la Guitare, pubblicata a Parigi nel 1830, è spesa da sor nel difendersi dalle sciocche insinuazioni di chitarristi suoi coevi, dei quali non sapremmo nulla, se non fosse lui stesso a informarci della loro insignificante esistenza. sor era figlio di una famiglia della borghesia catalana ed era perciò destinato alla carriera nella pubblica amministrazione o nell’esercito. il padre, un impiegato, non incoraggiò, ma tollerò il suo spontaneo avvicinamento alla musica e, fin dall’infanzia, lo portò ad assistere alle rappresentazioni operistiche, quasi tutte di autori italiani. Alla prematura morte del genitore, il fanciullo, che cantava spontaneamente arie da opera, aveva ricevuto qualche lezione di violino e suonava la chitarra di suo, fu portato all’Abbazia di Montserrat, dove prosperava una famosa schola cantorum. L’istruzione musicale di sor ebbe quindi anche un’impronta polifonica, che più tardi si rivelerà chiaramente nella sua musica per chitarra.
FOREWORD
The dream of Andres Segovia was to take the guitar out of the hands of the Spanish folklore guitarists, who
performed mostly in taverns and place it on the concert stage. He decided that in order to have the guitar
receive the respect that he felt it deserved, it would need to be taught in the colleges, universities, and conservatories. Because of this intense concert career and his mature years, for his dream to be fulfilled he had to
train teachers, who he called his disciples. Segovia accomplished his dream. Today the guitar has respect and
credibility because of his vision and work. Bravo to the maestro!
While my performing career began in Miami nightclubs, much like the Spanish folklore guitarist, I went on to
study with Segovia, who personally awarded me scholarships that he paid for. I have performed on the concert
stage with symphonic orchestras, and I am now a college professor. I have come to understand the significance
of his dream.
Ironically, my dream is the complete opposite to that of Segovia. I believe that for the acoustic classical style to
flourish, it must be put back into the hands of the people. My vision includes all guitarists, regardless of style
or background, becoming familiar with the classical guitar technique and repertoire. Tosee my dream fulfilled,
I have had to make learning fun and simple, without sacrificing the integrity of the information. By the mid
1980s my vision came to life in the form of a book entitled A Rock Player's Guide to Classical Guitar. It was the
first classical guitar book that included the notation / tablature / tape format. I chose the rock market because
at that time they were the only guitarists who were genuinely interested and eager to learn "classical" from me.
This, of course, didn't surprise me, since I too began as a rock guitarist. It was obvious that when classical
guitar was accessible to all guitarists, more people would hear and enjoy the beauty of the pure guitar style.
Since my first publication, thousands of new classical guitarists have surfaced.
All of my books come in notation / tablature / CD format. The recordings prove that all of my arrangements
have been tested and do sound guitaristic. All of the great late composers were fine musicians, as well as
composers. They could play the music they composed. You can also play the great classics! With the tablature
and the recording, great music is closer to your fingertips than you might imagine.
Ben Bolt
STROKES
Third String - p m a
The rest stroke using the thumb: Place a on the first string, m on the second string, and i on the third
string. Play the sixth string slowly.As you glide over the string, followthrough until you reach the fifth string.
You should end up resting on the string number 5. Practice on all bass strings (6, 5, and 4).
The rest stroke using the fingers: Place the thumb (p) on the sixth string. Play the third string slowly
with your index(i) finger. As your finger glides slowly over the string, follow through until you rest on string number 4. Practice using your middle finger (m) on the second string and your ring finger (a) on the first string. Also, practice alternating i m, i a, and m a on the treble strings (1, 2, and 3). I use i and a because they are similar in length on my hand. You should collapse the joint closest to the tip of the finger during the follow-through.
Free stroke: In using free stroke, the finger does not rest. The joint closest to the tip of the finger does not collapse. Youmust be careful not to get under the string and pull up with the finger. As an experiment, you can try pulling the string straight up and releasing it. This will cause a slap against the fingerboard and should be avoided. However, rock bass players use this technique as an effect that sounds good!
Regardless of which stroke is used, the flesh and fingernail should touch the string at the same time when you're preparing to play. This technique produces the best tone.
Ben Bolt is credited with being the first classic guitar instructor to introduce the classic style of pIaing
to the masses. Because of his worldwide success, his work has been mimicked throughout the
publishing world. Several Ben Bolt books have consistently appeared on Mel Bay's "Best Seller" list.
He also appears on Mel Bay's DVDs of the complete volumes of "The Modern Guitar Method", a huge
commercial success, selling in the millions of copies. His publications are distributed internationail
and have been featured at all the major conventions and music shows, including the National Association
of Music Merchants in Germany. His DVD "Anyone Can Play the Classic Guitar" has become a
reference for college students as the authority on the fundamentals ofclassic technique. He is endorsed
by D'Addario Strings and Takamine Guitars. He has recorded the classic guitar work for HGTV and
can be heard in the background of programs such as "America's Castles".
Ben Bolt first met Andres Segovia in the American Embassy in Madrid, Spain on his 18th birthday.
Bolt was registering for the draft as Maestro Segovia was getting his Visa together to tour the U.S.
This fortuitous meeting was the beginning of their relationship. Andres Segovia, the Father of the
classic guitar, was quoted saying "Ben Bolt is an excellent guitarist with fine tone." After studying
with Segovia, the Maestro personally paid for scholarships so that Bolt could continJue his studies
abroad, as well as setting up lessons with his assistants while he was on tour.
Ben Bolt first met Abel Carlevaro in Paris. Carlevaro then invited the 20 year old to study with him
under full scholarship at the yearly Master Classes held in Brazil. After Brazil, Bolt moved to Montevideo,
Uruguay. He won first place in the "Concurso Internacional Aemus" by unanimous decision.
Carlevaro awarded him the coveted "Premio de Merito" at the National Library of Montevideo for his
outstanding efforts in music. In 1978, Bolt assisted maestro Carlevaro in his first master's class in
the states held at the San Francisco Conservatory of music. Bolt completed his music studies under
the direction of Maestro Guido Santorsola, who bestowed him with an original composition for guitar
entitled "Seis Bagatelas" as a graduation gift. After returning to the States he became the first guitarist
inducted as a National Patron of Delta Omicron's International Music Fraternity.
Product Description:
This text includes fifty-eight pieces of music as well as a recorded CD of the entire book. Ben Bolt believes these pieces are the "best of the best" for developing technique, musicianship, and exposing the guitarist to the ingenious musical world of Fernando Sor. Regardless of your current level of expertise, this music will be a joy to learn and listen to. Titles include: Napoleon's Theme; E Minor at Midnight; Rhapsody in D; March of the Wooden Soldier; and Easter Hymn are sure to please any audience. Ben Bolt's digital recordings of his arrangements are superb. His warm tone and singing vibrato bring Sor's music to life. All interpretations are classically correct. He plays on his Fleta and Sons concert guitar made in Barcelona, Spain (1976). Fernando Sor was born in Barcelona, Spain (1778).
Song Title: Composer/Source:
A Minor March (Andante) F. Sor and Ben Bolt
Allegretto F. Sor and Ben Bolt
Allegretto in C F. Sor and Ben Bolt
Allegro in D F. Sor and Ben Bolt
Allegro Moderato F. Sor and Ben Bolt
Andantino in A F. Sor and Ben Bolt
Basso Profundo F. Sor and Ben Bolt
Best of Show F. Sor and Ben Bolt
Changing Tides F. Sor and Ben Bolt
Chord March F. Sor and Ben Bolt
D Minor Double-stop (Moderato) F. Sor and Ben Bolt
Diez (a Study in Tenths) F. Sor and Ben Bolt
Double Trouble F. Sor and Ben Bolt
E Minor at Midnight F. Sor and Ben Bolt
E Minor Etude (Allegro Moderato) F. Sor and Ben Bolt
Easter Hymn F. Sor and Ben Bolt
Easy Study in 3/8 F. Sor and Ben Bolt
Easy Study in C F. Sor and Ben Bolt
El Maestro F. Sor and Ben Bolt
Elegant Desire F. Sor and Ben Bolt
Estudio in Two (Andante) F. Sor and Ben Bolt
Etude in Six Eight F. Sor and Ben Bolt
Etude in Three Eight F. Sor and Ben Bolt
Forward Roll Arpeggio Study (Andante) F. Sor and Ben Bolt
Funeral March F. Sor and Ben Bolt
Harmony in G F. Sor and Ben Bolt
Hermosa F. Sor and Ben Bolt
Imitations F. Sor and Ben Bolt
Jig in G F. Sor and Ben Bolt
Lament of the Giant F. Sor and Ben Bolt
Lesson in A (Andante) F. Sor and Ben Bolt
Lesson in A Minor (Andante) F. Sor and Ben Bolt
Lesson in B Minor (Andante) F. Sor and Ben Bolt
Lesson in C (Andante) F. Sor and Ben Bolt
Lesson in Cut Time (Andante) F. Sor and Ben Bolt
Lesson in D (Allegro Moderato) F. Sor and Ben Bolt
Lesson in E (Allegretto) F. Sor and Ben Bolt
Lesson in E Minor (Movido) F. Sor and Ben Bolt
Lesson in F (Moderato) F. Sor and Ben Bolt
Lesson in G (Moderato) F. Sor and Ben Bolt
Lesson in Serenade F. Sor and Ben Bolt
Lullaby in Two Four F. Sor and Ben Bolt
March of the Wooden Soldier F. Sor and Ben Bolt
Melody on an E String F. Sor and Ben Bolt
Moderato F. Sor and Ben Bolt
Napoleon's Theme F. Sor and Ben Bolt
Rhapsody in D F. Sor and Ben Bolt
Romance F. Sor and Ben Bolt
Simpatico en Sol F. Sor and Ben Bolt
Singing Violins F. Sor and Ben Bolt
Song in D Major F. Sor and Ben Bolt
Song in D Minor F. Sor and Ben Bolt
The Happy Woodpecker F. Sor and Ben Bolt
The Precocious Pupil F. Sor and Ben Bolt
Three's a Charm (a Study in Thirds) F. Sor and Ben Bolt
Valse F. Sor and Ben Bolt
Victory Dance F. Sor and Ben Bolt
Waltz of the Robins F. Sor and Ben Bolt
When Guardsmen Sleep F. Sor and Ben Bolt
Italiano
English
