TeCh­nique Fo­Cus

Guitar Techniques - - PLAY: CLASSICAL - Brid­get ar­ranges by Tchaikovsky

In clas­si­cal gui­tar we have two ways of pluck­ing the strings; rest stroke where the string is plucked by a push of the fin­ger or thumb which then rests on the ad­ja­cent string, and free stroke where the fin­ger plucks free of the next (thicker) string. Rest stroke gives a warmer, fuller tone and is used for sin­gle-line melodies; to help a melody stand out from an ac­com­pa­ni­ment, or to ac­cent or em­pha­sise a sin­gle note. the Satie scale (or when it in­cludes the mi­nor 7th,Do­rian #4 (fourth mode of Har­monic mi­nor)), and is trans­posed to each of the three main key ar­eas in the piece: Dm, Gm, Am (Am, Dm, Em in the orig­i­nal).

Gnossi­enne No.3 was writ­ten in free time, with­out bar lines or time sig­na­ture, to im­ply a float­ing sense of time, but I’ve in­cluded them here for clar­ity. The rhythms im­ply a slow 4/4 with a lilt­ing pat­tern in the ac­com­pa­ni­ment, which stresses beats 1, 3 and 4. To make the piece rather more id­iomatic for the gui­tar, I’ve trans­posed the orig­i­nal key of A mi­nor down a 4th to D mi­nor, with drop D tun­ing which al­lows me to keep prac­ti­cally ev­ery note from the orig­i­nal. Other than that the ar­range­ment is very close to the orig­i­nal - some­thing quite rare for solo gui­tar ar­range­ments of pi­ano pieces!

De­spite the slow tempo, it may take some prac­tice to main­tain a lyri­cal melody and keep it bal­anced with the chords, so use the tab cap­tions to help you through. I’ve also trans­lated Satie’s sur­real per­for­mance notes for you to en­joy as you learn this won­der­ful piece.

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