24 Etudes - Op 48 No 1, Vivace in C - Mauro Giuliani (1781-1840) tabbed by Weed - 4 November 2006 - weed@wussu.com Notes and Legend below tab tuning - E A D G B e time signature - 2/2 Lively (Vivace) CVIII... CVI.... CV...... CIII............ CI..... 0 | . | . | . | . | . | . | . | . |---------8===8===|-8===7===7===5===|-5===4===3===3===|-3===1===1===0===| |-----------8---8-|---6---6---5---5-|---3---3---3---3-|---1---1---0---0-| |---------9---9---|-7---7---5---5---|-4---4---4---4---|-2---2---0---0---| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| 1 4 3 3 4 3 4 1 2 2 2 2 moderately loud (mf) 4 | . | . | . | . | . | . | . | . |-0===------------|-----3-----------|-----3---1p0-----|-----------------| |-----3===1p0-----|-1-------1p0-----|-1-----------3-1-|---0-1-3-1---0---| |---2---2-----2-0-|---0---0-----2-0-|---0---0---------|-2---------------| |-3---3---3=======|-2=======3=======|-2=======--------|---------2---0---| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|---------0=======|-1-------3---3---| 1 4 2 3 2 4 1 8 | . | . | . | . | . | . | . | . |-------------3===|-----5===----5===|-----7===----7===|-----8===----10==| |-1=======--1-----|-----------3-----|-----------5-----|---5-------8-----| |-----------------|---5-------------|---7-------------|-----------------| |-2=======2=====2-|-3=====3-4=====4-|-5=====5-6=====6-|-7=====7-9=====9/| |-3=======--------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| 4---------4 4---------4 4---------4-------4 4- 1 3 1 3 1 1 1 2 1 2 1 2 3 2 2- sfz sfz sfz sfz sfz sfz sfz CVIII... CIII... CI...... 12 | . | . | . | . | . | . | . | . |-----12==------10|-----8---------6-|-----5===------3-|-----1===----1===| |---8---------9---|-------------5---|---3---------2---|---3-------3-----| |-----------9-----|---9-------6-----|-----------2-----|-----------------| |/10---10-9=======|-7=====7-5=======|-3=====3-2=======|-0=====----------| |-----------------|-----------------|-----------------|-------3-2=====--| |-----------------|-----------------|-----------------|---------------3-| -4 2-------2 4-------4---------4 1 1 3 3 2 4 -2 1 1 1-1 1 1 sfz sfz sfz sfz sfz sfz F 16 | . | . | . | . | . | . |---0---0---0---0-|-------------3===|-0=======-------|| |---1---1---1---1-|-----1===--------|-1=======-------|| |-----------------|-----2===----0===|-0=======-------|| |-----------------|-----3===----0===|----------------|| |-3---2---0-------|-----------------|-3=======-------|| |-------------3---|-1===----3-------|----------------|| loud very loud Notes ----- from the Preface to the Tecla Edition (Brian Jeffrey, 2006) http://www.tecla.com/extras/2001/2536/preface.htm "Mauro Giuliani (1781-1829) was one of the most brilliant guitarists of his time and a fine composer for the instrument. He lived in Vienna in the time of Schubert and Beethoven, as well as in Italy. These 24 Exercises for the guitar, Op 48, are among the best known of his works and a fine collection. They come from that tremendous period in Giuliani's life when he had just arrived in Vienna. They are brilliant in every way: every piece is intensely musical, uses the resources of the instrument fully, and every note counts, nothing is wasted. Like Carcassi's 25 Etudes op. 60, the collection can be seen as a whole, because it uses contrasting keys from piece to piece and because it builds up to a grand climax at the end of the last piece. But it is perfectly acceptable to play the pieces as individual items. The Esercizio was first published in Vienna in mid-1813, under the title of 'Esercizio per la chitarra, contenente 24 pezzi della maggiore difficoltà, diversi preludi, passaggi, ed assolo' (Exercise for the guitar, containing 24 pieces of the greatest difficulty, including various preludes, passaggi, and solo pieces). It is extremely interesting that the original title-page says that the pieces are not merely exercises as solo pieces, but that they include 'preludi, passaggi...', that is to say, music which can be played as a prelude to something else, or as a 'passage' from one item to another. Passaggio is a technical term which is practically untranslatable, meaning a piece which shows some conspicuous or brilliant feature, modulation, or ornamentation or decoration. The original edition gives quite a lot of position indications and some open strings, but no other fingering. Usually in this music a dot on a note does not mean staccato, but rather not slurred. It usually appears on a note which immediately precedes or follows a group of slurred notes and distinguishes it from them, to indicate that it is to be plucked separately and not slurred. Sometimes the dot becomes a wedge, but whereas in some piano music of the time there is indeed a distinction between dot and wedge, in the case of this music of Giuliani there appears to be no difference in sense: rather, it seems that it was just a vagary of engravers' practice." Legend ------ left hand fingering below tab CI - barre on the 1st fret 1 - index CIII - barre on the 3rd fret 2 - middle CV - barre on the 5th fret 3 - ring CVI - barre on the 6th fret 4 - little CVIII - barre on the 8th fret = - note held for the value shown p - pull-off (representing a slur on the sheet) sfz - played with special emphasis (sforzando) / - slide up F - pause, note held longer than it's value (fermata) ****************************************************************************** more classical tabs at http://www.classtab.org