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CARCASSI'S METHOD FOR THE GUITAR

PART 2 APPOGGIATURAS (Grace Notes)
APOYATURAS

These are small ornamental notes, which take their value from the notes
they precede.
There are two kinds of Appoggiaturas, the long and the short, the short grace
note is also called "acciacatura'l at cheea-ca-too-ra.)
The long Appoggiatura takes half the value of the note it precedes, but if the note
it precedes is dotted, it takes two thirds of its value.
Se llaman Apoyaturas á unas notas pequeñas orna mentales, que
toman su valor de la nota á que preceden.
Hay dos clases de apoyturas: la largay la corta, lla mada tambien
"acciacatura".
La apoyatura larga toma la mitad del valor de la no ta á que precede;
pero si la nota está con puntillo, enton ces la apoyatura toma tres cuartas
partes de su valor.

Written effect Efecto escrito

Practical effect Efecto práctico

The modern practice, however, is to write as rendered, thus avoiding

confusion.
The short grace note is played rapidly, and to distin guish it from the long
grace note is written thus: (?)
Grace notes are played as slurs.
En la práctica moderna se escribe solamente el efec to práctico de la
apoyatura larga, evitando así el que se confunda con la corta.
La apoyatura corta se ejecuta rápidamente hacia la nota á que precede y
se distingue de la larga por una línea que la crusa, asi: a
Las apoyaturas se ejecutan como ligaduras.

Written Escritas

Rendered Ejecutadas

When a note preceded by a grace note is part of a chord, the grace

note must be played with the chord and the principal note must follow
immediately.
Cuando una nota precedida por una apoyatura va acompañada con otras
notas, se ejecutan estas notas con la apoyatura é inmediatamente se ligan
con la no ta principal, es decir con la nota precedida por la a
poyatora.

Execution Ejecucion
Carcassi — Method for Guitar, Part 2 When double grace notes occur, they
are played by Cuando se dé el caso de apoyaturas dobles, éstas
rapidly slurring both grace notes to the principal note. se
ejecutan rápidamente, ligándolas con la nota prin
cipal.

01

Execution Ejecucion
Ne
The Glide or Portamento is executed by sliding the finger along
the string from one note to another, pro ducing an excellent
effect.
It is indicated by this sign .
El Portamento sirve para conectar dos notas, y se ejecuta
resbalando el dedo sobre la cuerda.
Produce un buen efecto y se indica por este sig no

3
TY

It is also practicable between double notes.

Se produce tambien entre notas dobles.

7th... 20
5th., 3d
6th..
20
NG

A pleasing effect is produced on stringed instru - ments by what is

commonly called the Tremolo, thus imparting tenderness and
expression to the tone.
To obtain this effect on the guitar, the finger of the left hand must remain
firmly pressed on the string, while the hand is shaken with energy,
following with the motion the direction of the fingerboard.
This effect is not indicated in musical compositions, but left entirely to the
judgment of the performer.
Otro efecto bonito que se produce en los instru mentos de cuerda
es haciendo oscilar las vibraciones de las notas con los dedos de la
mano izquierda, y por cuyo medio se imparte dulzura y expresion á dichas
notas.
Para producir este efecto en la guitarra, se opri me el dedo de la mano
izquierda con absoluta firmeza sobre la cuerda en la nota requerida,
mientras que la misma mano se mueve con energía siguiendo con el
movimiento la direccion del diapason.
Este efecto no va indicado en las composiciones mu sicales, dejándolo
absolutamente al juicio del ejecu -
tante.

OD Share on
Carcassi — Method for Guitar, Part 2
Adagio cantabile

[Link].
Bar month
a tempo
41

LS

Gr. Bar.
1

portamente
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a tempo
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11

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a tempo

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Carcassi — Method for Guitar, Part 2

1r

Gr. Bar.
Bar poth
atempo

Bar

dim.

Scale of C# minor, relative

to E major 12 4 1 2
Escala de Do# menor, relativa
de Mi mayor 1 1. 4 2
4
2
Chords
4th
2d Bar.
4th

Exercise

Bar.2d
11

Prelude
Ist Bar.
4th

2d Bar.

CD Shoes
Carcassi — Method for Guitar, Part 2
4th Bar.
ist
Bar.
EME
7
WU

2d Bar.
Bar.
MITTA
gth fret
水中,
pdim.

Scale of F major
Escala de Fa mayor
33

Chords
Bar.

Exercise

Bar.
Prelude

Bar

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Carcassi — Method for Guitar, Part 2
Marcia.

Gr. Bar.

Bar
14
LT
22

Bar.

Andante
tt 1
rall.

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Carcassi — Method for Guitar, Part 2

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Allegretto
Bar

pipo
Bar

Bar.
Te
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Carcassi — Method for Guitar, Part 2 Bar. 3d

Bar.
Bar.
30
p dolce

Bar.
Bar.
Bar.

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Bar.3d

Bar
Bar.
Bar.
.

Bar,

WAT

Bar.

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Carcassi — Method for Guitar, Part 2

Scale in the 5th Position

Escala en la 5a posicion

Too.
31

Exercise

mu

Na

-
-
-
-----------
--
--
-
-
-
--4-----
---
-
---
-
---
---
---
---
----------
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5th Prelude
3d Bar.

5th
Bar.

Bar.
Bar.

3d Pos.
ist Bar.
Bar.

Bar.

5th

Bar.

CD Shoe
Carcassi — Method for Guitar, Part 2 Scale in the oth Position
Escala en la 7a posicion

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.

24

Exercise
-
-
-
-
-
-
-
-
-
-
-

Bar.

7th Pos. PRELUDE Moderato

Bar.

gth Pos........
7th Bar.
rth Bar.
-
5th [Link].
3d Bar.

7th Bar.
Bar. 5th
7th

15th fret
ARE
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Bar
Bar
din.
rit.

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Carcassi — Method for Guitar, Part 2 Scale of D minor, relative
Escala de Re menor, relativa to F major
de Fa mayor

2
3
2
3
2
3
1
1
3
23
2
3
2
3
1
4
232

Chords
Exercise
WO

Prelude

Ba
@
Bar.

576
10th fret

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11
Carcassi — Method for Guitar, Part 2 The Mordente, w in its modern
acceptation, means
El mordente, mas en uso en la actualidad, se a rapid slur of the
principal note and the auxiliary ejecuta como la apoyatura, y se
compone de la nota note above followed by a return to the principal
note. principal, la auxiliar superior y otra vez la principal.
In many instances, however, the practical effect of the mordente
is written out, the sign being omit ted.
En muchos casos, sin embargo, se escribe solo el efecto práctico del
mordente, omitiendo por completo su signo.

CAPRICCIO
Allegretto
G. C. SANTISTEBAN.

Gr. Bar.

Bar

5th
co
IL

17

Bar.

CD Shoes
Carcassi — Method for Guitar, Part 2
8th
-
.
-
P
.
-
*
-
-
-
.
-
-
-
-
-
-
-
-
-
-

15
LI

Bar.
Bar.

2d Bar.

4271

Bar
Gr Bar.

SEM

8th Bar.
Bar.
TI

10th

TE

Bar.

CDI
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13
Carcassi — Method for Guitar, Part 2 Scale in the 9th Position
Escala en la 9a posicion | .------... ........... ........ ....
1
2
4
.-
2

-
2
1
3
4
3
1

Exercise
DINI

10th Bar.......
Prelude
#
9th

gth Bar..

Bar
E
-
-
-
-
-

Bar

th

Bar.

tp
Bar
Bar.

gth
17th fret

tu ganja
1

Bar.
Bar.

14
Carcassi — Method for Guitar, Part 2 The following exercises
should be practised assid
Los siguientes ejercicios deben practicarse con a uously until a
fair rate of rapidity is acquired.
siduidad hasta adquirir cierta rapidez de ejecucion.
HAT
THE
7th
7th

LT

Bar
Bar

Bar.

02_03
UN

S
.
TCS

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Carcassi — Method for Guitar, Part 2
Gr. Bar. 20

Bar, 1st
.

855
Bar
Bar
9th

+
5th
1
9th
1
Bar
6th y

There are cases where we profit by a note played up - on an open

string, to pass with greater facility from one po sition to another.
Hay casos en que se toma ventaja de una nota produ cida en cuerda suelta,
para pasar con mas facilidad de u na posicion á otra.
gth
Here Prình THPT THPT
@
0

Gr Bar 2d

Gr Bar 7th

ਨੂੰ ਹਰ ਰੋਜ਼ ਉਹ ਹਰ ਉਮਰ

* ਹਰ ਰੋਜ ਹੋ
Bar 20
5th
+

+
CD store
Carcassi — Method for Guitar, Part 2 The Turn, or Gruppetto is an embellishment
consist El Grupeto, p) es un adorno que consiste de la no ing of the principal note
and the auxiliary notes imme- ta principal y de su auxiliar inmediata superior é in
diately above and below. It is indicated and performed ferior, in three ways.
El grupeto se indica y se ejecuta de tres diferentes 1. By beginning with the auxiliary
note above (). modos.
1 Empezando con la nota auxiliar superior (!).

Execution Ejecucion
2. By beginning with the auxiliary note
2 Empezando con la nota auxilar inferior

(The above, in most treatises, is called inverted grup petto.)

3. When the principal note is preceded by a grace note, the gruppetto
should begin with the grace note.
(A la forma anterior se le llama, segun algunos tra tados, grupeto invertido)
3 Cuando la nota principal va precedida por una apoyatura, entonces se
empieza el grupeto con la apo yatura.

If the auxiliary note is to be altered by a sharp or flat it is thus indicated for the
auxiliary above (L) and thus for the auxiliary below (?)

ftat it is thus indicated for the auxiliary above this

and
Si se desea alterar la nota auxiliar con uno sos tenido ó un bemol, se indica
así (ae), para la nota auxiliar superior y así ( para la auxiliar
inferior.
tenido é un bemal, se ingica asi (ko), para sa nota

The Trill is the rapid repetition of the principal notes and the auxiliary note above,
and it is indicated thus, I (for wome)
E1 Trino es la rápida sucesion de la nota principal y la auxiliar superior y se
indica así: (free)

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La
Carcassi — Method for Guitar, Part 2 The most effective manner of
executing the trill on La mejor manera de ejecutar el trino,
en la guitarra, the guitar is by picking the principal note
with the right es tocando la nota principal con la mano
derecha y ha hand and slurring the auxiliary note with
the left, drop- ciendo ligadura con la nota auxiliar con la
mano izquier ping the finger hammer fashion.
da, dejando caer el dedo como martillo, As a general rule trills are
executed somewhat slow
Por regla general los trinos se empiezan un tan ly at the
beginning and then rapidity increased towards to despacio,
creciendo gradualmente en rapidez há the end.
cia el fin del trino

Maestoso
UNI
AD

5th 7th 8th

Bar
SA
The
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Bar
5th Bar
JIES
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5th 7th 8th

Bar
s1
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A AIRA
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18
Carcassi — Method for Guitar, Part 2 Harmonics are produced by placing a finger
of the Los sonidos armonicos se producen colocando un left hand across
the strings at certain divisions of the dedo de la mano izquierda, formando
ang ulo recto con fingerboard.
las cuerdas, en ciertas divisiones del diapason. The finger must touch
the strings lightly,just enough E1 dedo debe tocar la cuerda muy
superficialmente to prevent them from vibrating as if open.
y debe colocarse en direccion al traste correspon As soon as the
string has been struck, the finger diente. must be raised.
Una vez producido el armónico se debe levantar Harmonics sound at the
pitch written in the table el dedo. below. They are produced at the 12th, 7th,
5th, 4th and Los armónicos se producen sobre los trates 120, 3d fret,
as the following table shows.
79, 59, 49 y 30 como lo eñsena la siguiente tabla.
14
-
-
-

12th
7th
5th
-
-

1st string ja cuerda

2d string 20 cuerda

3d string 3a cuerda

4th string 40 cuerda

5th string 50 cuerda

6th string 60 cuerda

All the notes within the compass of the guitar may be played harmonically.
To do this the note which is to be played harmonical ly is fingered in the
same manner as an ordinary note; then the point of the first finger of
the right hand is light ly placed under the string at exactly the 12th
fret dis tant from the fingered note, the thumb striking the string under the first
finger and a little below from where it is placed
Notes to be played harmonically are, as a rule, writ ten in small
notes and marked with the abbreviation Harm.
Sheet
Todas las notas en el diapason de la guitarra se pueden tocar en
armónicos.
Para hacer esto, la nota que se desea tocar en ar mónico, se dedea
como de ordinario, y de esa nota hacia abajo a la distancia de su 120
traste, se coloca la extremidad del primer dedo de la mano derecha, y con
el pulgar se hiere la cuerda á corta distancia de donde está colocado
el primer dedo, enviando el pul gar hácia dentro de la mano.
Las notas que se deben tocar en armónicos van escritas, por regla
general, con notas pequeñas, y mar cadas con la abreviatura Harm.
Carcassi — Method for Guitar, Part 2
oth
Allegretto

Harm,

12th
12th ---------7th 12th ----...-7th
5th .............--7th 12th-------...7th
12th
7th
SEL
12th

Harm....
Fine.

Harm. 12th-----

--------5th
7th
12th
7th
12th .......
.....----5th
7th
12th

The guitar can be played in all keys, but like other instruments, it has some
keys more favorable to it than others.
As I think it important however, that all the keys should be known and
practiced by those aiming to make a more serious study of the guitar I
have placed in the next part of this method all that I have thought
necessary for the purpose.
La guitarra se puede ejecutar en todas las tonalida des; pero como otros
muchos instrumentos, tiene tam bien sus tonos de preferencia,
siendo los que hasta aqui se han estudiado los mas favorables.
Como creo de importancia, sin embargo, el conocer todas las
tonalidades y que se practiquen por aquellos que deseen hacer un
estudio sério de la guitarra hé puesto en la siguiente parte de este
método todas los ejer cicios necesarios para el fin.
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20
Carcassi — Method for Guitar, Part 2

ADVANCED STUDIES ESTUDIOS ADELANTADOS.

Scale of B major
Escala de Si mayor
Scalo of B major
4th Pos.
'ist Pos

Chords
PN

Exercise
4th Pos
1
& ist

Prelude

Bar.

PO

Gr Bar

CD Shoes
Carcassi — Method for Guitar, Part 2 Scale of G# minor,
relative
Escala de Sol# menor, relativa to B major
de Si mayor
4th Chords Bar.
1st
4th

www

Exercise
II

4th
Bar.
T02

Scale of F# major
Escala de Fa# mayor
Chords
Bar,
4th Bar.

Exercise

Gr. Bar.

C
D
Shoes
Carcassi — Method for Guitar, Part 2 Scale of D# minor, relative
Escala de Re# menor, relativa to F# major
de Fa# mayor
Chords 1st
4th Bar.
ist

Same chords in other positions

6th Pos. 4th
Los mismos acordes en distintas posiciones
Bar.

EXPL

TE
CUNI

Bar.

Scale of Bb major
Escala de Sib mayor

Chords
Bar.
Bar.

1
.
Exercise

Bar.

Et6

30

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23
Carcassi — Method for Guitar, Part 2
Prelude
Bar.

17. 3
Bar.
3d

Bar.
6th

Bar.

Scale of G minor, relative

to Bb major
Escala de Sol menor, relativa
de Sib mayor

_
.

sr

Chords
Gr. Bar. 3d

Exercise
IN

24
Carcassi — Method for Guitar, Part 2
Prelude

..

Bar. 30

3d Bar.
Bar.

Bar.

Bar.

Scale of Eb major
3d Pos.
Escala de Mib mayor
sth
o
...m
3d Pos.
1
2
Chords

Chords gu
th
34 14
3

T18
Exercise
ist

C
D
Share
Carcassi — Method for Guitar, Part 2
Prelude
Bar.
Bar.
UIT

oo
Bar,
Bar.
| 3d

Scale of C minor, relative

to Eb major
Escala de Do menor, relativa
de Mib mayor

Chords
3d Pos
1st

Bar.

Exercise
ist Bar.

C
D
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26
Prelude
Carcassi — Method for Guitar,
Part 2
Bar.
qot.

Bar.

1st Bar.

Scale of Ab
major
Scale of ab
major
i
Escala de Lab
mayor
Escala de Lab mayor

Chords

Chord
set
Bar.
4th
Ath

Et
h
Gr. Bar.

Gr.
Bear
UN

p
op L
10
-
Exercise
1st

th
Bar. ist
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on
Carcassi — Method for Guitar, Part 2 Scale of F minor, relative
Escala de Fa menor, relativa to Ab major
de Lab mayor

Chords
Bar

Gr Bar

A
.
K

op
3p
spol
.
Exercise
UOC

Scale of Db major
Escala de Reb mayor
6th

1
3
4
Chords

Chords the
4th
20
t h

Bar.

Scale of Bb minor, relative

to Db major
Escala de Sib menor, relativa
de Reb mayor

4th ................ ist

Chords

C
D
Share on
Carcassi — Method for Guitar, Part 2

Scale of Gb major
Escala de Solb mayor
Chords

Chords
Bar

Bar.
Ath
2

Bar
Gr. Bar.

Scale of Eb minor, relative

to Gb major
Escala de Mib menor, relativa
de Solb mayor
6th

1
3
4
1
2
3
1
2
4
1
2
4
3
2
1
4
2
1
3
2
4
3
1
4
3
3 8th
i

Chords
6th
Bar.

Minor scales of the melodic form. The sixth and seventh degrees, in this
form of scales are altered in ascending but the alteration is cancelled in
descending.
Escalas menores de la forma melódica.
Llevan alteradas su sexta y séptima nota cuando ascienden; pero estas
alteraciones se cancelan cuando descienden.

A minor La menor

E minor Mi menor

6th
---- 3 1
ist 3 2
0 24u
4
B minor Si menor

7th Pos.

C
D
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29
Carcassi — Method for Guitar, Part 2
BE

F# minor Fa# menor

6th
2

L2
, 1st Pos.
0 2 4 11
C# minor
meilor

..........: ist

G# minor Sot# menor

4th
7th
***

D# minor Re# menor

2
HHHHHALTILLIM

7th
Eth
31 3 4

D minor Re menor
ver

ito

G minor Sol menor

Sol menor
Haugen
5th .......
30
bih
3

C minor Do menor

F minor Fa menor
Ad

3d
**
18
1L
3

Bb minor Sib menor

8th
6th
4th
13L1L 3 4 ;

Eb minor
Mib menor 9
CD Shoes
30
Carcassi — Method for Guitar, Part 2 The following scales should
be committed to memory;
Las escalas siguientes deberán aprenderse de memo - in
practicing them, take special care to bring out each note
ria, y al practicarlas téngase cuidado de producir cada no
clearly and distinctly, and also to increase gradually the
ra ta con claridad y pureza, al mismo tiempo que la
rapidez de pidity of execution.
ejecucion debe aumentarse gradualmente.

5th Pos...............
1st
LS16
2
1
0
1st
t

7th Pos. ..........

6th Pos..
02

De he
Carcassi — Method for Guitar, Part 2
6th.... .......5th
1
2

4323

7th...

1
3
7th
all
3 11

6th.___
4th

7th
----
1st
4th

0
4
1
4
12

32
Carcassi — Method for Guitar, Part 2

sth...----------- 6th
6th Pos.
3
1
4
3

7th -------
i
1

1st Pos.

5th Pos.
3
1
2

sth
7th..x
5th...
1
L
3
11
YU

8th

3d Pos.

CD Shoe
33
Carcassi — Method for Guitar, Part 2
5th
...........
3d
3d Pos.
34
1
4
2
1
3.
i
V
4.
2
I
I
.
7.:

-------
...
8th ............, 6th
IS
6th
2
+
+
+

6th

34
Carcassi — Method for Guitar, Part 2
Sub
Diminished Tonic Dominant Seventh inverted
Dominant
Seventh
Tonic
Tonic

C major Do mayor

Bar.
Bar.

A minor La menor
It

Bar.
G major Sol mayor
3
3
Bar.

E minor Mi menor
11

D major Re mayor
Bar.
Bar.
Bar.

B minor Si menor
och

17
Bar.
Bar.
Bar.
Ваг.

A major La mayor
small Bar.
F# minor Fa# menor
Bar.
Bar.
Bar 4th

CD phone on
Carcassi — Method for Guitar, Part 2
Sub Diminished Tonic Dominant Seventb inverted
Tonic
Dominant
Seventh
Tonic

E major Mi mayor
TE
RE

Bar.
Bar.

C# minor A Do# menor

S

Bar.

B major Si mayor
Bar.
Bar.
Bar.

1
.

G# minor Sol# menor

120
1111

Bar.
Bar.
Bar.
Ist
Bar.

F# major Fa# mayor

9
11
1T

Bar.
Bar.
Bar.
Bar.4th
Bar.
Bar.

D# minor Re# menor

-
F major Fa mayor
Holo
11
Bar.
Bar.
bal.

Bar.
Bar,
AN

D minor Re menor

Bar.

CD Shoes
36
Carcassi — Method for Guitar, Part 2
Sub
Diminished Tonic Dominant Seventh inverted
Dominant Seventh
Tonic
Tonic

Bb major Sib mayor

17

Bar.
Bar.
Bar.
Bar.
VO

G minor Sol menor

Bar.
Bar.
Bar.
Bar.
Eh major Mib mayor
Ваг.
Bar.
Bar.
Bar.
Bar,

C minor Do menor
PT
GR1

Bar,

A major Lab mayor

ALRI

Bar.
4th
-
-

F minor Fa menor

Bar.
Bar.
Bar.

Dh major Reb mayor

.....
.
.
Bar.
Bar.
Bar.

Bb minor Sib menor

KA

Bar.
Bar.
Bar.

CD
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Carcassi — Method for Guitar, Part 2 Exercises 1 to 12 must be
practised on all chords Los siguientes ejercicios del 1 hasta el 12
deben of pages 95, 96 and 97.
aplicarse a todos los acordes en las páginas 95, 96 y 97.
OD Sheng
38

Carcassi — Method for Guitar, Part 2

11

1
.
N
.
-
-
CD She is
39
Carcassi — Method for Guitar, Part 2
CD Shoes
Carcassi — Method for Guitar, Part 2
TUIN

-
....
.
Sheet Music"
Carcassi — Method for Guitar, Part 2
SCALES IN THIRDS
ESCALAS EN TERCERAS
LI

O
D
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42

Carcassi — Method for Guitar, Part 2

UM
3

-
..

SCALES IN SIXTHS

SCALES IN SIXTHS
I
ESCALAS EN SEXTAS

ESCALAS EN SEXTAS
ORI

..

THERE
11

BV
Octaves occur between the 6th and 4th strings at
the distance of three frets.
Las octavas se encuentran de la 6a à la 4a cuerda á
tres trastes de distancia.

CD Shoes
Carcassi — Method for Guitar, Part 2 Between the 5th and 3d strings at the
distance
Entre la 5a y 3a cuerdas á tres trastes de dis - of three frets.
tancia.

Between the 5th and 2d strings, also, at three frets distance.

Entre la 5a y 2a cuerda, tambien, à distancia de tres trastes.
Between the 4th and 2d strings at four frets dis tance.
Entre la 4a y 2a cuerda a distancia de cuatro trastes.

Between the 4th and ist strings at three frets distance.

three frets
Entre la 4a y la 1a cuerda a distancia de tres trastes.

Katre la
Hulle

Between the 3d and 1st strings at four frets dis

Entre la 3a y la cuerdas á distancia de cuatro trastes.
tance.

WE

CD Shoes
Carcassi — Method for Guitar, Part 2
Moderato
Fine.

[Link] Fine.
CD She
45

DI PROVENZA IL
Carcassi — Method for Guitar, Part 2

MAR
(AIR FROM TRAVIATA)
G. VERDI

Andante
ist Guitar
V

Bar
Bar

2d Guitar Ko

Bar
Bar
SU
LE

small Bar
small Bar

CD Shelton
46
Carcassi — Method for Guitar, Part 2
6th Bar
Bar

small Bar

ILI
+
'
.

Bar

5th
5th

211

gth Bar
AT
a tempo
runt

If'played as a solo, substitute these two bars

p a tempo

4
2
4
2
1
4
34
small Bar

a piacere
pp dim.

Bar

CD Shelt
Carcassi — Method for Guitar, Part 2

PERUVIAN AIR
Moderato
5th
5th
Como
ist Guitar
Bar

'cantando
5th
Umplutule
OR
-
.

2d Guitar
Id

ist

.
...

1st
+
....

5th
5th

Bar
5th
11 12

0190
S

1s
919
ewwar

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Carcassi — Method for Guitar, Part 2

5th
p a tempo 5th

5th

.
.

1st
CD
Music
Varie
Carcassi — Method for Guitar, Part 2
5th Bar

5th
CA

Bar

5th

5th
ULO

Bar

-
.
CD Shoe
50
Carcassi — Method for Guitar, Part 2
5th Bar

17:20
22:
-

5th
Hined alone
--
--
-
-

Carcassi — Method for Guitar, Part 2

poco rit.
WILL

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D
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Carcassi — Method for Guitar, Part 2
5th Bar

p a tempo
5th

LA

Bar

5th

.
UL

5th
Bar

CD Sheet
Carcassi — Method for Guitar, Part 2 SPANISH DANCE
(EL JALEO DE JEREZ)

Allegretto

TA
4
1

Bar per

Bar 2d
Bar 7th
4th Bar
Bar 21

7th Bar

dim.
O
11

rit.

a tempo
-
-

C
D
Shoes en
54

Carcassi — Method for Guitar, Part 2

TRIO.

mit
a tempo

Bar
TE

Bar
TE
Bar

f cresc

dim,

Music
55
Carcassi — Method for Guitar, Part 2

a tempo

rit
a tempo

Bar

3
3
1
4
1
2

Bar 2d
f Bar ?
Ath Bar
20 Bar
2d Bar
2d Bar
1-

Bar

UNA
Bar
più mosso

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