Leonard Schulz (Vienna, 1814 - London, 1860) wrote a wide variety of pieces, from the Etudes posted last time, to long Fantasias, and short character pieces.
The Last Compositions (c. 1860) were commissioned by Mme. Sidney Pratten and it seems as though she edited the score also. I say this because there are many signs and symbols used that are found in Pratten's Guitar School. The frequent musical indications give us some clues in regards to 19th century performance practice. Things like vibrato, strumming, rubato, glissando, extreme dynamics, and more are indicated with great frequency. These gorgeous miniatures are great for an intermediate player, and are full of expressive depth, musical excitement, and charming compositional craft. For more about Schulz, please visit: 1) My first post on Schulz 2) An article published online by Soundboard |
A brief look at each piece from part 1
No. 01 - Andante Espressivo
Vibrato
This charming short piece is very lyrical and (as the title suggests) expressive. One device that can heighten the expressiveness of a piece is vibrato, and this is marked in the score by something that looks like a squiggly line. You might be surprised at the way in which it's distributed.
This charming short piece is very lyrical and (as the title suggests) expressive. One device that can heighten the expressiveness of a piece is vibrato, and this is marked in the score by something that looks like a squiggly line. You might be surprised at the way in which it's distributed.
Fermata (pause)
A quick glance at the score will reveal that there are many fermata indications. Again, you might be surprised at just how many there are and the way they are distributed. There are fermatas found multiple times in one measure! How often do we hear "don't take too much time in too many places", or something similar! Perhaps we can take more time in 19th century music that our current 21st century taste dictates?
A quick glance at the score will reveal that there are many fermata indications. Again, you might be surprised at just how many there are and the way they are distributed. There are fermatas found multiple times in one measure! How often do we hear "don't take too much time in too many places", or something similar! Perhaps we can take more time in 19th century music that our current 21st century taste dictates?
Ornaments
Would it surprise you if I said yet again that you might be surprised by the frequency and distribution of ornaments? Can you identify the three ornaments circled below? I'll give you a hint; there is a glissando, a turn, and a double note inferior appoggiatura, but what order are they in?
Look carefully at the detail of these ornaments. There is much dynamic detail to consider, plus a fermata and vibrato indication on that high B towards the end.
Would it surprise you if I said yet again that you might be surprised by the frequency and distribution of ornaments? Can you identify the three ornaments circled below? I'll give you a hint; there is a glissando, a turn, and a double note inferior appoggiatura, but what order are they in?
Look carefully at the detail of these ornaments. There is much dynamic detail to consider, plus a fermata and vibrato indication on that high B towards the end.
Dynamics
What's the maximum number of p symbols you've seen in one indication? Two (pp)? Three (ppp)? Well, towards the end of this piece there is are two pianississississimo (pppp) signs! That's pretty darn soft!
What's the maximum number of p symbols you've seen in one indication? Two (pp)? Three (ppp)? Well, towards the end of this piece there is are two pianississississimo (pppp) signs! That's pretty darn soft!
So there is a brief summary of some of the interesting features of this lyrical piece. I hope you enjoy playing it and perhaps applying some of the expressive indications to similar pieces, perhaps by Tarrega, Llobet, Mertz, Regondi, etc.
No. 02 - Rondo, Tempo de Polka
Harmony
This polka has a charming simplicity to it that I really love. I want to talk mostly about the harmony, because there are a couple of surprising twists and turns!
The piece is centered around D Major, which is made clear at the opening.
Appoggiaturas
Note the appoggiaturas (ornaments that creating a leaning gesture) that are a crucial melodic element of this piece. To figure out the exact construction of an appoggiatura, count the interval from the melody to the bass.
The first appoggiatura has an E in the bass with a D in the melody, creating a 7th - a dissonant interval. That D (7th above E) then falls to C#, which is a 6th above E and is a consonant interval. Thus the leaning quality is created by the dissonance resolving to the consonance.
This polka has a charming simplicity to it that I really love. I want to talk mostly about the harmony, because there are a couple of surprising twists and turns!
The piece is centered around D Major, which is made clear at the opening.
Appoggiaturas
Note the appoggiaturas (ornaments that creating a leaning gesture) that are a crucial melodic element of this piece. To figure out the exact construction of an appoggiatura, count the interval from the melody to the bass.
The first appoggiatura has an E in the bass with a D in the melody, creating a 7th - a dissonant interval. That D (7th above E) then falls to C#, which is a 6th above E and is a consonant interval. Thus the leaning quality is created by the dissonance resolving to the consonance.
Key Changes
The first point of departure is not too unexpected, as we head to the dominant (A Major). Accidentals are often a signal that the piece has changed key. This particular key change is signaled by the G#'s. Very often, the note that is sharpened will act as the leading tone (the 7th note) of the new key. In this case we see the G#s, which have a tendency to move towards A.
Try this hypothetical practice example - if we were in C major and saw an F#, then what key would that be modulating to?
The first point of departure is not too unexpected, as we head to the dominant (A Major). Accidentals are often a signal that the piece has changed key. This particular key change is signaled by the G#'s. Very often, the note that is sharpened will act as the leading tone (the 7th note) of the new key. In this case we see the G#s, which have a tendency to move towards A.
Try this hypothetical practice example - if we were in C major and saw an F#, then what key would that be modulating to?
In this section we find an interesting passage of repeated diminished chords. This means that your left hand fingering can stay the same as you just shift it down the fretboard.
The next significant key change takes place over on page 2. We now shift to the relative minor key of D major, which is B minor. Remember what the trick was for working out the key change? The note with the accidental will probably give you a clue. In this case we see an A#, which does happen to be the leading tone of B minor.
Here's another practice example: If you're playing something in C major and see a G#, then what key would that be modulating to?
Here's another practice example: If you're playing something in C major and see a G#, then what key would that be modulating to?
The most striking key change soon follows. Schulz moves from B minor to F# major, which is a key that we rarely find in guitar music! Some of you might be thinking that it's not such a bold move, as F# is the dominant of B minor. Still, it's quite a long ways from the original D major.
This key change is a bit more difficult to work out, as there are way more accidentals in the mix.
This key change is a bit more difficult to work out, as there are way more accidentals in the mix.
Now you might be thinking - "will Schulz go back to D major? If so, how on earth will he do that?"
Schulz does this by simply using the dominant chord of D Major - a juicy A7 chord. This is in fact a great rule of thumb for changing keys: use the dominant chord of the key you desire to move to.
Example: If you are in C major and wish to modulate to A major, then an E7 chord (dominant of A) would do the trick.
Schulz does this by simply using the dominant chord of D Major - a juicy A7 chord. This is in fact a great rule of thumb for changing keys: use the dominant chord of the key you desire to move to.
Example: If you are in C major and wish to modulate to A major, then an E7 chord (dominant of A) would do the trick.
This short polka demonstrates how far you can push 19th century tonality within simple boundaries. I hope this might encourage you to analyze the pieces you're working on and find those interesting twists and turns.
No. 03 - Allegretto a L'Espagnola
This piece is short, energetic and fun! It displays some of the different strumming techniques that 19th century guitarists were using, as outlined in Pratten's Guitar School.
The first couple of systems display some pretty neat effects.
The first couple of systems display some pretty neat effects.
Conclusion
I have sometimes heard people say that 19th century guitarists did not strum very much. So for a long time I would be afraid of strumming when playing pieces by Mertz, Regondi, Tarrega, etc., even when it seemed very natural to do so. But the evidence seems to suggest that 19th century guitarists loved strumming! They also loved using other effects - vibrato, glissando, ornaments, extreme dynamics, lots of pauses, frequent changes of colour, etc. etc.
Don't be afraid to use these effects in your playing, especially when you play pieces from the 19th century!
I have sometimes heard people say that 19th century guitarists did not strum very much. So for a long time I would be afraid of strumming when playing pieces by Mertz, Regondi, Tarrega, etc., even when it seemed very natural to do so. But the evidence seems to suggest that 19th century guitarists loved strumming! They also loved using other effects - vibrato, glissando, ornaments, extreme dynamics, lots of pauses, frequent changes of colour, etc. etc.
Don't be afraid to use these effects in your playing, especially when you play pieces from the 19th century!