Sor op.

60 #1Worksheet

Technique: Label the right hand fingering for the second half of the piece. Label notes on string 1 with an m, notes on string 2 with
an i, and notes on string 3 with a p. Here is an example from the first half of the piece to use as a model

Ex. 1, mm1-3 Every note has a right hand finger designation. Notes on string 1 use m, string 2 uses i, and string 3 uses p

œ œ
& 44 1 ˙ œ
i i p i i p i i m m

0 œ 0
œ 1 ˙ 0 œ 0
œ 1 œ 4 0
4

Theory: Label the letter names for every note in the piece. Here is a short example to get you started

Ex. 2, mm 1-3 Letter names written under each note

œ œ œ
i i p i i p i i m m

& 1˙ œ œ ˙ œ œ œ 4
4 0
0 0 1 0 0 1

C B G C B G C D E G

After you label every note, circle all the notes found in the C major chord. These notes include C, E, and G. When noticing the
prevalance of these notes, we begin to see that the C major harmony is a intergral part of this piece. Here is an example

Ex. 3, mm 1-3 Identifying the notes of the C major harmony (C, E, and G). 7 out of 10 notes are a part of C major.

œ œ œ
i i p i i p i i m m

& 1˙ œ œ ˙ œ œ œ 4
4 0
0 0 1 0 0 1

C B G C B G C D E G

Dr. Matthew Hinsley coined the mantra "Small Parts, More Times, Better." As a constant reminder of this idea, write
the acronym SPMTB on the top of every piece you intend to learn. To apply this concept to Sor's etude # 1, choose
a small section (one or two measures at the most) that you find to be challenging. Set a goal of 10 perfect repetitions at a slow
pace. After you master any problem areas, put them back into the context of the whole piece.

© ACGS 2012
 op. 60 #1
Solo Guitar
Level 2 Fernando Sor
arr. Lee
Allegretto

4 œ œ œ œ œ œ
i i p i i p i i m m m m i p

& 4 1˙ œ 0œ ˙ œ œ œ œ
4 1
4 0 0 4
0 1 0 0 1 0

œ œ œ #œ œ
i i m i m i i p i i m m i p

& ˙ œ 0œ œ œ œ œ Œ ..
5

œ œ
4
0 4 2 2
1 0 1 0 1 4 0 0

4œ œ œ œ œ
. œ œ œ œ œ œ œ
9

& . œ œ œ œ
0 4 1 1
0 4 0 0 4 1
0 0 1 0 0

œ 0œ œ œ œ œ œ
œ 1œ œ œ œ ..
13

&
0 0 1 2
œ 4
1 0
0
œ œ 0 1
0
1

© ACGS 2013