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** As featured in issue 21 **

In this column we will be looking at another composition of mine simply called Study n. 11. This is a pedal study, similar to a few we have been looking at in previous issues. This piece includes double and triple-stops, inversions and extended chords, which are those featuring 9ths, 11ths and 13ths.

The time signature is 2/4, and the rhythmic essence of the piece stays the same from start to finish. This consists of an ‘ostinato’ bass figure played by the ‘p’ finger on e-and-a of each beat, while the i, m, a fingers play the chord-melody pattern on each beat.

The first challenge is to memorise the following fingerstyle permutations: i, m, a fingers to play the G, B and e strings. Next, the ‘p’ finger will play the D string 3 times to obtain 4 semiquavers per beat.

Make sure you can play the above-mentioned patterns with accuracy. Using open strings will prevent memorising inaccuracies and developing bad habits, with regards to posture etc. Make sure all three parts (notes) of the chord can be clearly and consistently heard. Play the pedal notes with you ‘p’ finger in a relaxed and clear manner, making sure it is a little forward compared to the i, m, a fingers, in order to prevent it colliding with the ‘i’ finger. As always, focus on the attack and tonal consistency.

Next we are going to look at the left hand part:

(Please note E=low E string, e= high E string)

A SECTION

Bar 1: Beat 1: Index on fret 1 of e. Little f. on fret 3 of B and middle f. on fret 2 of G. Beat 2: Barre’ on fret 3. Little f. on fret 5 of B.

Bar 2: Beat 1: Index on fret 5 of e. Middle f. on fret 6 of B and ring f. on fret 7 of G. Beat 2: Middle f. on fret 6 of e. Ring f. on fret 7 of B.  Index f. fret 5 of G.

Bar 3: Beat 1: Barre’ on fret 3. Beat 2: Barre’ on fret 5. Ring f. on fret 7 of B.

Bar 4: Beat 1: Index on fret 6 of e. Little f. on fret 8 of B. Middle f. on fret 7 of G.

Bar 5:  Beat 1: Barre’ on fret 3 and little f. on fret 6 of e.  Beat 2: Little f. on fret 5 of e, middle f. on fret 4 of B and index still on fret 3 of G

Bar 6: Beat 1: Barre’ on fret 3 and little f. on fret 5 of B.  Beat 2: Little f. on fret 5 of e, middle f on fret 2 of B and middle f. on fret 3 of G.

Bar 7: Beat 1: Index on fret 1 of e. Little f. on fret 3 of B and middle f. on fret 2 of G. Beat 2: Index on fret 1 of e. Little f. on fret 3 of B and middle f. on fret 3 of G.

Bar 8: Beat 1: Index on fret 1 of e. Ring f. on fret 3 of B and little f. on fret 4 of G. Beat 2: Open E and G. Middle f. on fret 2 of B.  Index f on fret 1 of G and open B.

Bar 9:  As bar 1

Bar 10:  As bar 2

Bar 11: As bar 3

Bar 12: Beat 1: Index on fret 6 of e. Little f. on fret 8 of B. Middle f. on fret 7 of G. Beat 2: Middle f on fret 6 of e. Ring f. on fret 7 of B and index f. on fret 5 of G.

Bar 13:  As bar 4.

Bar 14:  Barre’ on fret 5 of e and B. Middle f. on fret 6 of G.

Bar 15: As bar 7.

Bar 16: As bar 8.

B SECTION

Bar 17: Bat 1: Barre’ on fret 3 of G and B. Beat 2: Ring f. on fret 5 of B, index still on fret 3 of G.

Bar 18: Barre’ on fret 5 of G and B. Beat 2: Middle f. on fret 6 of B, index still on fret 5 of G.

Bar 19:  As bar 17.

Bar 20:  Beat 1: Index on fret 1 of B and open G. Beat 2: Middle f. on fret 2 of G, while index stays on fret 1 of B.

Bar 21:  As bar 17.

Bar 22:  As bar 18.

Bar 23:  As bar 19

Bar 24: Beat 1: Index on fret 1 of B and open G. Beat 2: Middle f. on fret 2 of G, ring f. on fret 2 of B.

Bar 25-26 and 27-28: As bar 15-16.

Bar 29: Cadenza in G minor. Play any G min arpeggio of your choice to resolve on D5, for a partially resolved (due to lack of 3^rd) final chord.

The part above can be repeated twice with different dynamics and tonal colours.

Congratulations, you have completed Study n.11!

As always, you will be able to download a transcription by selecting the menu option in this page.

I strongly recommend experimenting with a few picking variations, changing the chords as you wish in terms voicing (higher or lower), as well as trying the same picking pattern on a different chord progression, or using a ‘capo’ on fret 2 or for a brighter outcome.

When repeating any section twice or more, you may want to play ‘sul ponticello’, (closer to the bridge) or ‘sul tasto’ (over the frets) for a more contrasting result.

Make sure you highlight the melody and the counter-melodies particularly in section C.

Please focus on minimum-movement approach, as this will help delivering the piece in a more accurate and consistent manner, while saving energy.

This will complete this fingerstyle and guitar composition lesson.

I hope you will enjoy playing this study piece and that this will give you some ideas on how to write your own solo guitar compositions