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Exercise Suite for the Modern Guitarist
Item Type text; Electronic Thesis
Authors Spiers, Graesyn Lawrence
Publisher The University of Arizona.
Rights Copyright © is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.
Download date 26/04/2018 05:59:54
Link to Item http://hdl.handle.net/10150/625156
EXERCISE SUITE FOR THE MODERN GUITARIST:
Hydrosphere, Study No. 1
Theme and Variations on Mate’ka, Study No. 2
Theme and Variations on Mate’ka, Study No. 3
Theme and Variations on Mate’ka, Study No. 4
Gratitude, Study No. 5
By
GRAESYN LAWRENCE SPIERS
____________________
A Thesis Submitted to The Honors College
In Partial Fulfillment of the Bachelors degree With Honors in
Classical Guitar Performance
THE UNIVERSITY OF ARIZONA
M A Y 2 0 1 7
The printed music in this collection preserves the melodic, harmonic, and rhythmic components of East-African folk music. The notes, themselves, provide technical
obstacles for the modern classical guitarist.
Enjoy reading and playing Exercise Suite for the Modern Guitarist.
During each new generation of guitarists, there will surface some collection of study
pieces that are left behind for future students and pedagogues. I have written a series of classical
guitar study pieces in hope that they will enlighten and improve the musicianship of future
classical guitarists for centuries to come. At the turn of the twenty-first century, the boundaries of
musical composition have been pushed to great extremes, and astute students need to understand
how to handle music that has been written outside of the common-practice period (1650-1900).
While seeking modern classical guitar composers for compositional influences for my
suite, the Cuban composer Leo Brouwer and the Brazilian master Heitor Villa-Lobos were the
most appealing. Villa-Lobos composed a set of twelve studies that are renowned in the guitar
community for demanding virtuosic ability from the performer. These pieces, for the most part,
use extensive harmonic movement and maintain appealing melodies, making them not only
successful studies, but give them place in the concert repertoire.
Borrowing thematic material from ancient folk music not only can relieve the composer
from the stress of creating original melodic and harmonic ideas, but can aid in the preservation of
music that is on the brink of extinction. Brouwer was selected as a model because of his short
work entitled Canticum. During the second movement, entitled “Ditirambo”, there is a constant
drone Eb that maintains pulse while melismatic melodic figures move frantically about. This
stems from Dithyramb, is a Greek lyric composition dedicated to the goddess Dionysus, which
originated as a section of music to be performed during specific rituals. This was usually
performed by a choir with alternations between cantor and the group of singers. Brouwer’s pulse
is kept on the sixth string, tuned to Eb.
Natalie Curtis compiled a collection of East African tribal songs in her book, Songs and
Tales from the Dark Continent. A native Ndau tribesman, Kamba Simango, helped notate various
genres of songs in this collection, one of which is Mate’ka, a Chindau’ song from East Africa
meaning Rain Ceremony. This ceremonial song is one of many that were composed by the 1
higher class members of the Ndau tribe, and it is initiated by the tribal king during periods of
drought and famine. Beer is made, everyone has a role in the music making, and the dead are
honored, while a particular god is worshiped in hope of receiving assistance for their escalating
sorrow.
After I had written several movements based upon Mate’ka, the music seemed to demand
a opening movement or prelude. “Study No. One, Hydrosphere” had been composed before I
had done any research on the ceremonial song, but it fit perfectly! This movement symbolizes
the static atmosphere before rain has fallen, challenging the player to maintain a consistent piano
timbre during each slur figure. The slurs represent the invisible water molecules, creating an
ambience of harmony around the melodic line. In practice and performance, the student must
create independent and dynamic lines, bringing the melodic line to the surface while keeping
each slur quiet.
It is important to take special notice of the slurred line in m. 13, example (A), — while
not only using left hand slurs, the right hand will tap certain notes. While this technique is not
currently popular in the classical guitar repertoire, it should be; the tapping gesture in the right
hand gives the player opportunity to play more notes, relieve the work load of the left hand, and
provides extra time to the during shifting. Following this quick tapping “lick” is the eight
Curtis p. 201
measure long barre exercise section, inspired by Villa-Lobos “Study No. 1” (example B). This
short section is meant to give the guitarist a respite from having to focus on each slur and allows
the player to command their left hand differently. With the right hand providing a written-in
flourish to force the ear to hear every note of each chord, the left hand must stay extremely
relaxed in order to have endurance for the remainder of the piece.
“Study No. Two” is the first movement of the suite to be based on the African rain song,
Mate’ka. Mate’ka, starts with a dance-rhythm that Simango notated as a consistent rhythm as
illustrated below in example (C). This drum motive becomes a theme, permeating every
movement from “Study No. Two” until the end of “Study No. Five”. Through the second study,
guitarists face technical obstacles such as arpeggiation and the playing of blocked chords that
will lead them to more proper technique, as illustrated in example (D). This movement is
dedicated to Hu Bin (Bolton Guitar Studies DMA Candidate, The University of Arizona — Fred
Fox School of Music). Hu Bin was the first classical guitar teaching assistant assigned to me at
The University of Arizona
Continuing with the Mate’ka theme, “Study No. Three” follows the same format as the
prior study (theme followed by variations). This movement was written as a dedication to my
colleague, Angel Duran (Undergraduate Student —Bolton Guitar Studies). Before sitting down
to write the piece, I met with Mr. Duran to discuss which techniques he hoped to develop while
learning the new composition. At his request, I designed the variations to develop the guitarist’s
ability to produce beautiful tone through single-line melodies, complex rhythms as seen in
example (E), and melodic scaler runs as seen in example (F).
The fourth movement of my work is the most interesting in it’s thematic material.
Simango notated the first three systems of Mate’ka’s second section as fluctuating in tempo
between = 96 and = 92, as seen in example (G). For the sake of an enjoyable
performance, I have altered the theme to move back and forth between = 96 and
= 84, allowing the listener to easily notice the change in tempo. Once the variations begin,
I make use of tempo change rather radically.
During my planning period for writing this movement, I conferred another colleague to
whom I would dedicate this movement, Misael Barraza Diaz (DMA Candidate — Bolton Guitar
Studies) to discuss what he thought his ideal study piece would include. His request was for a
study piece that focused more on musicality rather than on the ability to play a large quantity of
notes rapidly (as individual works by Heitor Villa-Lobos or Leo Brouwer typically provides.)
Consequently, the variations deal with small melodic figures that fit well in the hand, and the
performer’s primary concern will be to accommodate the changing pace throughout piece which
ends with a dramatic ritardando, slowing down to = 52 as seen in example (H).
The finale, “Gratitude,” symbolizes the rain that will come after movements two, three
and four have been played. This movement is dedicated to Grant Miller (DMA Candidate —
Bolton Guitar Studies). His wish was for a new study piece which focused on AMI scales in the
right hand. A separate section challenges the performer to maintain a moving a melodic line on
top of blocked chords. Similar to the first movement, “Hydrosphere,” “Gratitude” is through-
composed for the most part. The dance theme of Mate’ka returns in this piece and is used as the
foundation for the blocked chord section, as seen in example (I).
A new notational technique, when writing for scalar motion, is to alternate the stems of
16th notes (as seen in Example J) to express speeding up or slowing down. Leo Brouwer has
written motivic ideas that inspired this concept and are found in the chaotic piece, “Canticum.”
One of his lines is provided in example (K). I hope to see more classical guitar music written
using this concept to give every sixteenth note the personality that it deserves.
This collection of music is intended to provide opportunity for the classical guitar student
to develop musicality alongside technical ability. I hope to attract the attention of students,
teachers, and ethnomusicologists with this work and to inspire an innovative mentality when it
comes to the interpretation and composition of music during the twenty-first century. My intent
also is that Exercise Suite No. One For the Modern Guitarist will be a source of energy and
inspiration for composers to turn to the folk music of Africa as a basis for classical music
composition in the 21st century.
Example A:
Example B:
Example C:
Example D:
Example E:
Example F:
Example G:
Example H:
Example I:
Example J:
Example K:
Bibliography:
1. Natalie Curtis, Music From the Dark Continent
(New York/Boston: Shirmer, 1919)
2. Heitor Villa Lobos: Douze Études (Rome, PAR: Max Eschig, 1948)
3. Léo Brouwer: Études Simples: Estudios Sencillos (Rome, PAR: Max Eschig, 1948)
V # 86Guitarœ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ
3 3 3 3 3 3
œ œ œ Jœ œ
e = 148
œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ#3 3 3 3 3 3
œ œ œ Jœ œ
V #Gtr.
3
œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ# œ3 3 3
3 3 3
œ# œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ
3 3 3 3 3 3
œ œ œ Jœ œ
V #Gtr.
5 œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ3 3 3
3 3 3
œ œ œ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 33 3 3
œ# œ œ œn œ œ
V # 88Gtr.
7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3 3
œ œ œ jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3 3
œ œ œ jœ œ
V # 88 86Gtr.
9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3
33
3 33 3
3
jœ jœ jœ jœ jœ jœ jœ jœ
V # 86Gtr.
10
œ œ œ œ œ œ œ œ œ œ œ œ œ œn œb œ œ œ3 3 3 3 3 3
˙ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œn œb œ œ œ#3 3 3 3 3 3
˙ œb
HydrosphereG. L. Spiers
©2017 Flat Earth Industries
Score
Study No. 1
V #Gtr.
12 œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 33 3 3 3
.œ .œ
V #Gtr.
13œ œ œ œ œ œ œ œ œ œ œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3 3 3 3 3 3 3 3
V #Gtr.
14 œœœœœœ##
## œ œœœ œ œœœ œ œœœ œ œœœ œœœ œœœ œœœœœœ## œ œœœ œ œœœ œ œœœ œ œœœ œœœ œœœ~~~~~~~~~
~~~~~~~~~
V #Gtr.
16 œœœœœœ## œ œœœ œ œœœ œ œœœ œ œœœ œœœ œœœ œœœœœœ## œ œœœ œ œœœ œ œœœ œ œ œ œ œ œ3 3
~~~~~~~~~
~~~~~~~~~~~
V #Gtr.
18 œœœœœœn œ œœœ œ œœœ œ œœœ œ œœœ œœœ œœœ œœœœœœbn œ œœœ œ œœœ œ œœœ œ œœœ œœœ œœœ~~~~~~~~~ ~~~~~
~~~~~
V #Gtr.
20 œœœœœœbbn œ œœœ œ œœœ œ œœœ œ œœœ œœœ œœœ œœœœœœbbn œ œœœ œ œœœ œ œœœ œ œ œ œ œ œ3 3~~~~~
~~~~~
~~~~~~~~~~
2 Hydrosphere
T
T T T T T T T T
V #Gtr.
22
rKœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ3 3 3
3 3 3
rKœ œ œ# œ œ# œ œ œ œ œ œ# œ œ œ œ œ œ œ œ3 3 3 3 3 3
V #Gtr.
24 œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3
Œ . .œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3
.˙
V #Gtr.
26 ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3
3 3 3 3 3
.˙œ œ œ œ œ œ œ œ œ jœœ# œœ
3 3 3
Ó œ œ
V #Gtr.
28 œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ3 3 3 3 3 3
œ œ œ Jœ œœ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ#
3 3 3 3 3 3
œ œ œ Jœ œ
V #Gtr.
30
œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ# œ3 3 3
3 3 3
œ# œ œ œ œ œ œ Jœœœœ
....œœœœ
~~~~~~~~~
V #Gtr.
32
œ Jœœœœ
....œœœœ .˙
~~~~~~~~~
3Hydrosphere
V bbb 23Guitar
Jœh = 60
œ œ œ œ .œ JœÓ Ó Œ . jœ
œ œ œ œ .œ Jœœ œ jœ œ jœ œ œ œ
œ œ œ œ .œ Jœœ .œ jœ œ .œ jœ
V bbbGtr.
4
œ œ œ œ .œ Jœœ jœ œ jœ œ jœ œ jœ
œ œ œ œ .œ Jœ˙ Ó Œ . jœ
œ œ œ œ .œ Jœœ œ œ œ .œ jœ
V bbbGtr.
7
œ œ œ œ .œ Jœ˙ ˙ ˙
œ œ œ œ .œ Jœœ œ œ ˙ Ó
œ œ œ œ .œ Jœœ œ œ œ œ œ œ œ œ œ ‰ œ
V bbbGtr.
10
œ œ œ œ .œ Jœœ œ œ œ œ œ œ œ œ œ ‰ œ
œ œ œ œ .œ Jœœ œ œ œ œ œ œ œ œ œ ‰ œ
œ œ œ œ .œ Jœœ œ œ œ œ œ œ ˙
V bbb ..Gtr.
13
œ œ Jœ œ Jœ œ œ œœ œ œ œ œ œ œ œ œ œ œh = 72
œ .œ Jœ œ .œ Jœœ œ œ œ œ œ œ œ œ œ œ œ
V bbbGtr.
15
œ Jœ œ Jœ œ Jœ œ Jœœ œ œ œ œ œ œ œ œ œ œ œ œ œ Jœ œ Jœ œ œ œœ œ œ œ œ œ œ œ œ œ œ
œ .œ Jœ œ .œ Jœœ œ œ œ œ œ œ œ œ œ œ œ
Theme and Variations on Mate'kaGraesyn Lawrence Spiers
©2017 Flat Earth Industries
Score
Dedicated to Hu Bin Study No. 21 = Eb
6 = Eb
Var. 1
Theme
V bbb ..Gtr.
18
œ Jœ œ Jœ œ Jœ œ Jœœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ Œœ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ œ œ œ œaccel.
V bbbGtr.
21 œ œ œ œ œ œ œ œ œ œ œ œ¿ ¿ ¿ ¿ .¿ J¿
h = 80
œ œ œ œ œ œ œ œ œ œ œ œ¿ ¿ ¿ ¿ .¿ J¿
V bbbGtr.
23œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 33 3
¿ ¿ ¿ ¿ .¿ J¿
Spirito
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
3 3
¿ ¿ ¿ ¿ .¿ J¿rit.
V bbbGtr.
25 œ œ œ œ .œ jœœ œ œ œ œ œ œ œ œ œ œ œh = 60 œ œ œ œ .œ jœœ œ œ œ œ œ œ œ œ œ œ œ
V bbbGtr.
27 œ œ œ œ .œ jœœœœ œœœ Jœœœ œœœ Jœœœ œœœ œœ œœ œ œ œ œ .œ jœœœœ œœœ Jœœœ œœœ J
œœœ œœœœœ œœ œ œ œ œ .œ jœœœœ œœœ Jœœœ œœœ Jœœœ œœœ œœ œœ
rit.
V bbbGtr.
30
œ œ œ œ .œ JœÓ Ó Œ . jœa tempo
œ œ œ œ .œ Jœœ œ jœ œ jœ œ œ œ∑ Œ . jœ œ œ œ œ .œ Jœ
œ .œ jœ œ .œ jœœ jœ œ jœ œ jœ œ jœ
2 Theme and Variations on Mate'ka
Percussion on Body
Var. 3
Var. 2
V bbbGtr.
33
œ œ œ œ .œ Jœœ jœ œ jœ œ jœ œ jœœ œ jœ œ jœ .œ J
œb œ œ œ œ .œ Jœ˙ Ó Œ . jœœ œ œ œœ .œ
Jœ œ œ œ œ .œ Jœ
œ œ œ œ .œ jœœ œ œ œ .œ Jœ
V bbbGtr.
36
œ œ œ œ .œ Jœ˙ ˙ ˙œ œ Œ œ .œ Jœ œ œ œ œ .œ Jœ
œ œ œ ˙ Óœ œ œ œ .œ Jœœ œ œ œ œ œ œ œ œ œ ‰ œmarcato
V bbbGtr.
39
œ œ œ œ .œ Jœœ œ œ œ œ œ œ œ œ œ ‰ œ
œ œ œ œ .œ Jœœ œ œ œ œ œ œ œ œ œ ‰ œ
œ œ œ œ .œ Jœœ œ œ œ œ œ œ ˙
V bbbGtr.
42
œ œ œ œ .œ Jœœ œ œ œ ˙ ˙
œ œ œ œ ˙œ œ œ œ œ ˙
3
3Theme and Variations on Mate'ka
V bbb 23Guitar Jœq = 128
œ Jœ œ œ œ œ ˙ .wœ œ œ œ .œ Jœœ œ œ ˙b œ œ œ3 3 œ œ œ œ .˙
œ œ œ œ .œ Jœ.w
V bbbGtr.
4
œ œ œ œ .œ Jœ œ œ œ Œ .œ JœÓ Ó Œ . jœ
œ œ .œ Jœ .œ Jœœ œ jœ œ jœ œ œ œ
V bbbGtr.
7
œ œ œ œ œ œ .œ Jœœ œ jœ .œ .œ jœ œ œ Œ œ .œ Jœ
œ jœ œ jœ œ jœ œ jœ œ œ Jœ œ Jœ .œ Jœw .œ jœb
V bbbGtr.
10
œ œ œ Œ .œ Jœœb œ œ œ .œ jœ œ œ œ œ œ .œ Jœ
˙ ˙ ˙ œ œ œ œ .œ Jœœ œ œ w
V bbb ..Gtr.
13œ œ œ œ .œ jœ œ œ œ œ .œ jœ œ œ œ œ .œ jœ
V bbb 47Gtr.
16 ˙ ˙ ˙ .œ jœ3
w ˙accel.
˙ ˙ ˙ .œ jœ3
w ˙ ˙ ˙ ˙ .œ jœ3.ww ˙
Theme and Variations on Mate'kaG.L. Spiers
©2017 Flat Earth Industries
Score
Dedicated to Angel DuranStudy No. 3
Var. 1
Theme1 = Eb6 = Eb
V bbb 47Gtr.
19 ˙ ˙ ˙ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œrubato
V bbb .. 23Gtr.
20 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ33 3
œ œ œ œ œ œ œaccel.
V bbb 23Gtr.
21œ œ œ œ .œ jœ∑ œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œœ œ œ œ .œ Jœ
V bbbGtr.
23 .œ œ ‰ .œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œœ Jœ œ œ œ œ ˙ w œ œ œ œ œ œ œ œœ œ œ œ .œ Jœ
V bbbGtr.
25 w œ œ œ œ œ œ œ œœ œ œ œ .œ Jœ
œ jœ œ œ œ œ ˙.œ œ ‰ .œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ
V bbbGtr.
27 œ jœ œ œ œ œ ˙.œ œ ‰ .œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ3 3
w .œ Jœ
V bbb 46Gtr.
29 œ œ œ œ œ œ ≈ œ œ ≈ œ .œ3 3
˙ ˙ œ œ ....wwww
2 Theme and Variations on Mate'ka
Var. 2
V bbb 46 45Gtr.
31 œœœœ œœœ œœœ œ œ Jœœœ ‰ œ œ
Jœœœœ ‰
3
œœœ œœœœœœœ ‰ Jœ ‰ Jœ ‰ Jœ
3
‰ Jœœ ‰ jœœ ‰ ..œœjœœœ ‰
V bbb 46Gtr.
34 ‰ Jœœ ‰ Jœœ ‰ ..œœ jœœœ ‰ œ œ œ œ œ œ .œ Jœœ œ œœ œœ œœ œœ ...œœœ
jœœ œ œ œ œ œ œ .œ Jœœ œ œœ œœ œœ œœ ...œœœ
jœœœ
V bbb 46 45Gtr.
37 œ œ œ œ .œ jœ.....wwwww
œ œ œ œ .œ jœ.....wwwww
œ œ œ œ .œ jœ.....wwwww
V bbb 45 44 23Gtr.
40
˙ .˙‰...œœœ œœœ œœœ œœœœœœ
œ3
w‰...œœœ œœœ œœœ œœœ
3
œ œ œ œ .œ Jœ...www
V bbbGtr.
43
œ œ œ œ .œ Jœ...www
œ œ œ œ .œ Jœ....wwww œ œ œ œ .œ Jœ
...www ......wwwwww
3Theme and Variations on Mate'ka
Var. 3
V bbb 42 44 42Guitar œœ œœ œ œœ œœ œq = 96 jœ œ jœ jœ œ .œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ
q = 84œ œ œ œ œ œœ œ œ œ
q = 96 jœ œ jœ jœœ œ œ œ œ
q = 84
V bbbGtr.
5 œ .œ .œ œ œœ œ œ .œ œ œ
œ œ œ œ œœ œ œ œq = 96 jœ œ jœ jœ
œ œ œ œ œq = 84 œ .œ œ œ œ œ
œ œ œ œ œ œ
V bbb .. 44 42Gtr.
9
œ œ œ œœ œœ œœq = 96 jœ œ jœ œ œœ œœ œœ
q = 84 Ó˙œ .œ œ .œ œœ œœ œœ œ .œ
V bbb 42 44 .. 42Gtr.
12
Œ œœœ œœ œœ œœ œœ œœq = 78
Œ œœœ œœ œœ œœ œœ œœq = 66 œœœœœœ Jœ œ œœ œœ œœ
q = 96 œœœœœœœœ œœ œœ ..œœ Jœœ
q = 84
V bbb 42 44Gtr.
16 œ œ œ œ œ œ œ œq = 96
œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ
V bbb 44 46Gtr.
19 œœ œ œ œœ œ œ œœ œ œœœ œ œ œœ œ œ œœœ œq = 84 œ œ œ œ œ œ œ œq = 96 œ œ œ œ œ œ œ œq = 84
Theme and Variations on Mate'kaG.L. Spiers
©2017 Flat Earth Inustries
Score
Dedicated to Misael Barraza-DiazStudy No. 4
1 = Eb6 = Eb Theme:
Var. 1
Var. 2
V bbb 44 85Gtr.
22 œ œ œ œ œ œ œ œq = 78 jœ œ jœ jœœœœœœ.œq = 66 œ œ œ œ œ œœœœ œ œ œ
3
q = 52
V bbb 85 .. 87 .. 86Gtr.
25 œ œ Jœq = 168 œ œ Jœ œ œ œ ‰ œ œ Jœ Jœ ‰
V bbb 86 .. .. .. .. 44 .. .. 43Gtr.
29 ‰ œœ œœ Jœœ œœ œœ œœ œ œe = 176
JÛ JÛ JÛ ≈ Û Û ≈ œ œ œ œ Œ œ œq = 132 œ œ Œ œ œ Œ
V bbb 43 23Gtr.
33 ˙ Jœ ‰q = 96 ˙ Jœ ‰
V bbb 23Gtr.
35 œ œ œ œ .œ Jœq = 84 œ œ œ œ .œ Jœ
q = 78
V bbbGtr.
37 œ œ œ œ .œ jœq = 66 œœœ
œœœœœœ
œœœœœœ
œœœœœœ
œœœq = 52 ww
wÓ
2 Theme and Variations on Mate'ka
Var. 3
Repeat as desired.
Var. 4
Percussion on Body
V b 86Guitar.·U .·Uq. = 96 .·U .·U
V bGtr.
3œ œ œ œ œ œ
..˙̇œ œ œ œ œ œ .œ œ jœœ œ œ œ# œ œ .œ .œœ œ œ œ œ œ
V bGtr.
7 .œ .œbœ œ œ œ œ œ .œ œ# jœœ œ œ œ œ œ.˙
V bGtr.
9 .œ̇ œ œ œ œ œ œ œ œ œ œ œ .œ̇# œ œ œ œ œ œ œ œ œ œ œ
V bGtr.
11 œ œ œ œ œ œ œ œ œ œ œ œ .œ œ# jœœ œ œ œ œ œ.˙
V bGtr.
13 .œ œ jœ#œ œ œ œ œ œ.˙ œ œ œ œ œ œ œ# œ œ œ œ œaccel.
V bGtr.
15
œ œ œ œ œ œ œ œ# œ œ œ œn ....˙̇̇̇#
V. GratitudeG.L. Spiers
©2017 Flat Earth Inudstires
Score
Dedicared to Grant MillerRain
Harmonics
6 = D
V bGtr.
17 œ œ œ œ œ œ œb œ œ œ œ œaccel. œ œ œ œ œ œ œ œb œ œ œ œn
rit. .....˙̇̇̇˙#
V b 23Gtr.
20 œ œ œ œ œ œ œ œ œ œb œ œaccel. œ œb œ œ œ œ œ œn œ œb œ œ œ œb œ œ œ œ œ œ œ œ œ œrit.
V b 23Gtr.
23
œœœ œœœ œœœ œœœ ...œœœ Jœœœ
www ...œœœjœœœ
q = 92
œœœ œœœ œœœ œœœ ...œœœ Jœœœ
www ...œœœjœœœ
V bGtr.
25
œœœ œœœ œœœ œœœ ...œœœ Jœœœ
www ...œœœ jœœœ# œœœ œœœ œœœ œœœ ...œœœ Jœœœ
www ...œœœ jœœœb œœœ œœœ œœœ œœœ ...œœœ J
œœœ˙ ˙ ˙
V b 86Gtr.
28
œœœ œœœ œœœ œœœ ...œœœ J
œœœŒ œ œ Œ . .œ
Œ . .œ.˙q. = 96
.œ .œ
.˙b.œ ..œœ.˙
..œœ ...œœœ
.˙ ...œœœ ....œœœœ
.œ jœœ œœ ..˙̇
V bGtr.
35œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ# œ œœ
.˙œ œ œ œ# œ œ œ œ œ œn œ œ
2 V. Gratitude
V bGtr.
38 œ œ œ œ# œ œ œ œ œ œn œ œœ œ œ œ œ œ œ œ œ œ œ œ
V b ..Gtr.
40 œœ œ œ œœ# œ œœ..˙̇.œ .œœœb œ œ œœb œ œœ.œ .œ œœb œ œœ œœ œ œœ#.˙
rit.
V b ..Gtr.
43
œ jœœœœ# jœ
q. = 721. œœœ# jœœœ
œœœ jœ2.
œ Jœœ.œ
..œœb œœœ œ œb œœœ Jœ
V bGtr.
47 œ œœœ œ œœœ jœ œ Jœœ.œ
..œœb œœœ œ œb œœœ Jœ œ Jœœœ œ œœœ œ
V b 23Gtr.
51
œ Jœœ.œ
..œœb œœœ œ œb œœœ Jœ œ œœœ œ œœœ jœ
V b 23Gtr.
54
œœœ œœœ œœœ œœœ ...œœœ Jœœœ
˙ ˙ ˙q = 92
œœœ œœœ œœœ œœœ ...œœœ Jœœœ
.w œœœ œœœ œœœ œœœ ...œœœ Jœœœ
.wb œœœ œœœ œœœ œœœ ...œœœ Jœœœ
.w
3V. Gratitude
V bGtr.
58
œœœ œœœ œœœ œœœ ...œœœ Jœœœ
.w œœœ œœœ œœœ œœœ ...œœœ Jœœœ
.œ jœœ wwœœœ œœœ œœœ œœœ ...œœœ J
œœœ..ww
œœœ œœœ œœœ œœœ ...œœœ Jœœœ
˙ ˙ ˙
V bGtr.
62
œœœ œœœ œœœ œœœ ...œœœ Jœœœ
.w œœœ œœœ œœœ œœœ ˙̇̇.w rit.
...www
4 V. Gratitude
