Op. 60, No. 16

This study comes from a widely-used collection of studies originally written for solo guitar. The piece consists of a simple melody (in parts 1a and 1b) and a simple accompaniment (parts 2a, 2b, 2c, and 2d). The bass line in part three was added by the arranger and is not necessary for a successful performance of this piece. The parts are set up to allow for many different skill levels. The ideal performance will include parts 1a and 2c. 2c features double stops that provide all of the harmonic structure. A similar effect can be achieved by replacing 2c with 2a and 2b, or 2a and 2d. If you do not have any level 8 students, you can substitute part 1b for part 1a (although the melody is less effective in this register). Rehearsal suggestions: The simplicity of this study allows students to focus on musical (rather than technical) issues. In addition to the left hand fingerings in parts 1a and 2c, the students should be encouraged to follow the dynamic and expressive markings very carefully. Part 1a and 1b feature tenuto lines over the dissonant appoggiaturas. Teach the students about this “sighing” gesture. The concept of tension and resolution should be discussed in regard to the appoggiaturas and the phrase groupings.