By Emilio Granado Rubio
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This greatest procedure for the start classical guitarist, through one of many world's pre-eminent virtuosos and the well-known inheritor to the legacy of Andres Segovia, is now thoroughly revised and up to date! Guitarists will study simple classical procedure by means of taking part in over 50 attractive classical items, 26 routines and 14 duets, and during a variety of images and illustrations.
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Additional resources for Aprendiendo a tocar la guitarra
In genre and subgenre identiﬁcation texture was for the ﬁfteenth century what orchestration is for us today. In the repertory that has received the most analytical attention (music of the eighteenth and nineteenth centuries), texture is rarely discussed,16 while orchestration is studied in some detail. Genre, period, and composer identiﬁcation almost always begin with orchestration (as we saw in our hypothetical example of the piano sonata on the radio). Because instrumental music is central to our study of the common practice period, and because orchestration determines texture to a great extent, it is possible to ignore texture in favor of orchestration.
It was during the fourteenth century that the diﬀerent national varieties of motet developed in diﬀerent directions. In France many features of the aboriginal motet continued into the fourteenth century. The pre-existent, rhythmically patterned tenor part persisted, but slowed down, while the triplum and motetus (still with their own texts) sped up. The motets also got bigger and more complex with the addition of a contratenor and the development of isorhythm. French-texted motets gradually died out, as a new French-texted species, the chanson, made its appearance, and took over the ecological niche formerly held by the French-texted motet; the new larger Latin-texted motet took on a life of its own.
Chansons and chant settings, on the other hand, usually keep all the voices singing throughout. Less immediately audible than the features listed above, but still an essential determinant of texture, is the compositional construction of the work and the resultant contrapuntal constraints. 21 Contrapuntal completeness means that fourths between the discantus and tenor are not treated as consonances, since fourths require another voice to sing a third or a ﬁfth below to make them consonant; it also implies that the cantus and tenor voices participate together in all the cadences, deﬁning them by contrary motion to the octave (or, less often, the unison or ﬁfth).