Songs from RCM Bridges, Level 1 – Videos of Playing the Pieces
Since I frequently teach from the Bridges repertoire books, I decided to video some of the common songs my beginning students play, as a reference. Here are most of the pieces from the Bridges Level One book.
These can also be found as a playlist on the ClassicalGuitarShed Youtube channel.
At times my tempos and dynamic markings differ from the suggestions in the book. If you are just starting out, it is good to follow what is written in your score. Some people are real sticklers for the score and consider it gospel. I am not one of those people (though I always start with the score). Sometimes composers are simply not aware of the best way to play the music they write. Composing and performing are two completely different studies. In general, a good rule is to go with the score unless you can clearly state your reasons not to.
The Bridges Guitar Series is a great set of repertoire books. The first book is called the “preparatory” level, and there are 8 subsequent levels. If you would like to buy the Bridges books, you can find them easily online. Here is one option (not an affiliate link).
Here you go:
Branle Englese (Adriaesen)
Anglaise (121-6) (Carulli)
Chanson Viellotte (Gagnon)
Fleur De Lotus (Carbajo)
Country Dance (Carulli)
Anglaise 1 (Molino)
Ecossaise (33-4) (Guiliani)
Ecossaise (33-2) (Guiliani)
Midnight in Sevilla (McFadden)
Farewell to Nova Scotia
Bohemian Folk Song
Moderato in E minor (Diabelli)
Calleno Casture Me
Big City Blues (Brown)
Cancion Del Limpiadoras (Hartog)
Klangbild 11 (Domeniconi)
Lesson 7 (Aguado)
Hi, I’m Allen Mathews.
I started as a folk guitarist, then fell in love with classical guitar in my 20’s. Despite a lot of practice and schooling, I still couldn’t get my music to flow well. I struggled with excess tension. My music sounded forced. And my hands and body were often sore. I got frustrated, and couldn’t see the way forward. Then, over the next decade, I studied with two other stellar teachers – one focused on the technical movements, and one on the musical (he was a concert pianist). In time, I came to discover a new set of formulas and movements. These brought new life and vitality to my practice. Now I help guitarists find more comfort and flow in their music, so they play more beautifully.
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