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Carulli's Opus 121 "Écossaise" for Classical and Fingerstyle Guitarists | Full Score with Audio Demo

Updated on October 8, 2015
Écossaise from Opus 121 by F. Carulli
Écossaise from Opus 121 by F. Carulli

This 'écossaise' for classical guitar by Ferdinado Carulli, a noted 19th century Italian composer and virtuoso guitarist, is short and simple, and you don't need to be anywhere near virtuoso standard to play it. An écossaise is a French dance form with rhythms that mimic Scottish country dance tunes. They were popular in Carulli's time and several major composers, including Beethoven and Chopin, used the form in several compositions.

Follow the score in the video in full-screen mode with high-playback quality, such as 1080 HD, while listening to a 'MIDI to audio' rendition of the piece generated by the notation software. Alternatively, view the score underneath the video in the HubPages Gallery by clicking any line of the score.

Carulli: Écossaise from Opus 121

Écossaise from Opus 121 by Ferdinando Carulli
Écossaise from Opus 121 by Ferdinando Carulli
Classical Guitar Fingering
Classical Guitar Fingering

Study Notes and Info Learners

This écossaise consists of three 8-bar sections. As the repeat markings show, each section is repeated before proceeding to the next.

Rhythm

The distinguishing feature of this piece is the rhythm. Being an 'écossaise', it's full of short-long phrases reminiscent of Scottish dance music. Play the piece at a reasonably fast tempo to get the best rhythmic effect. Count as 1 e & a 2 e & a | 1 etc.

Fingering

The suggested fretting-hand fingering is marked using finger numbers 1 - 4, while a typical picking-hand fingering is shown in the usual classical guitar style with letters, p, i, m & a just at the start to give you an idea of fingering that avoids having to use the same finger twice in succession. See the classical guitar fingering chart if you're not familiar with the classical style of labeling fingers. Fingerstyle guitarists are more familiar with letters T, I, M & R instead of p-i-m-a. All fingerings shown are suggestions only and you can use any logical and practical fingering of your own.

Key
Chords
Chord Tones
Function
E minor
E minor
E G B
Tonic
 
B major
B D F#
Dominant
G major
G major
G B D
Tonic
 
D7
D (F#) A C
Dominant
 
E7
E G# B
Secondary Dominant
 
A minor
A C E
Supertonic (Pre-dominant)

Key and Chords

While it's not necessary to be aware of the chords that you're producing when playing the written notes, many guitarists find it very helpful to know how the piece has been constructed musically. It makes for more confident playing.

The principal key is E minor and is the key that starts and ends the piece. Other keys are present, too, or at least, hinted at.

  • Section A is in the key of E minor throughout and consists of just two chords E minor and B major. The E minor chords are in root position, meaning the lowest note is E. The B major chords have D sharp (the 3rd of the chord) as the lowest note, which means the chord is in first inversion.
  • Section B is in the key of G major and also consists of just two chords: G major and D7. Some D7 chords are incomplete because they don't have a '3rd', which would be the note, F#. The final D7 in bar 19 is complete as the F# is present. It's also the chosen bass note, which puts it in first inversion. G major is the most closely related key to E minor which is why it was chosen for a key change. It's called the 'relative major' key of E minor as they share the same key signature.
  • Section C is the most interesting, musically. It starts of with a foreign chord, E major, in first inversion with G# in the bass. This leads strongly to the chord A minor, which in turn leads to D7, which, as before, leads to the tonic chord of the newly established key of G major. The final four bars are back in the home key of E minor to close the piece in the same that it started on.

Chord Functions Explained

Tonic Chord

The Ttonic chord is the 'home' chord. It's the chord that is built on the first degree (note) of the scale belonging to the key. So, E minor is the tonic chord in the key of E minor, and G major is the tonic chord in the key of G major.

Dominant Chord

The dominant chord is the chord built on the 5th scale degree. It's the most important chord after the tonic in key-based music. Its job is to lead us back home to the tonic.

Secondary Dominant Chord

Secondary dominant chords are foreign to the key, but are the dominant chords of other keys. The secondary dominant E7 in bar 17 contains the note G#, which neither the current key, G major, or the home key, E minor, contain. It's there to lead strongly to the chord, A minor, as if it was a dominant to tonic progression in the key of A minor.

Supertonic Chord

The supertonic chord is the chord built on the second scale degree. As we're still in G major, that chord is A minor and occurs in bar 18. Supertonic chords have several uses, but the most common is as a 'pre-dominant'. That is, it leads to the dominant chord, which is exactly what it does here.

More Scores from Carulli and others

Here are some more pieces by Ferdinando Carulli and others that are around the same level of difficulty.

Waltz in C - F. Carulli: from a collection of 5 easy waltzes

Study in A Minor - F. Carulli: An interesting and not too difficult piece to play

Minuet in G - J.S Bach - a transcription of a famous harpsichord piece

Kimiad - folk fingerstyle arrangement of a Celtic traditional melody from Brittany in France

All of the above are in the same format as this one - with standard notation, guitar tab and audio demo. You can see many more also in the same format by clicking through the "previous" and "next" links at the bottom of this Hub or from my HubPages Profile.

Credits

The music is composed by Ferdinando Carulli (1770-1841) and is in the Public Domain.

The score, audio track and images are by chasmac.

© 2014 chasmac

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