These exercises are based on what de Fossa writes about bass motion no. 1 in the appendix Movimientos del bajo fundamental in the Escuela de Guitarra (1826). De Fossa himself notes that the initial, repetitive examples of half cadences are insufficient to establish a new key. However, he suggests they could serve this purpose if each modulation were preceded by an intermediate chord and followed by a perfect cadence, thereby more effectively confirming the new key. He then provides an example, which serves as the basis for the exercises presented here.
The following exercises are based on Ejemplo 16 from the appendix attributed to François de Fossa in Dionisio Aguado’s Escuela de Guitarra (1826 edition). Written in the style of partimento, these exercises are designed to strengthen the student’s understanding of voice leading, harmony, and structural development within the idiom of early 19th-century guitar music.
The material is presented in major and minor keys commonly used by guitar composers of the period, providing both stylistic relevance and technical accessibility. As the exercises progress, new layers are gradually introduced.
A second voice is added.
Since it’s common to use inversions on the guitar, I recommend experimenting with placing the upper voices in different inversions and octaves. You can take inspiration from the original example on page 1.
Feel free to add the fifth where appropriate — for example, in the last two bars.
A third voice is added to the harmony.
The next step is to practice bass motion using arpeggios in your playing. There are many possible combinations and ways to vary this exercise. Below, you can see some examples of common right-hand patterns found in 19th-century guitar literature.
For further inspiration, I highly recommend studying Mauro Giuliani’s 120 Right-Hand Studies (Op. 1, Part 1). These exercises are excellent for developing right-hand technique and can be integrated into your regular practice routine to build control, independence, and musicality.
Now we will create a longer exercise that incorporates bass motion 1 from the Escuela. The exercise begins with a stepwise motion from ① to ④ following the Rule of the Octave (bars 1–4), then moves to ⑤ with a 6/4 to 5/3 suspension, concluding with a perfect cadence from ⑤ to ① to affirm the key of C major (bars 5–8).
On the next line, Bass Motion 1 from the Escuela begins (bars 9–15), modulating toward ⑤ and shifting the key to G major. We then reuse the material from bars 1–7, now transposed into the new key (bars 16–22).
Rather than repeating the bass motion, which would lead to A major, we introduce a variant of the Quiescenza (bars 23–26). This is followed by a sequence that borrows the ① with ♯4/6 from the earlier bass motion, concluding with a classical cadence that returns us to the original key of C major (bars 27–31).
The exercise concludes with a third and final reprise of the opening material (bars 32–38).
Here is a realization of the exercise. I have shortened the note values and applied an arpeggiated figuration that introduces a melodic element in the top voice.
Next, we’ll explore the same chord sequence, but this time transposed into a few different minor keys. Unlike the previous examples, I’ll provide only the basic harmonization to guide you. From there, it’s up to you as the player to interpret, embellish, and develop the progression in your own way.
This concludes the set of exercises based on Ejemplo 16 from Aguado’s Escuela de Guitarra. There are still many possibilities to explore, especially in terms of key signatures and stylistic variation. As a next step, consider experimenting with different bass movements and try composing your own exercise.
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Karl Michelson 