March Funebre Catharina Josepha Pratten

(1824–1895)
From Madame R. Sidney Pratten's Guitar School

Largo.
BIII4
       12 
  13        3 

3  
1
   
  4
4
3
2 3 4 2

4 4 1.


 
4 1
   
5 3 3 1
      
4 4 4

      
1

         
4
2 3


2
2
2

        
9 2. 0 3 3
       
0

  423   4    

4

3

      
   2 3 4 3 2
3

BIV3
BV3 dolce


           
4 4
       
4

  
13 4

 

  
3

4 2 3  2
1

BV3

  
16
          
     
4

  32     

   
1 3 3
f

a
i

A TAB version of this piece is available.

© Bradford Werner 2019. All Rights Reserved.
Free & Premium Sheet Music: wernerguitareditions.com
Free Lessons, Pro Video, & Blog: thisisclassicalguitar.com
 4 4
19 3

      
3
   
 
 
  
            3

a 3
i

BX3
4 
BIX3 BVIII3

       2 1 
 23      32 
22
   
4

 
2

3
3

                

  3
BVII3

 
BV3


25
      
1

        
3

  2
       
4

     
2
p dim.

Comments

Full name: Catharina Josepha Pratten (also know as Madame Sidney Pratten), was born Catharina Josepha Pelzer
in Mülheim. She was a German guitarist, composer and teacher. Her father, Ferdinand Pelzer, was German guitarist
and music teacher. Later married to flautist Robert Sidney Pratten, hence the name in the method book and elsewhere.

Right hand fingering: p for lower voice (stems down) and i, m, a for upper voice (stems up). Chord situations p, i, m, a.
The number of chords in the piece will inevitably result in repeated fingers.

Left hand: The number of chords will require the player to articulate the chord and jump fingers around. Some
slight detachment (but not staccato) will help smooth this aspect out and add a slight march-like musicality.

Bar 4 - Pratten indicates 3rd finger on the final F instead of the barre, this stops the chord sustain but is easier.

Bar 11 onward I play both the 2nd string E and the open first string when two notes are indicated. You could optionally
just play a single open E for ease.

Bar 25 - My wacky fingering allows sustain of the chord. Pratten indicates 1st finger which would stop the chord sustain.

Watch the video lesson and performance for this piece for more advice.

A TAB version of this piece is available.

© Bradford Werner 2019. All Rights Reserved.
Free & Premium Sheet Music: wernerguitareditions.com
Free Lessons, Pro Video, & Blog: thisisclassicalguitar.com