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George Van Eps Guitar Method

George Van Eps Guitar Method

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Through this method I hope to open the door to a new type of harmonic technique and hnowledl for the guitar. There has been a shormge of good constructional harmonic material that develops d presented hand mechanically and increases the knowledge musically. All exercises in this volume have bec carefully tested through years of teaching. Each one hasa definite purposefor developmentof the hanr no metter how insignificant it may seemto the student. The exercises are given in condensedform to savespaceand also to encourage and develop independer thinking on the part of the student. They are written in one key but are to be played in alt the keyr as shown in the explanations accompanyingthe exercises.Think of the tonic of every k.y as "do' Therefore if you are in E flat, consider the E flat as "do". Through this systemall keys are equal an therefore you will not favor any particular key or keys.Someof the exercises in this method are writte whole in noteswith no dividing bar line but should be practicedat a slow even tempo. Succeeding volumr are in preparation for publication in the near future. GsoncE VaN Eps

Holding the guitar correctly is a point that should be studied very carefully becausethere are man': irnportant factors to be considered,the first of which is comfort. It is almost impossible to work freely i you are trying to support or hang on to the guitar with your hands. The normal technicalities of the instrument are dificult and tiring enoughwithout an awkward posture to make them more rc. Flere is the correct posture. Sit in ? straightback chair of medium height and then crossthe left leg over the right so that your left knee rests on your right knee at the semetime keeping your right foot flat on the floor. Then place the body of the guitar on your lap so that the lower hollow 6ts the left leg and the upper hollow rests against the right side of your chest.The body of the guitar should be on an angle of approximately twenty degrees in relation to your torso and the scroll should be on a

level with your shoulder, but slightly forward. Never lean back in the chair,leanslightly forward alway as this helps to hold the instrumentsecurely. instructions the guitar shouldbalanr After following these on your lap by itself.(Fig.No. 1.) -2-

Bring the right arm up until the elbow r$rs very lightly on the top edgc of the body. Thc cnd of your hend should now be half way between the bridge and the end of the fingerboard. TbG inside of the wrist should be approximately two inches above the string level. Fold the fingers of t{re right hand under, but not rc far as to have them touch the palm of the hand. For example, wrep tJrc fingers of the right hend eround a broom handle, bending tfie fingers from the firct and second joint. No. (2.) Now plrce the pick on the f,,rst joint of the 6rst finger rc that the horizonal axis is perdlel to tlrc back of your hand. Then plece tfie end of your thumb (approximatcly l/+ nch) on the pick so thet tkre is a half inch of the pointed end showing. Do not hold the pick, too tightly .r it must be allowcd to occillatc rather than bcnd. In a complete wrist action the wrist imitates a twisting motion with each stroke, vcry much like flicking something off your hand. Sce that you use a quick and accurate stroke, eliminating dl excess movement becauseyou want the notes to sound simultaneously, not one by one. Vhen pleying on inside strings use the next highest string as a pick-stop. The axis of your wrist should be directly ovcr the highest note as the top note should predominate. In other words if you are picking the B, D, and G rtrings as a triad, the axis should be over the B string with the result that the D string will sound sofdn thc G string r litde louder, and the B string will be the loudest, w.hich is dynamically correct. After doing this remove the hendle and noticc the position of the fingers. The result should bc the correct cutre. (Fig.


not trying to finger anything.THE LEFT HAND In studying this bootr it is necesary to bear the following frctors in mind as they will not be mcntiono in the explanetions of the exercises. Bend your left thumb back slightly so that only the ball or fleshy part touchesthe neck. the straight-wrist posture is more comfort able and nrtural when you ger usedto ir. The fingers must be arched until just the tips rest on the strings so that they work . Now slide along the neck slowly with your elbow traveling r just half the speedof your hand. mer-frshion seating just back of the frets. It is necessaryto k*p the fingers suspendedover the 6ngerboard at all times. Do not hug the neck wirh the inner part of the hand. and never let it travel more than halfway around th curve of the neck. Vhen your hand touchesthe body of the instrumen your elbow should be next to your torso. This is of Sreet importance in the development of mechanical perfection. Here is a practical example of this principle. (Fig. curl under thc fngerboard. wouldn't your accuracy be far greater than if you stood a few fer awey and threw the obfect at the spot? The wrisr musr be kept straight at all timesexcepr whcn executin a very long reech.Your hand is like a pieceof machinery which can developmechanicaltrouble if thrown int odd positions.Thoselittle push-rodsin the baclcof the hand that operate the fingers must have a straig[ course if expected to work properly.) -1- . If you suspenden object above a designetedspot and dropped it. Do not let them stand up straight. neck. Now plece you fingers on the fingerboard in an arched position. Your knuckles should be almost parallel to the side of the neck.but th situatioru do. No. j. or wander in any fashion. Drop your left hm dovn alongsideyour body entirely relaxed. This principle is similar to the hour and minute hand of a clock. The fundamentals do not change in rhe difrercnt excrcises. There is only one correct way to place the fngers on the fngerborrd. not in between and not on top.tp and down ham. Now bring it up slowly leaving the fngers curved (slowl twisting it counter-clockwise) until your ttrumb touches the neck halfway between the body and t*re nut The thumb must ride rpproximately one-third of the way around thd neck from the bessside. I this is properly applied you will notice the position of the hand will change very lirtle in relation to th. Besides being correct. The correct place is approximately one-half inch above the strings for in this position they ere alwaysready to operate. just letting them rest rheft Slide your hand slowly up the neck toward the body. Neve Iet your thumb extend above the fingerboard level.This grcatly improves rccurecy of the fingers.

the notes must be given their full value and must be connectedwith no pause changesfrom formation to formation must be executedin the leastamount qf time.in this book should be practiced very legato. Do not slide around holding the pressure. The closer they are to the fingerboard. In practicing legato rememberto yet do not to to the re-apply the pressurefor each formation. Always aPPly the pressurequickly with a deliberate snap.is the natural form and therefore the easiest one. the pressure rnust be releasedasquickly asit wasapplied because proa slow release The pressure releasernust be straight up off the fingerboard and not slanting in the direction of the next position. of theseexercises THE ATTACKAND Dffi A clean smooth technique depends upon a good 6rm attack which is accomplished only when both hands work in perfect unison. the lesstime it takes to place them. Do not stint the value tirne to make the next formation. Plant your fingers solidly and firmly on the fingerboard. Eliminate all waste motion with the fingers.like a trigger releasing a srrong spring.t - . especiallywhen working on the lower strings. In order It is important to remember that the exercises betweenthem. The to do so. To fret a note or chord before picking it producesa poor tone and limits the speed of the hand. Do not wait until the time and naturally goeshand in hand with hand arrivesat the location before forming the fingers. In the exit of a note or chord. otherwise a slurring effect will be the result. The reasonlegato is being stressed so much is becauseit is the hardestform of phrasing for the guitar. the reverse. After releasingthe pressure on a formation get used to forming the next position while the hand is in motion. ducesa bad buzzing sound. Stacatto. . extreme by lifting the fingers too far off the strings during the change. This saves the legato principle. do of the notes in order to give yougs3:lf not rush the tempo. In making these quick shifts. The mechanics have been carefully planned and tested. In the correct attack the pressureis applied the instant the pick strikes the string.

the C major triad with the first finger on the secondfret of the B string. In exerciseswhere the secondhalf is fingered in reverseof the of the first.pick.or both.but are referredback to previousexercises of the exercises chrnged. The x's designate l s t s e to f 3 ( l 1 3 ) 2nd set of I (2lt) l r d s e to f t ( l l t ) 4th set of 3 (4!3) lst set of 4 (ll4) 2nd ser of. and for eachset there is a symbol. or sets (seethe chart). This system has to be usedbecause to plry rhe srme notations. alphabetical. FINGERBOARD CHART Showing the different setsof strings rnd their symbols.EXPLANATION OF THE STRING CHART In this method rhe strings rre listed in groups. + (214) trd set of 4 (tl4) lst set of broken t (llBl) 2nd set of broken I (2lBl) lrd set of broken I (3Blr) broken lst set of 3 (Blil) broken 2nd set of I (B2i3) broken 3rd set of t (B3lt) Ist set of broken 4 (llB4) 2nd set of broken 4 (2184) lst set of broken 2 (llB2) 2nd set of broken 2 (Z!BZ) 3rd set of broken 2 (llBZ) 4rh set of broken 2 (4182) (All) (Al2) (Alr) V I V r y I I I I I -6- . For example. and finger markings remain good until for the finghrve no merkings. markings will apperr only in the first half. Some erings. and the secondfinger on the secondfret of the D string. of the many different locations eirher numerical. Set. the open G string. can be played in three different positionsirsing the samevoicing. the strings usedin eachset.

erc. Each week take three more. Never practice morc than an hour in one period. and in 6ve month's tirne. This gives you time to think of all the poina thus establishingthe foundation for a good. though more time will not hurt. es thc mind becomes dull after that time and is no longer reccptive. clean technique. Keep building this way. which is the real prrctice.derive the most beneft from rn exercise n'hen you can practice it for ten or fifteen minutes withour a break and with cornpararivelyfew errors. Build your prectice time up so that after three months you are practicing in three forty-fve minute periods. practice an exercise very slowly for a long time. Take three exercises(forms) per week as regular lessoru. It is natural to conccntrate your efforts on that one place and by doing so. To avoid this. Three hours a day of the right kind of pnctice is suficient. Do not skip over any you will only have to come back to them later on. A mismke is a bad habit becruse it makesyou corxtciousof that particular place *i. your practice periods would be a half-hour in the morning and a half-hour in the afternoon' Increase to forty-five minutes after a month's time. while still pracricing the preceding exercises.. it may have oc- cured. never dropping an exercise. Another important point is che fact that learning and pracdcing a study are two different things.r. After a concentreted hour of practice your mind. You. In order to obtain the best results. -7- . as well as your fingsrs and hand. asseperate studies. Vhen learning an exerciseyou are teaching the fngers their respectivelocations. This can only be had by practicing slowly and gradually increasingthe tempo. providing you follow the rules just mentioned. do not rush through this book. in three one -hour periods per day. as you will need the technical as well as the musical lcnowledgecontained in all thesestudies to have a retdy technique. should be tired. wntten and referred to. To start with. at the slme time never practicing an excrcisefaster than you can play it correctly. which is not the desired of them because course.WARNINGS Remember to treat all the exercises.".. After that time you srarr pracdcing to perfect what you have lerrned. mistakesmay be made in other places.

rptoF C . 48 EX.s.tp to C sharp (D if possible) C.(Seenotations hlow the staff.WITH MAJOR CHORDS Seebefore EX. The 6rst form il The first exercise on thesecondand first setsof three strings.rptoF A flat up to D flat (D if possible) AflatuptoE F sharp up to C sharp 2nd form-from lrd form-from 4th form-from Ith form-frorn tith form-from It is necessary to becomefamiliar with all theseforms as they will be referred to often. I are long forms which cover quite a bit of tht exercise. madt possibleby the six different fingerings. I is a harmonized major scalein triads using six di{ferent fingerings.The fifth form is more condensed and the sixth form is the most condensed the notesareof equa) nieed scale. secondand first sets of three strings. and should be practiced as separat( first cxercise You will notice that the first four forms of Ex. as follows: lst forrn-from C.) The secondform of Ex. I i: set of three strings. FORM T FORM 3 -8- . form of this harmofingerboard. Ex. The notation in all the forms of tht is the samebut the fingerings are different in each one. This first exercise is written in wholenotes with no division of barsbecause value and shouldbe practiced very slowly. I and all im forms should be played in all the keys. The third form is playedon the secondand 6rst ser ol played entirely on the second is on a different note of the scale. Tht threestrings but variesfrom the first form becausethe cross-over fourth forrn is on the third.

In other words it should have a smooth but deliberete effect. 2 Ex.FORU T EX. if at all.you will not need a stop es the pick returns in in upward modon. This form of picking is termed arpeggio picking. -9- . The reason for this is thet rsing the pulsation principle you will be eblc to meintrin a steady tcmpo and you ryill not strihe two strings at oncc. If and when you do strike two strings together. it is used on ollen strings so that you have to concentrltc only on trhepick and wrist action. To explain the pick and wrist action in Ex. use the next highest string as r pick stop. 2 is dificult as we do not actually pick each string individually. you will know that you're not "pubating" properly. To get acquainted with this form'for the right hand. In the down strokcs. The pick passes over eachstring and accentsit with a slight kick. as you might do if you were just forcibly pushing the pick acrossthe strings. It should be developedto rcund even dynamically and steadyrhythmically. In the up strohcs. No. 2 is t preparetory exercise. which is more of a pulsadon.

Also make sure that the notes re of equal value. This is elso to be practiced using the five other fingerings as found in Ex.the reverse. on the second triad.descendir'g. 4 is to be practiced later on rsing the arpeggio picking. l. You will notice that at the beginning of each measureyou will find a triad in parenthesiscombining the notes in that meesure.the 6rst of which is shown in the exercise.Ex. Prectice all six forms as sepante exercises. then. Practice it very slowly and maintain an even tempo..4 In this cxercise the major scale (harmonizedin common triads) is shown in sequence form. This showsthat it is a chord formation and is not a single string fingering. l. Ex. Practice all theseexercises as legato as possible.which will necessitate a quick accurare shifr from one pcition to another.ngerings. EX. and in all the heys. Practice this exercise in all its forms slowly. The other five are to be found in the forms of Ex. I This is tfie harmonized scde combined with the arpeggio picking and it should be practiced in six f. etc. three steptsup and return on the first triad. ascending. -10- . as the tendency is to skip over the last note in each meerurein order to ger to the next position in time.

Count four beats for the firct measureiust would for the second measure. EX. Care shouldbe taken and the secondtriad is an ocravewhich when played in the long form is a long form you do not have the hazin makint sure that the fingers light surely and firmly. Note that the gap betweenthe first ju-P. In the condensed ard of a long iu*p berween first and second triads. in the fact that it is arpeggio piclcing combined with the whole note Thisexercise principles areto be applicd.EX. 4> /:\ zts tl3 rF 218 -ll- . 6 is similarto Ex. l. This is to be played in all six fingerings and in all the keys asfound in Ex. as every other measureis in arpeggio picking and as you the natural tendency is to hurry the whole nores. t Care musr be taken in maintaining an eyen tcmpo. triad. Also practice in all the fingerings found in the Ex. The same EX. 7 This exercisedevelopsjudgemenr of distancewith the left hand. and in all the lseys. l. but crossingover the setsof strings to iump the octave presen6a dilferent problem as this must be done cleanly. Later employ arpeggiopicking. i.

4. also with Barresof the third. In the sevenrh measureo this exercise. which is vcry finc practicc as the "hdf-time' providcs a breatfiing spcll bcfore the next burst of speed.EX. ingF. e Another sequenceforrn of the harmonized scale-the reverseof Ex. Notc that thc scale goes through e rhythmic cycle. Later employ arpeggic pickirig. Vhen prrcticing bear in mind all thc previous exple'. 8 form of the scale.2nd & tst fingcrs ) -t2- .etions end warn. A rhphmic EX. ( also 3rd. the second triad should be played not only with a Barre of the fourth finger as marked. secondand first fingers alternately. To bc practicd in all the differdnt fingerings an<i Leys. bur In the last measure the second triac should be practiced using the third set of three strings and also the fourth set.

Later emplo. prectice without a break. paying strict attention to the medrings. tl (Two forms) To be practiced very slon'ly. FORU I lt EX. erpeggiopicking. Practicc in dl L.EL IO This cxerciseshould be pncticed crrcfully as it is very confusing because of the finggrins chengin within itself. You witl then be able to run two octavesin the harmonized scale. EX. FORU I l2 -t t- .eys. Later employ arpeggio pictrin. Later cmploy arpeggiopiching. 12 (Three forms) This exerciseis in two sharpsbecausethat is the lowest form of the harmonized scale on the guiter After all the forms have been perfected join them up with the harmonized scale an ocrave higher an.

lt (Two forms) This is practically the same asEx. FORU I t1 EX. 14 (Three forms) This exercise has a definirc purposeand should bepracticed very slowly and carefully. EX.Go from one key to anotherwithour a stoP. 14. Practicein all keys. The upper (mc. lodic) Iine is in half notes while the two lower voices are in whole notes. the difference being that in this exercise we modulate a half tonr up and a half tone down at each two-bar phrase. Make sure they sustain their fuli value. Practiceall three forms equally asthe purpose throughout this method is balancedrechnique. F O RU t6 FORM l5 -14- . The recond form is difficult in the high register and therefore good practice.ElC lt (Two forrns) The first form was espccially designedfor strengthening the third and fourt'h fingers.

l6 FORM 2 . Do not slide the left hend in the modulation It shouldte a fast. It is 1 very dificulr the finger that is doing the flattening must sustain another note during the process. which brings this principle into the classification of a fifth 6nger.J to FORIf. In maneuver because the second form. 3 to EX.EX.Precticc in all keys. lZ (Two forms) This is the modulating form of Ex.the third finger doesthe flattening which is alrc vcry dificult. This flattening principle must be practiced methodically as it must be reliable rhythmicelly and should be done with a snap. Prectice very slowly. -tt- . Do not skip over this principle as it is very important. In which is the the first form at the secondand third measuresr/ou flatten the fint joint of tfie second 6nger to produce the addednote. The sameprinciples should be epplied.J . in the firct and last mersures. The third form does not employ dris principle but should be practiced just as carefully. accunte change. 16 (Three forms) This exercisemust be pncticed very carefully as we introduce a new principle in the first two forms "breaking" (or flattening from an arched position) of the 6rst joint of the fingere. FORU t7 213 F O RU 2 b) t. The pressureshould be releascd for just a fraction of a secondduring thc change. mating sure that thc point of modulation is clean and distinct. 16.

This exercise should be precticcd in ell teys. 18 (Four forms) This exercisc.EJ(.without slurring. Vatch the markings carefully as the fngerings ere constantly chang.a combination of cxerciscs14 and 16. FORU t . producesthe major scelebuilt on the tonic chord. re A maior arpeggio study in triads which takes in all the consecurivesets of three strings.tJ *. Be very careful in this excrciseas the finger flattening principle will be doubly hard There arr no markings in this exercisebecauseit should be practiced using the four different forms found in Ex.ta.) +) t8 FORM + t8 EX. Practice a Iegato as possible. which is made pcsible by the differenr fingerings. lI I i t I m EX.J t8 FO RU 2 FORU 3 2J .tl^t Jt) -16- . ittg. 20 A veriation of the major scalewith the top voice in quarter notes and the bottom voices in wholr notes. ny n y 80 UJ J. Tlre two lowcr voiccs must sustain for their full veluc. To be played in ell keys. l g Practicc in ell keys. and later employint arpeggiopicking.

zt This is a lower form of the rneior scale built on the tonic chord. FORU I \ 1) IJ 28 FORT 2 IA 218 29 roRu I 28 n T . It should be practiced up to tihcLey of C. jl]l lttbl#+ bJbJJJ J ]4I J*. la t.EX.24 above. jnst asyou did in in A variationof Ex. 2t. 4u J EX. 23. to be practiced Ex. in which the same principles are to be applied. Practice usint all the forms found in that exercise.22 A variation of Ex.24 A modulating form of Ex. 2l (Three forrns) This major exercisewas especiallydesignedto strengtlren To be practiced in all keys.tJ.fi Ex.4 IJ E'x. 2' utilizing the fingeringfound in Ex. 24.t . 21. Apply the same n a EX.

erc. l. Pay closeattention to the markings 'V'atch in these forms as they are yery confusing and dificulc the movement of all the fingers closely.WITH MINOR CHORDS EX. 26 Starting a harmonized minor scale study in six different forms. Give this exercisethe sametreatment as Ex. such as arpeggiopicking. lh* r[el**r[8 -18- . Practice in all keys.

27 (Six forms) This is a different form of the harmonized minor scaleand should be given the sametreitment rs Ex. Practice in etl keys. FORM I 27 FORM 3 2l FORU T +t+ ! 27 FORM 5 27 FORM 6 27 -19- . 26.EX. Always berr in mind the legato practice and the use of the six different fingerings.

Practice very crrefully as some of the fingerings. Practice this also with the arpeggio picking and in all keys. 2g. It shouldbe given the samerreatment asEx. FORU I 2 ltt tr {13 -20- . are confusing.EX.though correct. 28 (Three forms) This is a lower form (itt pitch) of the harmonized minor scale. FORU I a I *13 EX. 29 (Three forms) Another low form of the harmonizedminor sclle.

I 'll tr I FORU 2 r. l.EX. lile the otlrer scde studics.p A different hermonizationof tfie minor scde which.ft il T. to (Six forms. I -2t- . is in sir for To be given the sametreatmcnt asEr.

Practice eacl form carefully as each fingering presentsdilferent hazards.EX. To explain this more clearly in case of doubt. tl (Six forms) The harmonized mihor scale built on the tonic chord.rb).J bl 2r FORM 3 -22- . it is written in the key of D minor (using accidentals). This exerciseis to be practiced in all keys. asharmony. FoRut 6 V L 'C# . using the tonic triad only.

a TB FORM + -2t- .2 A lower form of the harmonizod minor scalebuilt on the tonic chord.EX. Apply the same principles ir this exerciseas in the previous on6. .

Practice the fingerings in Ex. Theseexercises in ell rhe keys in thcir original form but crn be moved up and down the fingsrboard by leeving out thc when ascending (if too high). rt A short s€venrharpeggio in triads. first measurewhen descendint (if too low) and leaving out the fifth measure Ex. P. Practice in ell'keys.y special arenrion to the markings es this exerciseuscsalternate picking. ^ n V F r n Y t6 -24- . ll is in one form and Ex.CHORDS WITH SEVENTH EX$ " &. You will notice that the fingerings in this exercise fell right under the hand. LU e O l 8t +a FORU 3 2.4 u i.4 U z{il=43 rls AJ {> dB ) A roRx r + 8lr )rJ iilEor2 r+a J EX. 34 is in four forms. descending chromadcaIy. 33 tuing the same notation as in Ex. t4 cannot bc playod Buift on thc scventh arpeggio which tekcs in the entire fingerboard. ]4. which means that the secondand fourth triads in the measureare played with up-strokcs.

This is the first exercisc using a broken set of three strings. rs in Ex.. Vhen the fingerings in all three forms are learned. FORM I { o n s *fie tl e t7 roRu 2 E7 -2t- .EX'. This must be done smoothly. Pay close attention to the set marlsingsunder the staff in all theseexercises. Practice in all keys in srraight down strokes. You will notice that the middle note remains the same while the other two voicer move around the middle voice in chromatic tentlu. (Sce page 6).then with arpeggio picking. t6 (Three forms) in trieds. 8 g + Fl" 4> tfe FORU 3 3 t a n 86 EX. t7 (Two forms) This is the first of a seriesof stretching exercises.start practicing A long scventharpeggio them with alternatcpicking. 3f. Also practiccwith rrpeggiopicking. Be careful in the larter as you have ro jump over a string with the pick.

4l (Two forms) This is relatedto Ex. ktYt' F O R MI Practice in all 12 M . 40 (Two forms) Contrary motion is introduced in this stretching exercise. 3 7 Practicein all keys. Give theseexercises the sametreatment. FORM T tfi= til5 til5 tho rtt tfiu {> ild he n 2+ alns fiu 89 roR[t s 89 n '7o. rtt EX. /i t8 '$il. Observeall markings carefully. FORU t . FORM T Though dissonantin spors. 40 inasmuchasit is a stretching exercise with similar srrucrure. 39 is in two forms. 'h. This comes more under the headingof hand gymnastics. parricularly in the first form. C-onstant practice of rhesetwo forms will definitely increaserhe spread of the fingers. ]8 is in one form rnd Ex. 18 E t9 Ex.EXS.as given Ex. sible by the two forms. Practice in all keys which is mrde pos6\ 40 FORM 2 40 EX. 42 (Two forms) Contrary motion is again employed in this exercise. The sameprinciples are to be applied. it is correct.lt FORII 2 tl 313 EX.

Observe all markingr carefully and practice slowly in all keys. goesthrough a progression which resolves to a more open voicing of the Eameseventhand retracts. 46. 4t 4 I Alg Alg Same notation as in Ex. .47 (Two forms) The lower three notesof this exerciseare identical with Ex. Note the new set markings under the staff.f* .ilo BTB l e ri F'X. $ o tho 3 . therefore it will develop accuracy with the pick. Practicein as many keys rs possible. but we have addeda stationary nore on top which makes it necessa ry for this to be pnc ticed es a new and separateexercise.r. 46 (Two forms) I All- Contrary motion is again employed.4. They refer to the chart on page 6. Pay specialattention ro the mechanics Az -T FORII 2 t 3Fz A2 v n T T c ? a tu EX.44 (Two forms) Introducing a new type of picking which is very hard ro gauge. This is the samenotation asEx. This exercise surts on the seventhtried. Practice slowly in all keys. 42. Although this exercise is written in 8th triples. practice very slowly at firsr. FORM I 40 FORU 2 33 8X'. rORUt 6 17 A FORU 2 17 .3 fi 3 'r 3 z'mX 4 . :g .tg Brla .x. v C O n octave higher.3 46 Adg EX. but Apply the sameprinciples.

You rnay have to spend a lot of time on these firct two diminished exercisesto get the two idle fingers to lie in readiness.3 tfr€ The semeprinciples apPly in this exerciseas in Ex. This is important and musr be practiced until perfecc EX IO You will notice in this exercisewhy thc finger training in Exs. prac tice slowly.with the up-strokes falling on the secondand fourth triads. Vith this fingering the exercisecan bc playcd very tegeto.suspension. which is reversed. -28- . This time the first. one for one order. In other words..$* .WITH DIMINISHED CHORDS EX. R Sq.aftcr which time alternate picking should bc usod. 48 and 49 is necessrry.ft Starting the diminished study of this volume. Those exercisesare combined in this one. and the fourth finger is poised just abovc the firct string. Therefore it is neccssary to have e good foundation in order to judge the distance betwcen triads. The jumps should be fast and accurate with tfie fingerc rclidly implanted each time. Observeall markings carefully end prlcrice slowly. 48 except for the finger . 49 . The first and fourth fingers should alternate like thc endsof a rocker trm. In other words the first finger should remain down until the fourth comesdown. Down strokes should be u$d throughout until thoroughly acquaintcd with the exerdise. but suspended a little ebove the string. look out for slides. You will notice the fingering remains the samethroughout this exercise. a EX. As you know thc diminished chord relrcar itself every four frets. but make sure therc are never four notet sounding not even for t fraction of a second.s. secondand third fingers do the worh. These first two exerciscson the diminishcd trird are very important..h. The first finger should rest just above the fourth string. not riding it. in .

Vhen thoroughly ecquainrcd with this exercise. cisc. Prrcticc with down-strokcs until thoroughly rcqueinted with thc excrPrecticc slowly. which is iri cyclcs wirh scycn trieds in each cyclc. 6t EX. MerhinF will h fourd in thc first cycle onl1' rs the set rnd fingering mrrhings rrc thc same rn t{re rcrt of the cycles. t0. Notc the similarity to Ex. The first cycle to€s up the scale. Fingerings will be found in the 6rst two cyclesonlh rs the rest us€ the same as these. thcn usc elternetc piclitrt. the secondcycle is the revereeof the 6rst a hrlf tone higher. the result being chromatic diminished arpeggios.EX. rs cxplaind in Ex. and the third cycle is the reverseof the seconda helf tone higher. t2 The cycles in this exerciseare divided by " bar line. Pnctice also with arpeggio picking. fl. employ alternate picking. . il Our prcvious diminishcd fingerings pley rn importrnt part in this cxercisc.

You may have dilficulty in forming the as' may sound wrong at firsn Don't depend on your cending formation. Read the notes carefully as they diminished scelewhich ascends "ear". so practice trhisform yery slowly to provide time for concentration on the movement of thar fingering is lessdificult. FORUT 55 FORM 2 lLd .l h/ hJ ) J I J ilJ ilJ ) J lnJ ilJ '. tt ---'The ilJ $4 J $J Jd fr ) + = )bJ u4qltJqJrJrJ .t I JrlJ J J -a- J JqJ J ) ) b) ) . d .. The fingering remains tht rnd remains thc same descendinguntil thc startinl slme ascendingundl the octave is reeched. Don't be alermed if the firsr is tiring rr first. Th.f€ = o J . The descending In the second form. . explanationof the precedingexercise n v .*4 EX. .' A rethcr unusual fingcring is inroduced in this exercisewhich will heve to be practiced retionally rs it Make surc thrt all the fingers except the secondrrc arched.t sl J . n v.hJ 55 . To avoid this.EX. the rscending fingering is dilf. over-spreedrather than under-spreadyour fingers. v I "J "rhJ+i.il=**!A b J) EX. 13 in which you to up and down the scalechromatically. is to be applied. joinr of the second finger aches slightly while it is lerrning to berr the strain. . be sluggish.frJ J ) differently than it descends. finger.*) .IA f.cult and the third finger ma. 14 A variation and developmentof Ex.then reyerses point is reached. x+ | *4 1 freJ ri^*= +n * | .

e. This may bc a strein at first but it cen bc dwclopod tfuough work.. Ths 6ngcr will have a tcndency to lay fat when it should be archod.Im IE IN ir-il In this exercisc the top linc is in quarter notes and tfie harmonic structgrc is h wbolc notc3. '6 The chrometic diminishcd scelein this forrr is one of thc m6t dilficult scrciscs ro far. V n ffi 60 m J ") ilJ r. EX. T}is can bc done by melint thc moycmcnr very fast without tlfttios or slurring... Th$ exerciseincrerses the reach of the fourth finger. -tl- . t7 . For instence.--l iEi. inrsnruch . Practice slowly and observeall markings. Thc dificulty hcrc fu in matrng th6c two noalt ound as though thoy rcrc frycrcd with tro fngers insteed of one. in the first form thc D string (IV) is stoppcd from vibrating with the second6nger while that 6nger is uscd for thc note on the A (V) srring.. Mahe surc the whole notqt ere held for their full vdue. Prectice slowlv. n Jd+J dnJ*J JJil4 67 EX. The pick strikes that sFing.s you havc to plry two notes in succcssionwith thc firrrt 6nger. This is taken care of by the fingering. but thc tclt hand 6ngcr docs not lct it $und clcerty. t8 (Two forms) This is the fint diminished chord exercisc in open voicing.EK. once in e while to make sure dl three notcs in dE trind are rcunding. It is necesary to *"deeden" I string. roR 58 frJ J r '1. Chccl.

toRx t oo $= toBx g il5 oo Ex. the middle notc while the two ouaide notcs arc sounding. Use a cornplcrc wrist actiort. Apply the seme principles. Th rnd thc fiogetiog. Thcn with the dcccnditg backward motion the pick will strike thc middle nor sefely. Make sure you do no deedcn either of the snsteining voices with the up-strohc. 6l The general strucnrre of this excrcise is idcnticd to Elc 50. diffcrcnce lics in thc noving voict gr8 -r2- . t9 This exercisc combincs opcn voicing with cloeed voicing. which prGrnts a dificulty as th up-stroke must pick. Obscrye ell martings and prectice dowly J n { ) J ilJ J $ J+ = ) + J= E)C 60 (Two forms) In this exercisc the moving voice fu in the middle of the structure. Thrs is accomplbhcd s follows: After rfie dowr -stroke the pick should travel in a small returning arc eround thc upper string so you will not touch i end stop its vibretion.EX.

64 The preceding three exercises are combined in this one. {> ilg Practice 63 EX. 6t By now you should be familiar with this type of picking. very slowly and make sure the middle voice is clear and crisp. 64.Ex. After this exercise is well practiced and you $e r$5 EX. 62 This is the samein every respectto Ex. Apply the same principles. 62 cxceptthat it is on the first"brokenset of three". try changing the cross-overpoints. The moving voice is again found in the middle of the structure. making this exercise -tt- . are thoroughly familiar with it. 2lB3 EX. 6} principlesto This is the same asEx. The same be applied. 6l except that it is on the second"broken set of three" instead of the third set and t$erefore pitched higher. covering the entire finger-board. 3iB3 similar to Ex.

Do not merely lay then down but snap t{rem down hammer-fashion simulmneorsly with rhe pick stroke.EX. trouPs it will still take considerable 3lB3 -r4- . Give the notes their ful vrfrre and practice slowly.the third rnd fourth fingen of the left hand should be right above the frets reedy to drop into ptace. 66 A greet lmount of accuracy for tJre right hand b developcd in this exercisethrough the type of pick.rmly.but inasmuch as the seconc helf in new' practice the whole exerciseas an entirely new study. 67 (Two forms) You should be familiar with the 6rct half of each measurein this exercise. Even when you arc familiar with botl practice to combine them correctly. In other words. have the fngen formed before the two fingers drop and make sure they come down together f. 80 I EX. ing employed-After you havercunded the first and second notes in the meesure.

Practice chromatically up and down the fingerboard.. the third finger the secondtime. etc. second. This is overcomc by conccntretion and e little more prcssure on that onc notc. agility. Melse sure al three nores sound. Do not apply this in the secont form becausethe fingering will not mrtch. EX. FORU I Precticeslowly in all keys. Practice slowly. naj. zo trORM2 n v zo -tt - . In the firct form. the first triplet in the last half of the second measuresholld be prac' ticed using thc 6rct. erb n{or ri U EX. 67 znd should be givcn thc samc trcatmcnt. z0 (Two forms) This study is beneficial in more weys than one as it developslccuracy. and timing.s Ex.HK. 6e This exerciseis in contrary motion. In thr last half of the second measure the middle triplet triad is sounded with en up-stroke. It offers r greet amount of variety in finger formation which develops accuncy and agility. third and fourth fingers elternately. and then returning. going from r clced to m open form of major chord. You may have di6' culry in susteining the bass nore while thc other fingers are performing. The proper way to do this is to usc thr fourth finger the first time through. 6t This is prectically the same .

you wil notice that tfie wrder structure is in thirds.72 It develops thc third and fourth fngerc for long range accuncy. The piclcing is very touch in thfu excrcisees you have to crocsover the triad and sound the D string wirh an up-strole. a ) #'J:I.^1 L.:l .og"t donc.j -J -^L g J rJ'J 'r1 . rL y n v EX.b).j lr EX. J r b ): J .T "J a .J n V .Y\ . The third form is particularl' vrlueble for the hand as you Play the exerciscwithout thc uee of the first finger. practice slowly.nger each dme as it may derden thc next string. Make them clcer and lcgato.il:J $) . Thc frlt 'oBur . practice chro matically up and down the fingerboard.y)n J J. good for developing the hand. Practice slowly in al keys.il:J.tJ.J. 7l invertcd. Vhcn spccd is developod in thes two forms. J *J. This is Ex. Practicc slowly at first in dl L. thc top linc becomesa moderatc trill.a) FORI ?3 4 . 7t (. Be ver cereful in plecing ihe fourth f.J . in general.EK 7l (Tro formr) fornr of thir crercisc was dcdgncd to dcvctop thc third and fourth 6ngers.yr.cr1 * J .J3 J 7l toBf 2 I.J J. n FOBU 8 t8 J'ilNJ .)nb). N)BU I 7a toBx 2 78 ). end thc a3co11 form for thc fourth f.Forr for:rs) This exercise is built on half t{re scale and is.

J.I .A variation of Ex. . -t7- i-.J-I.V).bJrJ ) .'lJ rb).I . Practice carefully EX. J .J J rJ. 7!. J EX'. 76 (Two forms) Identical with Ex.J .J.J. Practice slowly in all keys. 7t (Two forms) This is identical with Ex. More prcssurehas to be epplied when playing on the lower strings in order to obtain a clear tone. J.7l for developing a long and accurrte reaclu .v).J.J .J.. but an octave lower.J r . Zl but an octeve lower.

77 (Four forms) A variation of the last hdf of the mrjor scale. After this is practiced. t8 . Practice elch form up and down the fingerboard rs frr as posible without using opcn strings. ?+s #s ft -- m. Practice aslegato espossible. Forms ! and 4 arc identical in notetion but en ocrrvc lowcr than forms I and 2. use tht fingerings fourrd'in Ex. then use the notrtion in Ex. EX. roRt 2 ?J'I:J'I ?J-JC.) .Ji .fl) JD?ffi tfi)-rJn rT)- 3E .EJX. 76 with this notetion. 76 with the fingerings in thir exercise. J EX. Pmctice up to the key of F.pleyd on the lower sets. J ? J. 7r This is a verietion of the major scale. J . Practice down to key of F. Practice slowly at frst. 7e This is another variation of the rnajor scele.

-t9- f 'f 'T .br . Form I is on one set while Form 2 "scts three". iz the third and fourth In the first measure Individual control of the fingers is developed in this exercise. second and third fingers play the lowest voice. You will notice in Form 2 thrt the patterns on the fingerboard are all relrted of takesin all and closelylocated. -^l fi 2 ) :l 213 -j { . *J J-bJ lhl ala 2 4 Jr) 2lB3 na) { J I J s. 80 The augmentedchord with the whole tone scale as a melody. Benefit is derived from an exerciseonly when you cln go through it without stopping. In the secondmeasure. n v n v n n 82 NOTE in which down-strokesonly were usedand practice Go back through the book now. *J. FOB 80 FOBM 2 80 EX. fingers play the rwo upper voices in quarter notes while the first and second fingers sustain the lower because of this voicesin whole nores. 8r of the wide variety of fingerings and hand gymnastics. the strings with the pick.EX. Then practice them using up and down strokes alternately. Practicevery legatomaking the cross-overquickly rnd accurately. no matter how slowly you have to go in order to do so. Play in all possiblekeys chromatically upanddownthefingerboard. Prcctice Form 2 chromatically up and down'the fingerboard. taking all exercises In them using up-strokes. Be careful that the presure on the lower notes doesnot decrease the fourth finger sustains a triad while movement of the third and fourth fingers. the first. Try to make them sound alike.Pay This exerciseis very bcnefcial because closc attention to the fingerings and markings and do not try to practice it too fast. smoothly and evenly. Practice slowly so that the last chord in the secondmeasurecan be rcunded in tempo.1Jnl r) -ilJ'hJ 3lB3 Ex. make sure the up'-strokes are playedjust 1s quickly asthe down strokes. \||ARNING: crosein6.

After constructing an etude write it out and saveeachone. Tty to vary each etude from the rest. ledge and experiencehas been built up gradually through the constructionof the simpler forms. -40- .soyou will be eblc to check on your Progress. You can use any part of the exercises selected.E zli* zlsg n v n *b zla -. Solidity and construction should be the foremost thoughts. Limit yourself to i certain number of exercises(five or six for example). This study brings our and developsyour individuality. Later on when your know. thereby enabling you to study it thoroushty.from the smallestpart t( the whole exercise. for if they become too complicated it will be di{ficult to resolve them properly.--- ETUDE STUDY The purPose of this short etude is to show the practicalapplicationof someof the fingeringsan( in the method. applying the following rules. zls | )2. v n n n 2l.t v nnn oe. you will be able to resolve more dilficult situations. asthere is always a new way to twist them around. Rememberyou can not milk any of the ex. One of the best featuresof this study is the fact thar you can seeyour comF)sition on PaPer.ill readily seewhich exercises exercises and fingeringshavebeer in forming this etude. ercises dry. combined You should try writing one of rheseevery week.1 v n n n 3 3lB3 v n n n 3 [lt n v nn n v n z13 2lB3 n v n n y 'bl *L* slBsrlB{ t|'. at the same time teaching you ro write along practical lines for the guitar. After studying you u.1. = 213 n n bJ'hl? 12 ! + r 2l3n vn v - t 313 B 2l 3 zb rf3 . varying the value of the notes any way you wisl without changing the fingering. Do not exPect too much at first in developint thesestudiesas it takestime and work to be able to write even a fairly Soodone each weeh. Keep them as simple as possibleat first. Keep them harmoniousand melodic.

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