Matteo Carcassi Metodo (Op.59)

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NEW AND IMPROVED
METHOD
FOB
HI.
THJi
CARCASS*
BOSTON:
P\
&
Oliver Ditson
New York:
C.
H DITSON &
CO.
Chicago:
Company.
LYON & HEALY.
tortred according to Act of Congress In the yer 1833, by Oliveir Dltsow
&
Oo
.,
in
Phila.:
J.
E.
>
>v
DITSON &
the Clerk's Office of the District Court ef the Cinti int of MaseacbusftMk
CO.
/3/"
<?3
CLtA./lf, fgfj
1DVERTISEMEXT.
The present
Guitar, embraces
edition of Carcassi's celebrated Instructions for the
much valuable matter
not contained in those previously
These additions are those which have been made by the
issued.
distin-
guished Author, after an experience which enabled him to determine
what was actually needed by the pupil for a thorough understanding
of
the art.
The whole has been

of the Guitar, and
is
carefully translated
by a well-known Professor
thereby rendered as free as possible from those
slight but perplexing inaccuracies
which sometimes become a part
of
translations and reprints.
number
of popular songs in each of the different keys have been
appended, which together with the masterly instructions of Carcassi and

his plain
yet comprehensive
course of Exercises, furnish
desirable to both teacher and scholar
all
that
in
AUTHOR'S PREFACE
AVERTISSEMENT DE L'AUTEUR.
The
id
r
flattering reception
my
given to
distinguished Amateurs,
up
to this period,
and a long expe-
;nce in leaching the Guitar, having furnished
u formation,
am
induced
me much
useful
Method before the
bring this
to
Pibiic.
I
do not pretend to produce a
work, but one that
scientific
and give a thorough knowledge of the
facilitate the study,
.11
Ii
strument, in a concise and simple manner.
have taken great care
to
make each
from the commencement
voiding those dry
lesson so progressive,
difficulties
end of
to the
which
will be inhis
studies,
too often tend to discourage
beginners.
extensively, the exact
appeared to
this
facile
Petude de
la
maniere
la
n'ai pas
je
eu Pin tent ion d
voulu seulement rendie pirj

Guitare, en adoptant un plan, qui puisse d
scientifique
j'ai
la plus claire, la plus
simple et la plus precise, donner
une connaissance approfondie de toutes
ressources de cet in-
les
me
left
management
hand, of whicb I have treated

of the right hand, has always
one of the most essential means of acquiring a
brilliant execution.
Hand
L'accueil flatteur que les artistes, et les amateurs distingues,
ont bien voulu faire jusqu'a ce jour a
have indicated the fingering of
as far as Part Second, alter
which the
pupil will have
consigner par
Part
is
a series of Recreations,
which
will be found
J'ai apporte le plus
ecrit.
grand soin a preparer
progressivement chaque legon, afin qu'un eleve, qui n'aurait

aucune notion de l'instrument, puisse jouer depuis la premiere
la derniere, sans rencontrer
de ces difficultes arides,
qui trop souvent ne servent qu'a le decourager.
Independamment du doigte de
main gauche, que

mecanisme de
la
avec beaucoup de developpement,
le
m'a toujours paru une des choses

venir a acquerir un jeu sur et brillant.
droite,
indique
J'ai
acquired sufficient knowledge to apply the proper fingering.
The Third
mes ouvrages, m'a decide
Une longue experience, acquise dans la carriere de I'enseignement, m'ayant fourni des observations utiles, j'ai cru devoir les
etude jusqu'a
Besides the fingering of the
ure and
un ouvrage
a publier celui-ci.
however ignorant of the Instrument,
that the pupil,
terested
composant cette Methode,
faire
strument.
<v
En
works by Professors
le
article position
doigte de cette
une
main jusqu'a ladeuxieme
fois arrive a ce
La
would remark,
five assuianee that
that from the success attending
Method amongst
fhe application of this
any
my own
intelligent person
who
pupils, I
will
can
study
it
vith attention from beginning to end, will acquire a perfect
knowledge of the
I
tssnluous labour,
myself fully compensated

if I
can be assured that
work which will pr'we useful
t^ the
for
my
meme.
long and
have produced a
Teacher and Pupil.
elle
renferme des morceaux de diflerens
caracteres, classes progressivement.
Je puis assurer, par 1'application que j'en ai faite avec

eleres,
avec attention, depuis
Je
mea
que toute personne intelligente qui etudiera cette methode
une connaissance
GUITAR.
shall consider
partie.
point, l'eleve aura acquis
troisieme partie n'est qu'un delassement qui, cependant,
n'est pas sans utilite

I
par-
progres-
sively.
In conclusion
main
la
essentielles pour
assez de connaissances pour pouvoir doigter de lui

useful, containing pieces of various characters, classed
j'ai traite
me
croirai
le
commencement
parfaite
jusqu'a la
du mecanisme de
la
fin,
acquerra
Guitare.
dignement recompense de mes travaux,
puis acquerir la certitude d'avoir compose
un ouvrage
si je
utile.
MATTEO CARCASS!
Each
line represents
Chaque Portee represente une des Cordes

de
la tiuitare.
Si a>
3-
Each
one of the
strings of the Guitar.
line represents
one of the strings
of the Guitar.
Chaque Portee repiesente une des Cordes de
Guitare.
la
ELEMENTARY PRINCIPLES OF MUSIC.

PRINCIPES ELEMENTA1RES DE LA MUSIQUE.
M.ik
the art of combining and expressing sounds.
ii
La Musiqrie est Part de combiner les sons, et de les exprime

La succession de divers sons, combines d'une maniere agreablt
ceo Miion of various agreeable sounds produces Melody.

Sounds so combined that they are heard simultaneously produce Harmony.
To express sounds, signs called Notes are used they are
written on five parallel lines, and in the spaces between the
Notes
lines.
dans
produit la melodie
I'oreille
five lines
and four spaces are called the Staff.
StafT is not of sufficient extension
sound? in
Leger
Music, additional or
abov and below the Staff,
when
les interlignes.
L'ensemble de ces cinq lignes
to express ail the
introduced,
lines are
Musique, on en ajoute des

Portee, que l'on
required.
rv
Notes sur
5th
Ii
3d
24
nomme
3d
2d
i
!
lat
4lh apace'
3d
(A
"O
- - -
Corame
2d - lat - -
au dessous de
at
b
U
lignes additionelles.
in the Spaces.
Notes dans les interlignes.
5lh licmca
4ih - -
Portee.
au dessus
petites,
Notes
les lignes.
-
Er> lat r*
nomme
se
ces cinq lignes, ou Portee, ne suffisent pas a Petendue de
Notes on the Lines.

fa
Pour exprimer les sons, on se sert de petites signes appellee

on les ecrit sur cinq lignes horizontals et paralleles, el
These
As the
les sons combines, de maniere a ce que

entende leur union simultanee, forment Pharmonie.
4 lb iaierligae.
3d
2d
>
.1st
Leger lines above the Staff.

Notes avec
les lignes additionnelles
an dessus de
la Portee.
Leger lines below the Stave.
Music
first
is
seven
peating the
*
s.
first
of the alphabet
les lignes additionnelles
au dessous de
la Portee.
3=f
Des Notes.
Of the Notes.
composed cf seven notes, which
letters
Notes avec
ara
named
a, b, c, d, e, f,
note, C, a scale of eight notes
is
La Musique
after the
;
by
re-
formed, called
est
re, mi, fa, sol, la,

la succession
composee de sept notes que l'on nomme cr,

si, et repetant ut al'octave haute, on formerr
de huit notes, que l'on appelle
Gamme.
Gamut.
Gamhe Naturfxlx
G
a
Gamut of C Natural.
Wi
Fa
Ci
out.
il
Re
Of the
The Clef
to
is
a sign placed at the
Des
commencement of the
The Treble,
placed on the secoud line only,
is
Ut
Si
Clefs.
determine the name of the notes.
Ulefs used in music.
La
Sol
There
or
made use
Clei, =2=
of in
^F
La Clef
Staff
are three sorts of
which
is
composi-
est
un signe qui
Clefs.
se
de Clefs.
est
seu>
met au commencement de Jk
II y a trois sortei
nom des notes.

dh qui se pose sur
Portee, pour determiner le
La Clef de
Sol
employee
en *yz compositions pour
la
seconde
ligne,
la Guitare.
tions for the Guitar.
i^n
j-
j*
La
Sol
Si
ABC
Notes sur la Clef de Sol.
Notes on the G Clef.

Li
gE^g-f-f-^
Be
Mi
Fa
Sol
La
Si
Ut
Be
Mi
Fa
Sol
m $M
La
Si
Ut
Re
Mi
Fa
9
Sol
CAKOASSI'S INSTRUCTIONS FOR THE GUITAR.

Figure et Valeur dcs Note*
Character and Value of the Notes and Rests.
There
i
By
line.
the value of a note,
lound which
it
represents
understood, the duration of
is
tnis duration is
Each
itself.
which corresponds with it
determined by the
of these notes has a Rest or
'orm of the note

i.lence,
Les figures des notes sont au nomine no -~yl, ]}V *'n -e epi
on entend par la valeur d'une note, la duree
forms ol Notes, each having a different
are seven
valeurs differentes
que doit avoir
le
son qu'elle produit
meme.
par la figure de la note

notes, a
in value or duration.
des Silences
et
la
un
meme
cette duree est
Chacune des
determine
sept figures do
silence, qui lui correspond en vaieur, c'est-a-dire, d
duree.
Semibreve.
Semibreve Rebt.
Sonde.
Pause.
Silence qni vaut une Ronde.
Which is equal to 2 Minims,

Une Ronde vaut deux Blanches,
Minim Rest.
Demi Pause.
1
Qui vaut une Blanche
Crotchet Rest.
or 4 Crotchets,
ou quatre Noires.
i*
J__
Soupir.
>
\
1
Qui vaut une Noire.

or 8
Quaver Rest.
Quavers,
Demi
ou huit Croches,
f
i
Qui vaut une Croche.
Semiquaver Rest.
Semiquavers,
or 16
ou 16 Doubles Croches,
r*
Quart do Soupir.
m
m
+
S
V
m
*
32
or
Soupir.
m
k
Qui vaut une Double Croche.
Demisemiquaver Rest.
Demisemiquavers,
Demi
ou 82 Triples Croches.
quart de Soupir.
Qui vaut une
Sixty-four Hemidemisemiquavers are equivalent to one Semiore ve.
its
I)
Dot, placed immediately after a note or
value one half.
Thus, a dotted Semibreve
minims, a dotted minim
is
is
rest,
increases
equal to three
equal to three crotchets,
a dotted
Croche.
Les quadruples Croches sont barrees quatre

soixante quatre pour une Ronde.
Of the Dot.
The
triple
Le
point
silence,
vaut
augmente de moitie sa valeur
trois blanches,
apres
;
une
ainsi,
blanche pointee,
la
il
en faui
u Point.
immediatement
plaoee
fois,
trois
note,
ou un
ronde pointee
la
noires, la
noiw
crotchet to three quavers, a dotted quaver to three semiquavers,
pointee, trois croches, la croche pointee, trois doubles croches
fcc.
&c.
When
a second dot
is
added,
its
value
is
equal to half that
of ihe first.
II
note
arrive quelquefois qu'on

le
second point
alors,
met deux points a

augmente de moitie
la
la
suite
d'mx
valeur dt
premier.
Dstted Semibreve
Ronde
IZZSC
js:
pointee.
Dotted Minim.
Blanche pointee.
Dotted Crotchet.
Noire pointee.
^--^
Dotted Semiquaver.
Double Croche pointia.
Dotted Quaver.
Croche pointee.
^T=f
^szzr
BARB REST
Silences points
IHIII
t
3
Dotted Rests.
t-^:
Dotted Demisemiquaver
Triple Croche pointed
BARS REST.
t
4
BARS REST.
"ST
- *:
I
>
[/
Bnton
H>
(1
2 Pauses
3 Pauses.
Pause*.
oaRoassts instructions for the guitar
tf
He
Of Time.
I'imh
Hi*
if
any piece of Music
invisjoii ot
juration.
There
four beats
of three beats, and of
two beats
La Mesure
into parts of equal
arc truee principal measures
in
the measure of
a bar
all
llya
from these three, and are called Compound
ithers are derived
mesure
cu
.ai-
trois
mesures principales
mesure
a trois terns, et la
mesure a quaue teinr, la

deux terns toutes les autrtM
la
sont derivees de ces trois premieres, et se nornment mesiiree
Measures.
Measure, or Time,
The
en portions d'ur.e egal*
c'est le partage
morceau de musi(pie.
tout
the
Mesure.
la
marked
is
at the
commencement
composees.
of
La mesure
every piece of Music by signs or by numbers, indicating the
The
subdivisions of the measure.
Staff
divided by vertical
is
se
marque an commencement de chaque morceau
par des signes, ou par des chiffres qui indiquent de coinbien us
tems
mes into separate parts, called Bars of measure.

Examples of different measures, the manner in which they
are marked at tb L/eginning of each piece of music, and the
method of beating time.
elle est
Les mesures
de mesure.
composee.
se separent par des barrea
verticales, appellees barres
Exemples de
comme
differentes mesures,
au commencement de chaque morceau,
elles sont indiqueea
et
maniere
de
le;
battre,
\
in
md
\.
Common Time, or 4 beats

a bar, is marked by a -0-,
is
Mesure
a 4 tems
marque par un -0,
beaten thus,
elle se
et se bat
ainsi,
Mesure
Triple Time, or 3 beats

j bar, is marked |, and is
a 3 tems appellee
trois quatre
par
oeaten thus,
un
elle se
marque
, et se bat ainsi,
Two-four
oeats in a bar,
nd
is
or
marked
|,
Time,
is
Mesure
deux quatre
par un |, et
beaten thus,
Twelve-eight Time, derived from Comoion Time, is marked ^z and is beaten in
^^
bur
a quatre tems
marked
g,
derived from Triple
is
and
is
beaten in three
-^
a trois tems
P-j*
marked
from
derived
is
and
%,
is
Two-four
Mesure a
beaten in two divi-
tems
de ns.
uiaiked
is
of two beats, called " alla breve," and
by a
or 2,
beaten in two divisions,
is
the same value as
Three-eight Time,
tr.
is
"C
j^
marked 8,and
<~^
T~ ~
W~(*'
-l-
f*
common ijme.
The
Triplet
is
v hiih the figure 3
is
2 , ^t
mesure
huit, derivee ae ia
elle se
marque par un
six huit, derivee de la
elle se
marque par un
g,
et se
mesure
$, et se
deux
bat a deux
lotes,
trois huit, elle se
is
placed
Du
Triplet.
group of three notes, over
)k}"ed in the time of
W hen
Mesure a deux tems, appellee "alla breve,"

marque par un
,J 2, elle se bat a deux
tems, et se compose des memes valeurs que .8
mesure a 4 tems.
e " e se
Mesure a
beaten
these three notes
two of
the
Triplet.
Triolet
Value.
Meme
valeur.
same denom-
Le
marque par un
j*.
Triolet.
Triolet est une groupe de trois note*
dique par
trois
le chiffre
3 dont
il
est
surmonte
in
.a
notes doivent etre faites pour la va.eui de
deux.
at ion.
rx
et se bat a trois tems.
Of the
tr.ree divisions.
ire
marque par un
tems.
A Bar
ml
mesme
dela
bat a trois tems.
Six-eight Time,
is
huit, derivee
elle se
Mesure a neuf
divisions.
Time,
se bat a quatre tems.
Nine-eight Time
is
marque
se bat ainsi,
divisions.
Time,
elle se
Mesure a douze
~^^~
2 tems appellee
the figure 6
it
is
Lorsque six notes sont surmontee? d un
placed over a group of
elles n'ont la valeur
indicates that these six notes have
wit the value
">f
four.
Sextuple
Sixaine.
Value.
valeur
Meme
que de quatre.
fi
OARCASSI'S INSTRUCTIONS FOR THE GUITAR.
These
three terms are indicated
Dn
and Syncopation.
Slur, the Tie
Of the Legato or
by a curved
line,
Ces
connecting
Coull, de la Liaison et de
trois
^nominations
qui
nveral notes together.
By
Slurred Notes
we
this
m
ES
under-
stand seveial notes formed ip succession
The Tie
Tied Notes.
whole value, as
Notes Coolies.
une seule
entend parcoul*
La
Liaison
indiqu
de toute lent
On
Notes Syncopees.
is
entend pai
syncope une note qui se partage egal*
ment
entre la partie faible d'un terns
la partie forte
ah
it
rewuutui
valeur pendant la duree du signe.
measure with the accented part of
the measure following, so that
On
les notes
qu'il faut tenir
the binding of the unaccented part of

a
..-ut
vibration.
Notes Llees.
indicates that
Syncopation
ur
plusieurs notes faites successivement pa
far as the sign extends.
Syncopated Notes.
marquetu par
se
Syncope.
plusieurs notes ensemble
lie
by a single vibration
the notes should be held out through their
la
du
terns suivant.
forms one note.
Dn
Of the Sharp, Flat and Natural.
The Sharp (#) is

The Flat (b.) lowers
a note, altered
sharp or
a sign which raises a note a .semitone.
a semitone
it
by a sharp
flat
or
flat,
placed before a note,
is
called an Accidental,
of music, namely, at the Clef, to point out
which
are
on the same
placed, are affected
There
are as
line or space,
its
of a piece
tone, all the notes
on which these signs are
by them.
many
flats
as there are notes
by
fifths
the
flats
sont pose ces signes, en prennent
fourths ascending
par
Sol
Re
La
Mi
Si
Si
Mi
La
Re
Sol
Ut
Fa
-#-
6th
7th
6th
7th
-Jr
Sd
4th
5th
2d
ler Bemol,
1st Flat
y a
3d
is
is
note
On
called an Intel vdl.

Third.
Tierce.
la baisse
d'uu ton.
appelle intervalle la distance qu'U y a d'un son a
Fourth.
Quarte.
Fifth.
Quinte.
note of the Scale
Sixth.
Sixte.
Snoiith.
Septipme.
un
auiro
Octave.
Octave
i=^^^^^Bl^^fl
on which a musical composition is

Any note can
first
5th
Des Intcrvallcs.
called the Key-note, or Tonic.
becom* the Tonic or
I
4th
double Bemol (hb) qui
Dn Ton
Of the Tone and Mode or Key.

principal
degre ou
aussi le double Dieze (x) qui Hausse la note d'un ton
Intervals.
Second.
Seconde.
II
et le
two sounds
Unison.
Unisson.
The
le
one tone.
distance between
taMished
que
y a autant de Diezes et de Bemols que de notes les Diezes

commengant par le Fa) par quinte en montant ou
quarte en descendant; les Bemols se posent (en commeng-
Ut
Of the
Exemj/le.
meme nom
II
double sharp (x) raises the note one tone, and the double
R X AMPLE.
est place.
le caractere.
Fa
Sharp, 2d
ler Dieze,
it
il
lorsqu'il est place
1st
The
by
descending.
Fla* (bb_) lowers
mesure ou
au commencement des morceaux de

musique (ce qu'on appelle a la Clef) pour en designer le ton
Mais
ant par le Si) par quarte en montant ou par quinte en descendant
it
The
Bemol, pose a cote d'une note, se nomine
se posent (en
are placed, beginning with B,
fifths
le
accidental, et n'agite que dans la
ascending and by
fourths descending.
The
Dieze om
le
Bemol.
alors toutes les notes qui portent le
sharps and
harps are placed, beginning with F,
and by
le
Le Dieze ou
commencement
dn Becarre.
et
Le Dieze (#) est un signs qui hausse d'un demi-ton l'intonalion

de la note. Le Bemol (b) la baisse d'un demi-ton, et le Becarre
occurs.
it
these signs are placed at the
dn Beuiol
(^) remet dans son ton primitif la note alteree par
to its original sound.
and acts only in the bar in which
When
and the Natural (^) restores
Dieze,
La
et
dn Mode.
un morceau de musique
Ton, ou Toniqne. Toutes
principale note sur laquelle
?tabli, est
appellee la note du
notes peuvent etre
eamrnp
Ton iques
c'est-a-dire,
premiere
ni
est
lei
i'uiM
ARC ASS I'S INSTRUCTIONS FOR THE UlilTAK
The
lm>&
.wo
Key they are cf two

mode, wnose third is major, or composed of
and the Minor mode, whose third is minor, or
modes* are the chaiacier of the
Le mode est la caraetere dn ton

?
y en a deux espeeesMode majeur dont la tierce est majeure, c'esr=a-dire compvjt**
de deux tons pleins
et le Mode mineur lont la tierce **
tones,
full
Tierce Majeur.
Tone.
-Tone.-,
~ZS2i Ton.
-Ton.
Minor Third.-
^t
-Tone.- Semitone* 3^-
is: -Tn.
Tierce Mineur. ?
Of the Scales or Ganits.

There
two kinds of
are
The
natic.
Scale
when
and the Ghrowhole tones and
the five
II
major mode
two semitones are found between

and the seventh and eighth degrees, in the
and between the second and third, and the
Dans
du
du
Scale of C Major, with the tones and semitones which

This
serve as a model for
the other major
all
gamme
la
au
3e.
les
cinq tons de la
gamme
diatonique
Petendw
diatonique, ies
4e. degre, et
du
7e.
deux demi-tons,
an 8e. dans
les tons
se trouverr
majeurs
du 7e. au 8e. dans les tons mineurs.

Gamme d'Ut Majeur, avec les tons et les demi-tons qui
au
2e.
3e. degre, et
gamme
Cette
may
lei
li
composent.
it.
scale
et
seventh and eighth, in the minor.
jompose
Chrcma-
et la
lorsque les cinq tons
de 'octave
fourth,
chromatique lorsque
est
In the Diatonic Scale, the
and
Diatonique
ia
sont divises en demi-tonsce qui en formeradouze dans
in the
compass of the octave.

the third
If
deux demi-tons qui la composent s'enchainent regulierement,

tant en montant qu'en descendant, dans l'ordre naturel.
Elle
form twelve of these
y a deux sortes de Gammes

La gamme est diatonique
tique.
two semitones which compose it, succeed each other regularly

arid in the natural order, whether ascending or descending.
It
is Chromatic when the five whole tones of the Diatonic Scale
are divided into semitones, so as to
Dim:- t>n
Dcs (.amnios.
Scales, the Diatonic
Diatonic
is
mineure, c'est-a-dire composee d'un ton et d'un demi-tone.
"onr. posed of a tone and a semitone.
Major Third.
il
iho Major
dans
le
mode
modele pour toutes
doit servir de
au'res
les
majeur.
scales.
*s^
Scale Ascending.
j2
Gamme
Scale Descending.
Montante.
Gamme
MUOR
THIRD.
Tierce Majeur.
fc
-6
Sbto
Re
Mi
Fa
Sol
La
Si
Ut
Ut
Si
La
Sol
Fa
Mi
Re
Ut
-&-
I22_
;flUt
:&Ton.
Demi Ton.
Ton.
Ton.
Ton.
-&-
Whole Tone. Whole Tone.Half Tone. Whole Tone.Whole T. Whole

Ton.
Demi Ton.
Gamme
Gamme
MINOR THIRD.
:
*'*
La
Cette
-&-
Ut
FIS
Fa
Re
Mi
-&-
^21
~Z2Z
T. Whole" r?"
Demi Ton. Ton
avec les tons et
les
Ton.
demi-tons qui
!a
gamme
servira de
modele pour toutes
les autres
dans
Ton.
Demi Ton.
Ton
Ton.
Ton.
Sol
La
of a piece of
music
is
al(
call
the pr.j
'
indicated
its
La
Fa
Sol
Re
Mi
Ut
Si
La
Ton.
-&Whole T. Whole
Whole T. Half Tone.
Demi Ton.
Ton.
T. Half T.
Ton.
Whole
T.
Whole
Demi Ton. Ton.
T.
Ton.
it
Half T. Whole T.
Demi Ton.
Ton
En
by the number of
Each Major key,
relative Minor key.
descendant on supprime I'alteration de
Le ton d'un morceau de musique
la
7me
majeur, que j'appellerai ton principal,

est relatif,
et 6xta
mbke at
CUaque ton
a un ton mineur qii' hi/
se designe par le nc
Diezes ou de Bemojs qui se trouvent a
at the Clef.
k*v has
21
HA
Ma
tons mineurs.
The Key
6S 43
AGFEDC
GIS
6e. et Te, note sont

ILa
toujourt alteree dans les
Sharp? or Flats which are *""ud
Descendante.
in descending the 7th and 6th are restored to their original pi ten.
7
8
Whole T Whole T.
Whole Tone. Half Tone. Whole T.
lic.h
La Mineur,
de
camme
The 6th and 7th note

are always raised half a
ccie jn the minor scsiea
2
Si
221
HalMrT Whole
Decending Scale.
Montante.
Tierce Mineur.
I!
If
-<S>-
mode mineur.
Scale Ascending.
~ZZL
composent.
rales.
-&-
Half Tone Whole T. Whole T. Whole T.

Ton.
Ton.
Ton.
Demi Ton.
T. Half Tone.
Scale of A Minor, with the tones and semitones which

mpose it.
This scale will serve as a model for all the other minor
Descendante.
la Clef.
CABCASSI'S INSTRUCTIONS FOR THE GUITAK

because
It is cfllfod relative,
number of Sharps
key of C major, and
it is
marked
wnae
or Flats as
the
its relative
key
principal
its
at the Clef
;
by
On le nomme relatif parcequ'il est

meme nombre d'accidents que son ton
the
except
minor, which have no
d'Ut majeur, et de
a minor third below

ihe following table shows.
relative
key
Major.
Sol Majeur.
Be
Major Mode.
E Minor.
A Minor Mode.
Major.
B Minor.
F$
Fajf Mineur.
la
principal
excepte
ou
relatif,
Si|2
-&-
~g7~
D Minor Mode.
Re Mode
Sol Mineur.
Minor.
-*
-&-
fe
22.
Minor.
'n
Cti Major.
TJtijk
Mr
Major.
SolJ2
B|2 Minor.
^ZE
know
shorten the study of the foregoing tables, and to
in
in the signature,
and the minor key four semitones
To know
mode, or in
fifth
natural
altered,
whether
its
we
are in the principal
relative minor,
of the major key
we
if not,
we
is
it is
key of the major
necessary to examine whether
by a sharp
major key if it
accidentally altered
are in the principal
or
is
are in the relative minor.
P-b
Mineur.
Att Minor.
Reft Mineur.
La Mineur.
^"i2^
CJ2
Majeur.
To
abbreviate
by a
kfe
by a
single one,
single sign.
J J J
The Pause t
A* th8 performer
umjaJS
P
22.
is
&
placed over notes and rests, and denotes
may
il
Efe Minor.
Mi|? Mineur.
A|2 Minor.
LaJ2 Mineur.
th ^rfc
JE
22:
l\
Pour abreger l'etude des tableaux precedens. et savoir dan*

un morceau, on remar juera que lorsqu'il n'y a rien
a la Clef, il est en Ut majeur ou en La mineur avec les U
ton majeur est un degre" au dessus du dernier g, pose a la Clef;
et le ton mineur deux degres au dessous
avec les h. le ton
majeur est cinq degres plus bas que le dernier b pose a la Clef,
quel ton est
mineur quatre degres plus haut.

Pour connaitre si Ton est dans le ton principal, mode majeur,
et le ton
ou dans son ton relatif, mode mineur, il faut chercher dans les
premieres mesures du morceau si la quinte du ton majeur est
alteree accidentellement par un ou par un J^
si elle ne I'est
pas, on est dans le ton principal, mode majeur; et si elle est
alteree, on sera dans le ton relatif mode mineur.
;
Abreger c'est representer plusieurs notes par une seule note

ou par un seul signe.
^""T^
$m
-**-*
**-
Le Point d'orgue t*
et sur les pauses
stop at pleasure.
ca
32:
fe:
Dcs Abbreviations.
to represent several notes
is
Major.
Uif Majear.
*:b
Of Abbreviations.
32:
-t=?:
Dfi Minor.
GjZ Major.
b:b=i
S1J2
Majet
-tt
:*:
:#:
3fc
T^b
T^b
kfei
fc
above.
the
la
*&=*=&&&
*=:#-
R<j2 Majeur.
Minor.
Fit Major.
Mineur,
Soltt
Db
Fa Mineur.
which key a piece of music is, it is necessary to know that

when there are no flats or sharps at the Clef, it is in C major or
A minor ; with the #, the major key is one semitone above the
last sharp placed at the Clef; and the minor key two semitones
below it ; with the h, the major key is five semitones below
b_
n'y a riea a
il
Fajt Majeur.
-G>-
the last
le
ton
mineur au dessous de son
tierce
Gti Minor.
fcF
Ut Mineur.
b-
Minor.
Utfl Mineur.
A]2 Major.
La|2 Majeur.
^b
*:
Mineur.
*=**: -&-
C|f
une
Major.
#7*:
22:
EJ2 Major.
Mi|2 Majeur.
Majeur.
:::
To
le
le tableau suivant.
Si Majeur.
g*
BJ2 Major.
Major Mode.
Minor.
--
Fa Mode Majeur
-Jt-
^:
se trouve
voyez
Major.
#r#;-#-
-<s>-
Mi Majeur.
Si Mineur.
f;
Major.
La Majeur.
Majeur.
t"
22.
toi. r elatif
ton principal
& -Q-
Le Mode Mineur. Mi Mineur.
Le
principal key, as
itn
*?5~
its
is
Ut Mode Majeur.
La mineur, son
Clef pai
indique a
Cicf
signature.
The
51
il
^^^^
I
|j
m
C^_l^
se place indhtinctement sur les noiei
indique que l'on pert s'arreter a volonte.
HI
CARCASSI'S INSTRUCTIONS FOR THE tsuifAR
IO
^T.e R-fKAT indicates that the part is to be repeated. When

he dots are before the bar trie previous division u to be
epeated
when
after the bar, the division
Sioneb db Renvois.
:r
D.
C,
'$
indicates that the piece
be played
to
is
Da Capo
ou D. C. indique
is
to
be repeated to the
Le Renvoi
signe jusqu'au
pp
....
ff
sweet,
soft,
mf
very
soft,
au commenc*
sfz
.loud.
cres.
dim.^==
very loud.
suddenly /.
le
moreeao a ce
mot Fin.
Signes Indiqnant les Nuances.
half loud.
.
indique qu'il faut reprendre
.$>
Signs Indicating the Degree of Power.
p means
qu'il faut reprendrc
ment.
indicates that the piece
word Five.
viano or
morcea*
^m^m
again from ine beginning.
The Sign
it
les pc into.
loilowmg.
s^^
Da Capo,
Indiquent qu'il faut repetsr
de musique du cote ou sont places
Le piano ou p, veut
Les 2 pp . . .
increase.
\!f
decrease.
Les Iff
dire douz.
mf
tres piano,
sfz
fort,
....
tres fort
....
demi
fort.
force.
augmente.
cres
dim
...
dimin nt
INSTRUCTIONS FOR THE GUITAR.

METHODE DE GUITARE.
PREMIERE PARTIE.
FIRST PART.
Manner in which the Gnitar
is
Strung and Tuned.
Maniere dont la Gnitare est Montee
The Guitar has six strings ; the three first of which are Gut,
and the three others of silk, covered with silver wire. They
are tuned by Fourths, with exception of the third string, which
is
Guitare est montee avec six cordes, dont les trois premieres
sont en boyau, et les trois autres, en soie
filee d'argent.
Toutei
s'accordent par quarte, a 1 'exception de la 3e., qui s 'accords par

tierce avec la 2de.
tuned a Third below the second.

1st String.
La
et Accordee.
2d String.
3d String.
4th String.
6th String.
2e Corde.
Se Corde.
Sol
4e Corde.
fie
6th String.
E
lie Corde.
Mi
Si
2Z
-&-
Jl
Covered Strings.- De soie filee d'argent
"or
<
Guitar,
Maniere de s'asseoir pour Tenir
and the
Position of the Hands.
To
little
hold the Guitar well,
higher than those in
I stool, of
eg,
it
is
common
the
;
sit
on a
a
on
seat
left foot to rest
throw out the right
drawing back the foot a little the left leg to preserve its
th weight of the body of the instrument to
;
wit orincipally in the left thigh
la Guitare,
et Position des Mains*
necessary to
use
a height proport toned to the seat
natural position
6e Corde.
Mi.
La
-&-
Gtjt Strings.
De boyau
Manner of holding the
Corde.
Re
Pour bien tenir la Guitare, il faut s'asseoir sur un siege ui.

peu plus eleve que ceux dont on se sert ordinairement ; poser Is
pied gauche sur un tabouret d'une hauteur proportionnee a cella
du siege sur lequel on est assis; ensuite on ecarte la jam be
droite
en reculant un peu
position natureile
le
sur la cuisse gauche
le
pied
Ja
jambe gauche conserve
poids du corps reposp n grande parur
<5
Being thus seated, the Guitai

!sft thigh, as seen in the a rawing
This
1NSTFUC1
ASril'g
K(J
is
placed Tausverseiy
'
F';K
tUSiS
n u,v
T B
'i
li
assis
{.ti- fcifc bier;
U IT A R
de ceitf maniere, on pose
position is preferable to all others,
because
and balances
it
it
offers three
so as not to
precedente
Neck between
lightly press the
Nut, the end of the finger board, and the 1st
on the side
fret,
should hang naturally, with the elbow separated
arm and wrist

and held as hammers
the fingers should be separated,
ready to strike tbn strings between the four
The
first
mains soient obligees de
.strings,
when they
still
three
more curved, and the thumb
The thumb
put more under the neck.
is
also
to press on the 6th string for particular notes
word thumb
upon the
are required to reach the other three
the wrist should be
used, the
et
used sometimes
when
On
chanterelle.
to be tnus
du
on the edge, formed by the
should be extended and
;r
the
first string,
and
a little distant
the
on the sound
rest lightly
from the bridge,
b should be extended and placed on one of the cov;s,
the three other fingers a
Moving
strings.
it
the Guitar will be
'
little
curved to be held
the hand towards the Rosette,
much
premieres core es
il
6th, 5th,
frequently,
humb
what
and 4th
Thumb,
strings,
1st,
2d,
on which are
are called bass notes, are played
the three other strings are played in
the
changing the finger at each note

the 3d ringer
in Chords and Arpeggios of 4, 5 and 6 notes.
;
and mellow tone, it is necessary to apply

(with the end of the finger, avoiding to touch the
the nails, the fingers meet the strings obliquely, so
them to vibrate across the finger board,
i
full
rib
of the right hand, in striking th* thick strings,
ys slide
and
upon the string next to the one

rate, and should not be removed but to strike the
jxcept in cases where the string on which it has
i be made to vibrate by another finger immediately
the
r
to,
rest
thumb ought
davantage
On
se sert aussi quelquefois
6me
doigter quelques notes a la
les
les trois
poignet, et de placer
le
le
du pouce de^ cette main, pom

corde, du cote oppose aux autres
Les notes qui doivent
mot pouce, que
etre doigtees ainsi sont indiqueeji
l'on place
au dessous des notes
L'avant
bras
to strike the string
droit
s'appuyer sur
doit
1'eclisse et la table
d'harmonie, dans
Le
un peu
petit doigt doit
meme
d'harmonie pres de
la table
Le pouce
chevalet.
posera
doigts, et
sur
la chanterelle a
une des cordes
without touch-
On
tare
peu de distance du
filees
les
son de
le
la
trois cordes
Guitare, on
la Rosette.
Les 6me, 5me

souvent
pouce,
le
et
autres
trois
les Cordes.
se sert de quatre doigts pour pincer les coides de
ce sont
chevalet.
legerement sui
au dessus des
se tiendront
Lorsqu'on veut adoucir
main vers
du
la direction
se tiendra allonge et en dehors des autres
un peu recourbes,
doigts,
bord lorme pai
le
et se poser
s'ecarter,
Maniere de Pincer
phrases of melody with the 1st and 2d fingers
premieres touches
tombent naturellement sur
pouce plus au dessous du manche.
Strings.
ngs are made to vibrate with the
The
Les doigt*
lorsqu'ils doivent atteindre les trois dernieres,
est necessaire d'arrondir
porte la
ers.
la
coude du corps en ayant soin de
cordes, prets a se poser sur les quatre
de boyau.
softened.
Manner of Touching the
la
paitie
Main Droite.
sound board, in the direction of the Bridge
lie
rest
touche du cote de
poignet Un peu arrondis.
tenir l'avant bras et le
The Right Hand.

arm should
touche, et la grande pha-
la Ire
tomber nature llement
laisser
ecarter le
bras,
le
doivent se tenir ecartes, et en forme de marteaux au dessus des
doigts.
will be placed under the notes.
2me
et
le sillet
doit
entre
du pouce doit poser du cote dea
grosses cordes entre la Ire et la
lange de l'index entre
par le
ht fore
le retenir.
manche
doit presser legerement le
1'extremite
'index,
doigts, dans ci-tte position,
first frets.
fingers in this position will naturally fall
strings
pouce
superieure
the small string.
from the body, taking care to hold the fore

curved
La main gauche
the
The arm
planch*
la
a toute autre parce-
Main Ganche.
thumb and the fore finger the end of the thumb should rest
on the side next to the thick string, between the 1st and
2nd frets, and the large joint of the fore finger between the
:iext to
Guitare traus
la
demontre
qu'elle offre trois points d'appui a l'instrument, qui se trouveoi
The Left Hand.

hand should
le
cette position est preferable
equilibre sans aue les
require the support of the hands.
left
oumme
icjKuciiiciii aui ia cuissc gauclfc,
points of support to the instrument;
The
I i
4me
l'index,
medium
le
et
)a
Cordes, sur lesquelles, s'executent
les notes appelees basses,
se
autres cordes se pincent, dans les
melodie, avec l'index et
le
medium
pincent du pouce
Gammes
et
les
Gui-
cJiuulaire.
le ]>lus
;
les 3
phrases d
alternativement en
change
ant de doigt a chaque note.
Le
doigt annulaire ne pince que dans les accords et arpegei
composes d
4,
5 et 6 notes.
Pour obtenir un son

fort,
plein et mcelleux,
il
faut
pincer
un peu
mais sans roideur avec 1'extremite des doigts en evitant
le
contact des ongles contre les cordes, qui doivent etrp pincees
un peu en
biais.
Le pouce de
la
main
droite en attaquant
ley
grosses cordes, doit toujours glisser sur la corde a cote de ct.le

qu'il
autre
vient de pincer, et ne doit se relever que pour pincer nne

note,
laquelie
dans
le
il
excepte
tombe
meme
terns
pourtant
serait
dans
mise en
le
cas ou la
vibration par
ou lnimediatetnent
un
apres. aloto le
corde
sui
autre; doigl
poinv d"H
(MROASSl'S INSTROCTIONS FOR THE GUITAR.
IX
In
gome cases
is
.t
necessary to p'ay on the 3d and 2d strings
with the thumb, and on the 4th and 5th strings
This
and 2d fingers.
n ven
di
limb, are Avritten
\ ith the
tail
the case in chords, arpeggios,
is
phrases
cantabile
in
wun
with a double
if
tail if
&c, and
to be played alone,
corde sans en toucher aucur.e autre.
la
nombre de cas ou
le
pouce
cordes, et l'index et le
the notes to be played with the
turned down,
attaquer
tne 1st
est oblige
medium
la
II
de pincer
4me
et
les
meme
la
y a un gran
3me
5me
et
2me
corde
ces cas se presentent souvent dans les accords, les arpeges, lei
and
passages de tierces, sixtes, octaves et
double.
chantantes
du pouce, sont
meme
d?ns
les jyj asei
notes qui dans tous ces cas, doivent etre pincee*
les
une double queue

queue tournee par le bas, si
ecrites avec
seules, et avec la
elles frappen.
si
les parties
sont
doubles.
Thumb
lit
Pouce. index, medium, tnd
2d On.
Anger
index
lit
2d
med.
1st
ind.
medium
2d
in
med.
ind.
&M=n
f
HI
iI
I"
Thumb
Thumb
Thumb
Thumb
Thumb
Pone*
Pouce
Pouce
Pouce
Pouce
Pouce
used
is
in
2d
2d
med
med.
r^f
r
Thumb
Thumb
Thumb
Thumb
humb
Thu
Thumb
Feces
Pouce
Pouce
Ponce
Pouce
Pooee
Of Tuning the Guitar.

tuning Fork
td
med
i-^-
-&-
Thumb
An A
3d
med.
lit
Ind.
lid.
if
Maniere d'Accorder la Gnitare.
tuning the Guitar, to which the
Pour accorder
then press the finger on the same
la Guitare
on
se seti d'un Diapason (petit
it
la a tous les instrumentstring at the 5th fret of the finger board, which will then give au ton duquel on accorde la 5me corde la ; on pose un doigt
D to which the 4th string is to be tuned in unison. The la 5me case de cette meme corde qui donne alors re", et l'on accorde la 4me corde a l'unisson de ce iuj ; on pose un doigt a
finger is then to be placed upon the 5th fret of the 4th string,
which will give O, to which the 3d string is to be tuned in 5me case de la 4me corde qui donne alors sol, et l'on accord"
unison
then place the finger upon the 4th fret of the 3d string, l'unisson la 3me corde ; on pose un doigt a la 4me case d(
which will give B, to which the 2d string is to be tuned in 3me corde qui donne alors si, et l'on accorde la 2me cord
unison place the finger on the 5th fret of the 2d string, which l'unisson avec ce si on pose un doigt a la 5me case de la S
will give E, to which the 1st string is to be tuned in unison. corue qui donne alors hi, et l'on accorde la chanterelle
The 6th string, E, is then to be tuned to the 1st E string, but l'unisson avec ce hi. La 6me corde etant un hi aussi, s'lcc
avec la chanterelle, mais a deux octaves d'intervalie.
at the distance of two octaves lower.
5th string, A,
is
tuned
strument d'acier servant a donner
le
EXEMPLE.
EXAMPLE.
5th String.
open.
5th
4th String.
open.
fret.
5me Corde.
vide.
5me.
4me
casi
a vide.
5th
fret.
open.
Cori>e.
5me
case.
4th fret
She Corde.
vide.
5 me case.
&-
-&-
1st String.
2d String.
3d String.
open.
a
open.
6th fret.
2me Corde.
vide.
5me case.
Ibe Corde.
A
La
Dnisan.
Re Umssotu
Unison.
Sol TJnisson.
open.
6me Corde.
a vide.
-&-
-&-
-&r
a vide.
6th String.
Unison
Si
Unisson.
E
Mi
Unison.
Unisson.
2 Octnree.
Or-iare.-
Double
B
Mi
OARCASSI'S INSlxlliOliONS FOR THE GUITAR

After having tuned the Guitar
well to prove
it is
Apres avoir accorde
by sound-
it
en
verifier l'accord
ing the following octaves
13
Guitare par unissons,
la
resonner ensemble
faisant
eat
les
bon d
octave* ui
vantes
-=r
The
~sr
JU
written for the Guitar, to indicate the fingering, and
-&-
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by most authors who have

which are
following are the signs used
-&-
Pom: eviter
embarrassante des signes par
la multiplicity
on a juge a propos de suivre
port an doigter,
Par consequent on
par la plupart des auteurs pour la Guitare.
adopted in this work.
raj
methode adopte
la
se seivira dans la suite des signes suivans pour le doigter.
TfiE
If,
Open string.
DE LA MAIN GAUCHE.
LEFT HAND.
1, First finger.
2,
Second
Third finger.
finger. 3,
0,
corde a vide.
THE RIGHT HAND.

,
First finger.
Second
. .
finger.
. . .
Third
finger,
x Thumb.
index,
. .
index.
1,
There
the
the
are as
many
hand
hand
is
is
thus,
when
on the Finger
II
y a autant de
determines the position in which
e'est le
is placed on the 1st fret,

and so on with the other posi-
se trouve.
the 1st finger
in the 1st position,
positions qu'il
Ainsi lorsque
2me
on which they are to be placed.

The open strings are indicated by 0, the 1st finger and
1st fret by 1, the 2d finger and 2d fret by 2, the 3d finger
and 3d fret by 3, and the 4th finger and 4th fret by 4.
The fingers of the right hand are indicated by x for the
Thumb,
. first
finger,
frets
. .
doigt sera place a la Ire case ce
avancera a
la
2me
case>on sera
suite.
Ire
POSITION.
Les chifFres places sur les notes indiquent les doigts de

main gauche, et les cases ou touches ou il faut les poser.
Les cordes a vide sont indiquees par un 0. le ler doigt et
Ire case par 1, le
et la
3me
2me
doigt et
case par 3, et
Les doigts de
la
le
main
indiques par les signes
second finger, ... third finger.
il
LES NOTES, DANS L'ETENDUE DE
LA
figures placed over the notes indicate the fingers of the
hand, and also the
de
position, et ainsi
THE FIRST POSITION.

The
le ler
quand
GAMME ENSEIGNANT
GAMUT SHOWING THE NOTES, AND THE EXTENT OF
y a de touches sur le mane tie

la position dans laquelle on
premier doigt qui determine
sera a la Ire position
a la
tions.
left
annulaire.
Des Positions.
positions as there are frets
It is the 1st finger that
3,
DE LA MAIN DROITE.
medium, ... annulaire, x pouce.
The Positions.
ooard.
medium.
2,
la2me
4me
case par 2, le
doigt et la
4me
droite avec lesquels
pouce,
index,
il
li
Joi^ji
case par 4,
faut pincer, sont
medium,
. .
3me
la
et .
an-
nulaire.
NATURAL
6th String.
6me Corde.
GAMME NATURELLE.
POSITION.
4th String.
4me Corde.
5th String.
5me Corde.
3d String.
3me Corde.
O
2
2d String.
2me Corde.
1st String.
?f ri^
Exercises
3"
^=2
Ire Corde
1
3
Exercises pour apprendre a
in the 1st Position.
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lire les
^^m
5ih frei.
5iue Case*
notes a la Ire Position.
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CAICASSI'S INSTRUCTIONS
11
FOIt
THE
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533
Gamut with
Gamme.
5th String.
6me
5me Corde.
Corde.
t*f4f*T T f
P^PPPP
Gamme.
Ô
#--*
Corde.
Ire
If
notes avec les Bemols.

1st
5me Corde.
4me Corde.
3me Corde.
2me Corde.
Ire Corde.
String.
^&M^s^mm^
0123
01234 01234 If
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2d String.
Exercise pour apprendre
Flats
a lire les notes arec les Diazes et les Bemols.
X g*
J^^J^z#4"
...
V
X
v
X
^ X
v X
^
5
:p=p:
X-
^^5 to
=x
1st String.
Sd String.
Exercise with Sharps and
ff^
notes avec les Diezes.
1234
lire les
4th String.
lire leg
iSpXSpzfr*
Pour apprendre a
-<s-
5th String.
ffî ^hrrr^t^234
1
2d String
2me Corde.
Sme Corde.
Gamut with Flats.

6th String.
6me Corde.
Pour apprendre a
3d String.
4th String.
4me Corde.
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Sharps.
6th String.
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ARC A SSI'S INSTRUCTIONS FOR THE
IT
IT A
Of the Chords.
The
ter
on which
La reunion de
is
plusieurs notes que Ton
to
be played
strings,
composed of three
is
notes,
they are to be played with the thumb, is
quelles que soient les cordes sur lesquelles
the fingers take the three other strings.
autres doigts pincent les trois autres cordes.
if
composed of four
notes, the
That
all
may sound
the notes of a chord
that the fingers of the left
it is
hand should be curved
mers, be pressed on the strings near the
to act as
hamaf-
the fingers of the
hand should be placed against the strings intended to be

and not to be moved but to put the strings in motion.
Chords are always divided, or played in Arpeggios thus
the notes are played one after the other, from the lowest to the
on y ajoute
l'annulaire, et
pouce pince en glissant
Pour que toutes
necessary
and without
frets,
of the other strings
fecting the vibration
well,
pince avec le pouce, l'index et
que
le
s'il
les notes
s'il
trois
d'un accord resonnent bien,
vibration des autres cordes
puis
on placera
les doigts
Les accords
a-dire
les
Examples.
*E
i S Notes.
--
5 Notes.
(0-
-0-
r t
a 4 Notes.
Effet.
brises
ou arpeges
c'est-
en
meme
raeme
effet
que
Effet
slow movements the chords are played, or arpeggioed

slowly, in character with the movement, which is often indicated
6 Notes.
Effect.
tems.
Effect.
^S
-4-
5 Notes.
In
a 6 Notes.
Effet.
Effet,
Dans les movements lents, les accords s'arpegent plus lenifcment que de coutume, souvent on les indique par ce signe
qu
l'on place a cote de l'accord.
Dans les movements vifs et prononces, et qui exigent beaucoup de son de la Guitare, ce meme
|
and which is placed before the chord. In quick

movements, which are to be played with energy, and require
much sound from the Guitar, the same sign is used to indicate
that the thumb must be slid rapidly and with force across the
strings which form the chord.
by
this sign
j,
signe place a cote d'un accord, indique qu'il faut

laissant glisser rapidement, et
Du
The
Barrer is made by pressing the 1st finger on two or more

on the same fret.
There are two Barrers, the Great and the Small.
In the small Barrer the first finger stops but two or three
strings,
strings.
In the great Barrer, the
1st.
le
1'
executer en
pouce sur toutes
les
Barrer, c'est
la
meme
appuyer
Barre.
premier doigt sur plusieurs cordes
le
case.
y a deux Barres, le grand et le petit.

Dans le potit barre, le premier doigt ne
II
barre que
deux on
trois cordes.
first
finger stops the
whole of the
six strings.
To
avec force,
cordes.
The Barrcr.
a>
EXEMPLE8.
Effect
4 Notes.
"
.a
la rr^cin
notes les unes apres les autres, mais avec
assez de vitesse pour qu'elles produisent le

elles etaient pincees
Effect
un peu
se font toujours
en pingant
de
a etre pincees, et on ne les
relevera que pour mettre ces cordes en oscillation.
Chord with 3 Notes.
faut
il
pressent les cordes pres des touches et qu'ils n'empechent pas
droite contre les cordes destinees
being struck together.
le
les
de la main gauche, courbes en forme de marteaux,
les doigts
right
but sufficiently quick to produce the effect of their
J.e
de quatre
est
notes basses, et
struck,
highest,
on
de cinq ou six notes
est
deux ou
les
notes
trois
s'execute,
il
mddium
notes,
entendre svm;.
compose de
Si l'accord qu'on vent execuler est
no mat-
3d finger must be
added if of five or six notes, the thumb must play the two or
three lowest notes by sliding from one string to the other, and
and 2d fingers
fail
lanement s'appelle accord.
sa.ed a chord.
chord
Accords.
lies
union of two or more notes played simultaneously
If the
S3
Dans
grand barre
le
longueur toutes
do the great barrer with ease, it is necessary to raise the

and to place the thumb entirelv behind the Neck.
Small Barrer.
Petit Barre
'J ;
l-M
(|V-
Pour
faire
et porter le
le
premier doigt bane tins toute
v*
les cordes.
facilement
pouce
le
grand barre
il
tout-a-fait derriere le
Great Barre. _
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Grand Barref
M.
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i+
faut ha isser le poigr**
manche.
CARCASSI'S INSTRUCTIONS FOR THE GUITAR.
i<
Of Arpeggios.
An Arpeggio
number of
is
uniform order, and which,
when
Des Arpeges on Batteries.
notes played successively in
Onappelle arpeges ou batteries, un nombrc de note? p. nee*

successivement dans un ordre uniforme, et qui reunies, forment
des accords.
Sur la Guitare les arpeges so tit tres usites paice-
united, form chords.
Arpeggios are used on the Guitar because they produce an

agreeable effect on the instrument, and as studies, they give
the Arpeggio well, before
of the left
making
the strings vibrate the fingers
to pass to
fingers
is
the next chord.
were
struck,
is
to quit the notes as soon as
indispensable
of the entire chord would be obstructed
each note
is
The
part.
should not touch the strings, but to
the
hand
make them
with
vibrate
au fur
to
show the fingering of that hand in

Each Arpeggio ought to be repeated
which
les
faut avant de
pincer les
soient poses simultane-
on arpege
et
autre accord.
main
la
will serve
similar passages.
Ces arpeges sont
si les
doigts quittaient les notes
les pince,
droite ne doivent toucher les cordes
le
doigter de cette
Chacun de
several times in succes-
ana as soon as the pupil is able to execute several with

he may undertake the study of the eight Arpeggios at page
without however abandoning the study of these'.
ecrits
dans
le
voyea
but d'exercer la main droite,
et d'etablir les regies generates qui
main dans
scrviront a faire distingue^
tous les passages analoguss.
ces arpeges doit etre repete plusieurs fois de suite
Aussitot l'eleve
*ase.
il
The
il
main gauche
mettre en vibration, a l'exception du pouce
sion,
19,
arpeges,
ARPEGES A TROIS ET A QUATRE DOIGTS
given for the purpose of exercising
all
aux doigta
page 11.
ARPEGGIOS WITH THREE AND FOUR FINGERS.

to establish general rules,
înstrument,
essentielle.
la
and
un
mesure qu'on
Les doigts de
the right hand,
l'agilite
on empecherait la resonnance
complete de l'accord dont chaque note isolee forme une partie
et a
que pour
are
les
Cette regie est de rigueur
exception of the thumb, as described page 11.
These Arpeggios
de
sur les notes formant l'accord sur lequel
doigts pour passer a
of which,
fingers of the right
particulier
la force et
lorsque la derniere note de l'arpege a ete frappe, on leve lea
they are struck, the
vibration
an essential
if
effet agreable et
donnent de
la
ment
the fingers should be raised
This rule
ils
cordes, que les doigts de la
note of the arpeggio
last
etude,
main droite.
Pour bien executer
de
hand should be placed at once on the notes forming

which the arpeggio is to be played and when the
the chord on
un
qu'ils produisent
To execute comme
strength and agility to the fingers of the right hand.
commencera
a en executer plusieurs couramment.
pourra entreprendre I'etude des huit arpeges de la 'page 19
sans cependant abandonner I'etude de ceux-ci.
chords written at the top, are those from which the 22
Les accords
ecrits
en
tete ont servi a
former
les
vingt
dem
arpeges qui en derivent.
following Arpeggios are derived.
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Arpeges a
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CARCASSl'S INSTRUCTIONS FOR 1HE 1UITAR.
17
Arpeggios with A fingers.

Arpeges a quatre doigts.
5.
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The thumb
En
gliding on the first two notes.

glissant Ie Pouce sur les deux Ires notes.
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With
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a trois
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The thumb
En
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gliding from one string to the other.
Pouce de corde en corde.
laissant glisser le
\o. 21.
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Xo.22.fe
To
facilitate the
the execution of the left hand,
have written on an upper stave
over each bar, the chord which

written on the stave below.
the chord
is
The
to
la
les
accords plaques qui sont detailles audesse
ts
Avant d'executer les arpeges, l'eleve saura deja oj

sont les acccds qui les composent et sur lesquels il faut posei
les doigts par un seul mouvement.
Les points qui lient les noles
d'un accord a l'autre servent a indiquer que le doigte de ces
notes n'a point change dans l'accord suivant
les doigts qui les
show
that the fingering of these notes has not changed, and that the
ringers
mesure,
le mecanisme d
une por f ee superieure dans la
de ces huit arpeges, et
ecrit sur
j'ai
en arpeges.
be placed.
dotted lines from one chord to the other, serve to
faciliter l'etude
main gauche,
meme
be played Arpeggio, as
pupil will see at a glance,
composing the Arpeggio, and on which notes the
ringers are to
The
Pour
study of the eight following Arpeggios, and
which press them must remain unmoved.
pressent doivent rester immobiles.

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The
may
Guitar
instruments,
be played in
all
are
major and minor
cises
As
other
than others.
;
have therefore placed
of this work, the Gamuts, Cadences and Exer-
think
it
important, however, to be acquainted with
ail
and that they should be practiced, I have placed ip

second part of this method all that I have thought necessary
U>x thii
purpose.
La
Guitare peut jouer darns tous
les instruments, elle
nent
le
mineur,
La majeur
les
a ses tons favoris.
mieux, sont
et
tons,
mais
Ceux
comme
tons
qui lui convieir
Ut majeur, Sol majeur, Re majeur e.

mineur, Mi majeur et mineur, et Ka na-
jeur.
Les autres sont

fiequent du Barre
ouvrage, que les
only in those keys most in use.
the keys,
the
it
all
other keys are difficult, because they re-
quire too often, the use of the Barrer.

in the first part
to
most suitable, are C, major G, major D,

E, major and minor
A, major and minor
The
and P, major.
keys, but, like
has some keys more favorable
it
Those which
difficiles parcequ'ils necessitent l'empioi trop

;
aussi je n'ai
note dans
la
Ire partie
Gammes, Cadences, Exercices
et
de ce
morceaus
progressifs dans les tons les plus usites-
Cependant comme
je
pense qu
tous les tons et de s'y exeicer,

cette Mt'thode tout cr
que
j'ai
il
f'ai
est
important de connaitro
place dans la
2me
partie d
cru necessaire pour arriver a c
CARCASSI'S INSTRUCTIONS FOR THE tfLlTAU.
Gammes, Cadences, Exercises
Gamuts, Cadences, Exercises and Preludes.
To
at
i
t
facilitate
the fingers of the
ated.
left
hand should beheld
and so placed, that they
finger
may
it
is
necessary
de
sufficiently sep-
be put on, and taken
which
to finger the
is
placed on a note, should not be
moved but
II
note following, unless this note should be an open
Gamuts ascending,
the finger
to sustain the
Dans
this caution
harmonious
and
Little
Pieces, care
must be
il
le doigt place sur
moins que
gammes montantes,
ne faut pas
retirer
une note, qu'en doig-
eette note ne se fasse a vide.
iursqu'on passe d'une corde
vivement
ti >>p
le
doigt de la corde
de cette corde a vide.

Preludes et les petits morceaux suivants on aura
quitte, afin d'eviter la vibration

les
autres parties
necessary, in order to obtain a full and
cette condition est
i.
T.essaire
pour obtenir un jeu
plein et harmonieux.
style.
En Ton
Key of C Major.
3
Gamut.
soin de bien observer la tenue des *otes, tant a la basse qu'aux
notes, as well in the Bass, as in the other

is
les
autre,
que l'on
it
open too soon.
In the following Preludes
parts
une
passing from one note to another,
raised too quickly from the string, lest
must not be
vibrate if left
aken
ne faut jamais lever
tant la note suivante, a
Dans
when
poser et les lever sur les cordes, sans deianger
main.
string.
In
Pour faciliter l'execution des Gammes, il faut que les doigtt

la main gauche se tiennent assez ecartes, et places de mariier*
a pouvoir les
oft'
without moving the hand.
le strings,
the execution of the Gamuts,
et Preludes.
SE
i ^-+ ^
iQ
VSr
5g
Cadence.
d'Ut Majeur
ig
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II
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II
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Exercise.
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24
Key of G Major.
a
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WW&
En Ton dc Sol Majeur.
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CAltCASSI'S INSTRUCTIONS FOR THE (JUITAlt
tt
Key of D Major.
To
advance the
hand
left
Gamut
the
facilitate the fingering in
secessarv to
mr*
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string,
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Lorsqu'on trouve deux notes ensemble qui toutes deax sa

meme corde, on fait la plus haute a sa place ordi-
which are to be played on the same string

must be taken as usual, and the lower one
the fourth
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deuxieme tone le.
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Oamme
la
main gauche
31
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dans
faciliter le doigte
faut avancer la
il
#1#- #
"
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Major,
fret.
:Q~'
Cadence.
of
second
to the
13112
<a mat.
Ton dc Re Majcur.
Kit
on
fait le
la doigte sur la
Re
sur la
4me
2me
corde suivante.
corde, et le Si sur la
3ine corde a
la
On fait le
2me corde a
Sol sur la chanterelle, et

la
5me
case.
case.
le
Mi tux
la
!ARCA8SI'S INSTRUCTIONS FOR THE GUITAR.

a
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2
En Ton d La Majcur.
12
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14
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En Ton dc
Key of E Major.
2412 412
12
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Key of F Major.
1*
Gamut. X-b-
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33
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INSTRUCTIONS FOR THE GUITAR
Key of A Minor.
r-tmut.
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3<;
Hey of K minor.
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Key of D Minor.
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37
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CAfiCASSI'S INSTRUCTIONS Fun THE GUITAR.
La musique de Guitare exige
Guitar .msic aimost always squires several parts, which

nrreases
le difficulty 01"
habit of
the
n-quired
execution, unless the pupil has already
moving each
The
separately and independently

v->ry useful in
fpoated
*ame time apply himself

hird part,
and afterwards
twelve
to the first
may
at the
pieces of the
little
second
to the exercises of the
fois
la
part.
de
suite.
,r
troisieme partie
0-
et pourra suivre ensuite les exercices
de
is
partie.
memos
les
doiats de la
main
droite.
^"^
TO
,.d
=?
sij
L'eleve pourra, tout en travaillant ces exeicice*
Suivez avec
*^
IZ
20
pw
entreprendre d'etudier les douze premiers petits rrorceaux Xt
IX
=*
1.
3#-
Les 22 exercices suivans sont tres convenables pour arriv

Chacun de ces exercices doit etre repete cinq ou
seconde
Continue with the same fingers of the right hand.
\o.
ce but.
practising these exercises, he
is
plutfieui
gauche, par une impulsion, independante des autres doigts.
Each of them should be
rive or six times.
Whilst the pupil
toujorjs
acquis a l'avance, l'habitude de diriger chaque doig; de la rrair
finger of the left hand,
following 22 exercises are
obtaining this object.
presque
parties, qui presentent desdifficultt3 d'execution, lorsqu'on n
im\
3*
~Z0
-0
f-
No. 2.
No. 3.
No. 4.
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CARCASSI'S INSTRUCTIONS FOR THE nulTAR,

in G.
Ed
No.
Sol.
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i,ARCASSI'S INSTRUCTIONS FOR THE GUITAK.
40
SECOND PART.
SECONDE PARTIE.
Of the
Two
Des notes coulees
Sliir.
more Notes pl?yed successively, of which only the

made to vibrate by the right hand, and the others by the
first is
or
mere pressure of the fingers of the
hand, are called slurred
left
et liees.
On appelle notes coulees deux ou plusieurs notes feites sue

cessivement, dont la premiere seulement est mise en vibration
par la main droite, et les autres par la seule pression des doigta
de la main gauche.
notes.
To
Slurs are performed both in rising and in descending.

ecute slurs of
two
note?, in rising the
and the finger of the
left
is
to be played,
like a
hammer and
lower note
hand descends
Les coules
ex-
en montant et en descendant. Pour exedeux notes en montant, on pince la note

tomber le doigt de la main gauche, en forme
se font
cuter des coules de

grave, et on laisse
with a good deal of force upon the higher note, which must
de marteau,
sound from the mere impulse of this finger.
resonner par la seule impulsion de ce doigt.
In descending, the higher note

finger
which pressed
string
note
is
the lower note
little,
made
is
is
notes fh\ch are to be
S/.URS
it
by
this
En
played, and drawing the
one
made
side, so as to
to
sound.
touch the
If the latter
must be prepared before the
to vibrate.
indicated
fi'ir is
to
little
not on an open string,
higher note
The
it,
is
^-
--^.
avec assez de force, sur la note
descendant on pince
qui la comprimait.
lacorde, on
pas a vide,
soit
sign
et
fait
il
note
cote,
aigiie, et
resonner la note grave.
le
que
la
note
aigii*
est
mdique par ce signe ^-
>^,
place sur es
not
qu'on doit couler.
slurred.
COULES DE DEUX NOTES EN MONTANT ET EN

DESCENDANT.
OF TWO NOTES RISING AND DESCENDING.
the
doipt
Si cette note ne se fan
faut qu'elle soit preparee avant
^3
mr 5=j
Pincez
le
de maniere a pincer un peu
Play the E and place the first finger on P.

Pince lc Mi et appuyez le ler dotgt sur le Fa.
Pay
en retirant
qui doit
mise en vibration.
Le coule
placed over the
la
un peu de
aigiie,
and draw hack the finger to sound the E.

et retirez le doigt pour faire entendre le Mi.
Fa
Play the B and place the 3d finger on C.

Pincez le Si et appuyez le 8e doigt sur l'Ut.
i
Play the G and draw back the finger
Pincez le Sol et retirez le doigt pour
to
*^
d:
-&-
sound the F.
entendre le Fa.
faire
-&-
-&-
There
are also slurs of
lerent strings,
which
two
notes, in descending,
are called " Vibration Slurs."
lh*m, play the higher note, which in this case

open, then str
vhich
is
>e hard with
to be slurrel,
impulse of the finger
is
To
dif-
perform
almost always
hand the note

be sounded by the mere
the finger of the left
and which will
on two
On fait aussi des coules de deux notes, en descendant, sui

deux cordes differentes, qu'on appelle coules par vibration
Pour les executer on pince la note aigiie, qui dans ce cas, esi
presque toujours a vide, puis l'on frappe fortemeut a\ ec
de
la
main gauche
la
le doigl
note devant etre coulee, et qui resonnen
par la seule impulsion de ce doigt.
OARCASSI'S INSTRUCTIONS FUR THE GUITAR

is also produced by sliding the
hand from one string to the other in this
note must be struck rather hard and the thumb
En montant on
in rising the effect of the slur
thumb of the
rase the
Iide
right
first
with de'icacy over the next
pouce de
produit aussi
main
la
du coule en
l'effet
droite d'une corde a l'autre
faut attaquer la premiere
avec delicatesse sur
string.
41
la
un peu
note
glissant
le
dans ce cas i
fort et glisser le
pcjci
corde voisine
Play the E and strike the 3d finger on D.

Pincez le Mi et frappea le 3e doigt sur le Re.
same.
same.
Hil^^siipl
Vibration.
T_t
Slide the thumb.

Glissez le pouce.
same.
same.
^S-:
dtr._t~
Vibration,
same.
1=3=:
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CAKCASSI'S INSTRUCTIONS FOR THE GUITAR
I '2
Slurs of three or four notes are

."jse
made
same manner
in the
Les coules de
as
note in vibration with
of two notes, by setting the

and laying on or withdrawing, according as the
ur
is
ascending or descending, as
rand as there are notes
ou quatre notes
se font par le
meme
que ceux de deux notes, en mettant en vibration
'
mojrB
many
premier*
la
note avec la main droite, et en appuyant, ou en retirant succes-
the right hand,

s
trois
first
sivement, selon que
fingers of the left
le
coule est ascendant ou descendant, antanl
de doigts de la main gauche
to be slurped.
descendant
qu'il
Er
y a de notes a couler.
faut toujours preparer les notes qn'on doit couloi
il
excepte celles qui se font a vide.
Slnrs
Shart the Mi, and then place successively the

the \iird
\ym
first
De Trois Notes
Coules
of Three Notes.
finger
upon the Fa, and
Pincez
le
Mi
appuysz successivement
et
le ler.
doigt sur le
Fa
et le
le
mi
le Sol.
the Sol.
Id.
Id.
Example.
bk
EEÊBEB
4-
^4
1-
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i
i-
mi
1_
&-
5 5
Sharp the
Sol,
and successively remove
the. fingers to
produce the
Fa and
Pincez
Sol et retirez successivement les doigts pour faire le
le
Fa
et
mMi.
Id.
-i
:
:
Slnrs
Example.
Id.
m^
T
F
of Four Notes.
Conies
De Qnatre
Notes.
jH9-
:5
Scales, too,
may
In this
thumb, letting
it
the thumb.
string to vibrating,
s-e
you sharp the
Double notes
with the
slide fro.n siring to string.
Example.
In this last
On peut aussi executer des gammes en notes coulees, tant ei

montant qu'en descendant, d'un seul trait.
Dans cette gamine, on met la corde a vide en vibration ate*
le pouce en le glissant de corde en corde.
be executed in slurred notes, ascending or
by a mere sliding of
scale you set the open
lescending,
a. so
may
first
note,
and
sr""l
slur all the rest.
be slurred, but only two by two.
jr
Ti
Dan
On
t w
celle-ci
on pince
_~
la Ire. note et l'on coule tout le retto
coule aussi les ioubles notes;
en deux.
Example.
t~l
i"
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mais seulement d detu
(JAROASoiS INSTRUCTIONS FOE THE UUITAK.

The
The
ilides
Slide
is
Da son
Slide.
performed by one finger of the
along the neck in passing over
all
left
Le son
hand, which
2d note, after having struck with the right hand the first
two notes. The slide produces a good effect on the
gr itar, because it imitates the sound of the voice. It is indicated
the
la
bv
this sign
le
Glissez le 2e doigt
dn Fa au La.
Glissez le 3e doigt
On
fait
given to a small note, which sometimes
is
of
To
is
same as
crossed at the end.

slurs,
The
du Re au
aussi des glisses

8
A-#-
On donne
nom
ce
a une petite note qui souvent prend
elle n'a
qu'une
tres court*
par
of the left hand.
pale avec le doigt de la
the
quand
Is
cas,
Pour distinguer l'appoggiature breve de la longue, on l'ecrit

une croche coupee d'nne ligne transversale. Les petitei
notes s'executent comme les couies en donnant l'impulsion de la
long Appoggiatura, the
small notes are played the
main droite a
note, preceded by a small note,
is
accompa-
more parts, the small note must be played with

accompanying parts, and the principal note be slurred imme-
by one
Dans ce
duree, on l'appelle appoggiature breve.
giving an impulse to the small note with the
When a common
Si.
en doubles notes.
right hand, and making the principal note sound with the finger
nied
to B.
e'est l'appoggiature longue, et
called the short Appoggiatura.
distinguish the short from the
former
lei
la
moitie de la valeur de la note qu'elle precede.
In this case it is
half the value of the note which it precedes.
has
but
a
very short durathe .ong Appoggiatura, and when it
it is
maic
Des petites notes on Appoggiatnres.
Small Notes or Appoggiatura.
tion
la
îSîliiigi
;i^*lif: 8|5
B=E
This name
un seul doigt ae
long du manche en passant sur touies
s'indique par ce signe
is
porte, s'execute par

le
Slide the 3d finger from
Slides are also performed in double notes.
on Porte.
son porte de la voix.

II
to A.
Glisse
deuxieme note, apres avcir attaqu*

premiere des deux notes avec la main droite.
Le glisse produit un bon effet sur la Guitare, parcequ'il imite
el
ou
touches de la premiere a
to the
Slide the 2d finger from
glisse
gauche, qui glisse
the frets from the 1st
43
or
la petite note, et
en faisant resonner
main gauche.
naire, precedee d'une petite note,
plusieurs parties,
il
d'accompagnement
est
la
note princi-
Lorsqu'une note
orli-
accompagnee d une
>>a
faut pincer la petite note avec ics parties
et couler
immediatement
la
note principile.
diately.
Long small notes.

Petites notes longues.
Short small notes.

Petites notes breves.
^==p
Written.
s^m
flayed.
Small
nrttis to
be >!yed with the notes of Accompaniment.
=gp=*
Petites notes frappant avec des notes d'accompagnement.
m ~w
TTij ^^
mn cF
ws -55=a-i4-*
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<:ARCASSI'S INSTRUCT IONS FOR THE GUITAR
4 4
Double Small Notes, or Appoggiatnras.
Two
Appoggiaturas are executed in the same manner as two
(inncipa
i*r
Petitcs Notes Doubles.
notes slurred; only with more rapidity, since the
Les
les
lat-
mais avec plus de vitesse
donne aux notes coulees toute
receive their full value, whereas the small notes borrow
^-oiew hat from the duration of the principal notes.
meme meyen
petites notes doubles s'executent par le
coules de deux notes
paicequ'i;
valeur qu'elles representeut
la
tandis que les petites notes ne s'executent qu'aux depens de
In
valeur des notes principales.
Indication*
=g=^j
^jpjf^4^^fe=^
Execution.
.HORT PIECES FOR THE PRACTICE OF A?POGGIATURAS.
llouerav
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&
MORCEAUX POUR EXERCER LES PETITES
PETITS
NOTES.
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1!
CARCASSI'S INSTRUCTIONS FOB THE GUITAR.

Of the Gruppetto.
Fhis
is
name
Ihe
jf the principal note
and below.
By
1.
It is
of a group of appoggiatura notes,
and
indicated
By beginning with
3.
By
This
is
and performed
beginning with the auxiliary below,
most
treatises,
and indicated
:53
!5ES*c
J;
or
it is
th
(^.)
Par
l'auxiliaire superieure,
('^.)
3o.
Par
l'auxiliaire inferieure,
{"+*.)
(^,) and thus
t>'-ar
-to-
X*.
tst
ways commenced with the upper
Indication.
IfrccHtion.
IE
J*
&
With
Avec
auxiliary.
(^.)
IL
II
the lower auxiliary altered.

l'auxiliaire inferieure alteree.
-lb*-j-
it is
-9-
t=t
dieze ou bemol. on l'indique ainsi pour l'auxiliaire superieure
fc!
Si une petite note du grouppetto devait etre alteree par ua
superieure alteree.
tne Gruppetto stands between two piincipal notes,
petit*
With the note below.

Par l'auxiliaire inferieure.
be altered by a Sharp or
the upper auxiliary altered.
lFE5*ga
II est
Indication.
When
(4^,) et pour l'auxiliaire inferieure,
l'auxiliaire
compost de h
par la note principale av*c one
2o.
With the note above.

Par l'auxiliaire superieure.
auxiliary beiow, ("^.)
With
Avec
petiles nc es
-^.)
1^
thus indicated for the auxiliary above,
Execution,
A #\
un groupe de
En commengant
lo.
note,
P-
If a little note of the gruppetto is to

f"at,
ainsi
principale et de l'auxiliaire superieure et inferieure.
-*-m
Gruppetto beginning with the principal note.

Gruppetto commengant par la note principale.
Execution.
r.iote
Gronppetto,
jndique et s'execute de trois manieres
B (^.)
C (^.)
EXAMPLE.
Indication.
On nomme
'
A ( #^ ^-.j
the auxiliary above,
caIed inverted in
ways
in three
beginning with the pimcipa. ucvs,
2.
composed
auxiliary note immediately above
its
Ba
Quand
le
commence
grouppetto se trouve place entre
toujours par l'auxiliaire superieure.
leux noiem so
;arcassi's instructions for the guitar
4<;
Of the
'Fhe Trill
where a note alternates, for a longer or shorter
in
lime, recording to
which
its
The
the auxiliary note.
* ith
tion
1.
it,
and which
Every
the principa' note.
the Guitar the Trili
By
snapping the
is
first
note
termed
and end
have a termina-
Trill should
this termination consists of the tone or
by
is
Trill should generally begin
the principal note.
followed
On
value, and very rapidly, with the
a tone or half a tone above
is
Da
Trill.
semitone below,
(See following Examples.)
made
principale, et finir avec elle.
minaison
Sur
rest of the
TmU
2
la
lo.
By
snapping the principal, and slurring the auxiliary
By
taking the two notes upon two different strings with
2o.
the left hand,
and snapping them with two or three
fingers.
Guitare on
fait le trille
trois
manieres
la
premiere note et en coulant
En
pingant
la
note principale et en coulant ia note aux-
3o.
la
En
preparant les deux notes sur deux cordes diffe'rentei
main gauche,
et
en
le reste
do
pingant avec deux ou trois doigu
les
2d manner.
2me maniere.
1SL
tS>
mi
Termination.
Terminaison.
#F#F#F#F#f-#-,#
Execution
de
pingant
manner.
&
**&
note principale.
la
En
Ire maniere.
Indication.
de
suivi
iliaire.
avec
1st
doit recevoir
une terun ton ou demi-tor

(Yoyez les oxemplei
trille
trille.
uotf
3.
Chaque
cette terminaison consiste dans
suivans.)
and slurring the
note,
on Cadence.
une note qui selon sa valeur, alterne 1 is oC

moins longtems, et tres vite, avec une autre note qui se trouvf.
un ton, ou un demi-ton plus haut, et qu'on nomme note auxu
iaire.
Le trille doit generalement commencer par la not*
Trille est
inferieur
ways
in three
Le
Trillc
id.
C^#5^gqg-a
r4r*-F#r#ffiF
3d Manner.
3me Maniere.
Just so with an accompaniment.

arec une partie \
De la me me maniere
iani e re avec
\X d'accompagnement.
rr
-G-
Indication.
-zsl
f>T
-G-
-iJ*" -
Fingering of the Right hand.

On le doigte avec la main droite.
id.
-^ss^^m
Execution.
XX
X
\Tien the short duration of the note on which the Trill
made, or
when
M> longer a
the following note prevents a termination,
Trill,
but merely a note
is
it is
Lorsque
ou
trille,
la courte
un
n'est plus alors
trilled.
duree de la note sur laquelle on fan

empeche de faire une terminaison.
la note suivante
trille,
mais simplement une note
Usually written.
Signes usites.
Indication.
:#A
5es
;l
Execution
imJ317j-
*=F
r****i
I*,
++\
we
**A
=r*
mi
..
i~
tril t.
-^
M-*-j
**-
j * j
--
CAROASSI'S INSTRUCTIONS FOR THE GUITAR

Du Mordente.
Of the Mordente.
This ornameru
and short notes
latter
it is
is
a fragment of a Trill.
It is
made upon long
Cet ornement est un fragment du
but has a particularly fine effect upon the
by the
indicated
Indication.
sign,
notes longues et courtes
dernieres
:&:
*=P=
ts
Aidant
fey
sss
=t
il
trille.
se fa
sur dei
surtout d'un bel effet sur
est
cm
on l'indique par ce signe. *
Mordente upon short notes.

Mordente sur des notes courtes.
f^^kt*
-^*
^m^^Ê^^m
Mordente upon long notes.

Mordente sur des notes longues.
Execution.
4?
*<3*=m=?
JZ
-W-g
rz9t
m ~p t f
êM%
$zB=5SlEz
p-'
i
g^-r
p^^F^ ^
1
Muffled Tones.
To damp
or smothei the sounds,
Sons
you have only
Pour
to plac3 the
etouffer les sons,
il
-*-'
fttouflVs.
de poser
suffit
les doigts
de la man.
tmgers of the right hand upon the strings just snapped, after
droite sur les cordes qu'ils viennent de pincer, apres les avcii
allowing them to vibrate during their written value, (whiiih
laisse vibrer
is
Uhords of
the right
five or six
hand upon
all
notes are sharped by laying the palm of

the strings, near the rosette.
Sostcnnto.g^=zzzz^-:^.___=Jt
g
r^
pendant
la
valeur qu'elles representent qui est d'un
seizieme.
here a sixteenth.
*-
J__
Les accords de cinq ou six notes s'etoufFent en posant la par>

me de la main droite sur toutes les cordes, pres de la rosette.
^z
î|-p=*=;_^
T~l -v
Fouce.
-"
"#1
j=h
&
Thumbs.
^z^===p
7"
-f
3
M~
In
Uiuiiu.
-f
p."
g-? r
""
'
..
fI
48
Positions.
Positions.
TLere are twelve positions on the finger-board of the Guitar

Hmong those there are five which are called rincipal positions,
*s they are most in use. and a knowledge of them is sufficient
io get
II
nombre
pieces,
in
il
manche de
la
Guitare
<**
patn.
y en a cinq qu' un
pour donner întelligence des autres.
positions are the 1st, 4th, 5th, 7th
f he study
le
nomme positions principals, far

cequ'elles sont les plus usitees, et que leur connaissance suffit
acquainted with the others.
These
y a douz3 positions sur
and
Ces positions sont la Ire, 4me, 5me, 7me et 9me.

L'etudedes gammes, exercices, et morceaux suivants, a cei
differentes positions, suffira pour arnver a c.e. resultat.
9th.
of the Gamut, of the exercises and the following
those different positions, will be sufficient for this
purpose.
GAMUT
IN THE
6th String.
6me Corde.
5th.
4th.
3d.
2d.
1st
5me.
4 me.
Sme.
2me.
Ire.
"fc*
*=*:
"=F
GAMME A LA QUATRIEME
FOURTH POSITION.
-j-
^f
134
POSITION,
124 124
13
?-#-#-7t
r*ercise.
**
#-
#-
4th Pos.
Waltz.
m/y
rP ra^j
#i*i
*f
"
0h
mi
3=
?9
^=ÎF
==3
-' *d
IflE
T=P
3.#
^ IS
s
m&mt
rr" r^w
f^ JÊgEEEg
D. C.
&

Gamut
6th
in the Fifth Position.
Strinar.
6me Corde.
-0-
^P
^~
9
-#L
Exercise.
Gammc A La Cinquiemc
4th.
Sd.
2d.
1st.
5me.
4me.
Sme.
2me.
ire.
134 13 124
1-
jh
zpzz^
=p=#=
EE^fe j f r f
3t=i:
5th Pos.
5*fe
4g
I
_=iS
Mztatz^z^=*:
1&
*~
^
II
-*-*-*
1st Pos.
i
^m
*S=*i
73TH.
$=&==+&+-**-
wL
-'
-2<S<- T -<5>-
II
*\==l
'
Ml
J-
Sd Pos.
Great Barrer.
at g
Prelude.
Position.
6th.
-tTj-J4j-^
=-^"*
#
fTr
49
#-d-*
-hr-*-
Andantino
AdS.
gA
-*
*-
r^F^*^m\^m^mrm^^
'
S^^
^^S**^
-A.
toL :>
se
pi
is
5th Pos.
IM
^
^
t>0-
m/
g^^r*
r^
'
m/
f=i=f=P55fr=^-7
J
'
-4-
p<
/7
.'7
^^
7_7
-P7
jFgl^ f
-w>
H
iS3*i
wi/
o
-^-t^La
=_
li=t3fcE
T""1
-#-
--
T^-
o.
Si
CARCASST
>o
Gamut
INSTRUCTIONS
the Seventh Position.
in
JTOK
THE GU1TAK.
Gamme
*th String.
5th.
4th.
3d.
6me. Corde.
5me.
4me.
3me.
a la Septieme Positive
2d
2me.
Ire.
=P
f
Exercise.
5^
3=^3=^.
J 9
J
t
:jcz:
SE
Ei
iiiMlii
*-*
EiP
pzirr:
Ef=
1
fc^p rp^
iSliiiil^l^g^^g^
7th
Prelude.
If-^
Pos
3-J~2
FJ ==a =3-=^=f
i=E
"3
feS
^
~HI
~T
lo
lat.
5th Poe.
Pos.
E2ZE2
7th Pos.
r#
Allegretto.
f
/
JlJ:
ft*
fEEfE
=hzi
O
I
J
-fi=a
:J
^.
jF
f^ -
"ri"
V^
^^^
f*?3. _
JL^__-.i-_
:fcr
i
FINE.
t-g-F-f-P
T
i^
4^-^!
T
tf
JTT?
p?
rr-3
r"T
-^
-=TE*E
SI
Pi
O
CAROASSI'S INSTRUCTIONS FOR THE GUITAE
-fc*
:*
TT 7
J~% n
Exercise.
~Z~
Gamine a
in the ninth Position.
Gamut
3=
la
neuvieme /osition.
Ê^
EEEEEl
124
134 13 124 itth
ttlEEfEjEE
34
eee
EÊ -*
=P#-
53^
3:*ife^^fe^'
P.od,.
S
.*
-4
HH^B
7th Pos-
9th Pos.
Ê?
-*
4th Poa-
', -*
-# T
*4*o
Allegretto, Xrzgzii
..
Mr
ttj^ j *?:?;
t
iî^Tl
,Lg j^jj^
*^
^= FP=:qE?^TT"~r~
r^
~rW*fVr
.
hej
-#=*
^Hj
!*:
?^F^
r
I*
^t.^S^^Ji#^^ g^
r
:i
JT
it*
(C
T 7
r-
PIC"
EEEEJ
= T
W
^
r?
E
r
=^-.E^n ^JI-j/js J^g/73 J^Jjjtj ^r^y7 is;
IHEEfEEi
1
1>
^77
?
7 7
"
-45
--
-^N sr
/:*
^"T
-# -#-'
(&->
yz
vJ
There
are cases
where we
AR
is
S S
INSTRUCTIONS FOR THE UuiTAIt
by a note piayed upon an

from one position to
indicated by a (o) which is placed over a
profit
open string, to pass with greater
mother, this note
y a des cas ou
II
l'oi.
profite d'line note
executee sur
a vide pour passer plus facilement d'une position a
facility
note est indiquee par un (o) que Ton place sur
la
line com*.
'autre, cetta
note metne.
iot
9th Pos.
Pos
9th Pos.
1st
Pos.
1st Pos,
sample.
jtz$z^^^jpS^
mm
~=t:
-&
-?sr
Sometimes the first finger is drawn back one fret, without thf
hand being altered on that account.
duelquefois, dans une Dosition,
d'une touche sans que pour cela,
noaition of the
le ler doigt recule
main
.0- w.
_#_
:n2rr
-m-
arrier*
-0-m#
__
I
J.
ZTIZ1I3Z2U ZIZ3ZIZ3ZIZL2H;
EZ:#*
fee
fSh
The
en
quitte cette position.
i-n
9th Pos.
^^li
la
may
four following pieces are written so that the pupil
g o through the different positions.
Les quatre morceaux suivans sont ecnts pour apprenare
parcourir les differentes positions.
4th Pos.
fr^TTr
&T
gi^fcqg:
4=S
-ft
iflegrette.
m-m-
^-*T
mf
"F"
4th Pos.4th to*
lt Pos.
-J^R
~r. -5_3iirqzziznzT4.
gzzz
tf-
2d Pos.
9th Pos.-
^mm
=lliiiili^gE=ii
p^|l
~0~
TT
1st Pos.
#^^
^>
jz *m*J2
CZ=
Sf""!
;?
9th Pos:1st
Pos
-5*
8
1

5th Pos.
^3
a.
lllegrntto.
'--
:g
mj
lBt POS.
-z-^-f-5:
t^-i
IÛ*1
Fin.
J_-
z.
zhzzzcizie
jzizjzizi:
~~i
S"^
r
i#z-cs.
-*~
1 1
i
i"
*!
5th Pos.
H-*r? i
I"
#-
II
I
i
pzzzd
zzi
-9
I
i
*q--î-t
~~!i# zizzz ~
-l^g-*-*-j=
r~3ZT~*
i^zzizzn
^zrzzizz~rzz#z_2zc
4---
P-
ZfZ_
#
-*- --.
-*
'
zz^zztzfzzzzjztza
""
D.C.
7th Pos.
1st Pos.
E^TzS3=e?e2====zE3EEE=zE=z=zTzz=z=z:
Alleffretto.^-^:
-c-
III
*r
7-
^r
7th Pos.
-#
-#
IZZ=7?=^
EEzÊEEi
p-n
V,-r-pr
f:
rS^_
^-_#_f
"
#~T
'j*
If*
Sj
"
2d Pos.
#_
zgrjz
?-*-
t?=f-
s^m
i"
f"
i
5th Pos
7th Pos.
1
i-<3jL.
fzgiDZzgfzzfiizgg^gzzgi-nHzi^-^zizii=izz(_L izgz^zizgz:-l=~r~F:=:g:*!iT
p-#-4 -*7e
: jM_r~~
fag~"
r^_zzzg:jzzzz:
= "g
'
54
9th Posi
JV^.
J-
3T3""2
fc5
&
Waltz.
f*
nr
5th Pou
.x-n
:.
::*
"r
u ?*-y-
i/
r^ j
~T
-#-*-'
r/r
Barre.
1st Pos.
-#
Jfc
^3fe I
t3t
*r-*-1r
H
SS
4th Pos.
a|
fp^ppîgp
,
, __
-I
ij
#
-H
1st Pos.
-*-
#.-
=**=
=-t-#
7
',*"
4th Pos.
I*=N
--T
'
_g_
^^r^îdui^
_J_
7mf
-Hr""
zr
fl
9th Pos.-
=
ri H3_
jl^^
-*-
:lz:
i~n
^VsUJ i, jû
7
2d Pos.
5th Pos.
A*
1 T
r
Bar.
T-r
9th Pos,
i^
^^=tPî=?
::^=2f
y-rg: ^j.
?& "LS
J.
^
-i
#*#
.!.
-^
i=
gg^
-t
JJ-
OARCASSI
INSTRUCTIONS
tfOR
THE GUITAR.
55
^JJ^jSS^^^^^^Sgaa:
'9
-0-
--
7th Pos.
ih*
i
4#-
^F^^ T
=1=JP^Jw
9th Po8.
I
+=p-
*zn
J -#
'
trriiTi
>_
jf-%
fe
Minor.
MMsmm
1
St
Po9
#3.
53.
JT 3
jt^-j
-T*"
j^-jjy^--*
P*
f-*
CARCASSI'8 INSTRUCTIONS FOR THE GUITAR
56
J 34
iZ 53-
ht
^M
t?
r
^=3t^
*jH
-i
#_n_ #
*
l
le
t
i
'
i-0
wm
M.
~k
J.
#1
^fi
J*
0-
thr
w d y
Pta>.
~^~|-J7^- -3tî y
iiiii
9th Pos-
in
z#
,
TJi
fD*lce.
MAJOR.
v ^
^TTj
v ^
-**^
t~jtb. j~~r+
J.
S2L
r
9tb Pos
#l
#*
7-t="
F
i-*5yi
j"5
,N
*0
1st
3E^
*=*.
uk
-fz0:
-*
-P-
ip
H
:|
I*-
r
;_g- .jgj=^
-*t-
r^-1
y
j_
it
r
4
->
"==
A *-
âjj
=^=ES
tx-J
"i
MWgi
cxizai
-5~T
jz
2d Pos.
7th Pos.--
aiei
9th Pos-
2d Pos.
is-
:J=iM^:
3-
i.
Ecart
9th Pos.
Pos-
^*
:*j
B#
2d Pos-
5tn Pos-
J"3

9th Pos.
sm
i

Double
Of
On
the Guitar there are passages of double notes
uxths, octaves, and tenths
necessary to slide the fingers as
from one
is
it
as possible, in "massing
tion,
fingers which are to slide are

between the numbers, to indicate
faut, autant
il
lines placed
Gamut
in
le
des passages de doubles notes er
que possible
1.-1
2-2
ttt
traits
en
Tierces.
1-1
I
-&-
o_o
--)
Exercise.
:zra
n_
"
i<*
~j~
i
~~ i
*+
mw~- 2 w
5f
-=-
"I
3-3-3-3-3-3
o _ o _ o _ n
3-3-3-3
en passant
d'union entre les chiffres pou
"I
faciliter l'execu-
main gauche.
Gamme
1-1.
2-2
pour en
exercices, les doigts qui doivent glissei
doigte de la
Thirds.
1-1
glisser les doigts
l'autre.
sont marques par de petits
indiquer
the fingering of the left hand.
fait
Votes.
octaves et dixiemes
Dans ces premiers
exercises the
first
marked by small
Guitare, on
la
tierces, sixtes,
d'une case a
another.
fret to
In these
much
Sur
thirds,
>r
to facilitate their execution,
Doubles
Des
Notes.
57
"
o"
1*"
-#-
-+-3-
--
:
- T iJ
#-|e#-
sir
:3z 2#
2#
1-t-*
is?
rrrri.
,!
,
l-i
3-TJ
__j.
.
'
-m-0-
3~EC3
|g
I
SMW^m
Gamut
in
Sixths.
4-4
21
Gamme
^
Eicrcise.
en Sixtes.
58
2^-
- a
4*
3
4* *<
J..
^lai^ll
3-3-3-3
f
Gamut
4-4-4-4-4- 41- 4 4,-4-4-4Gamme
Octaves.
in
&l^zEE^t
Ff
112
f f
--?-
'-*!
'2
C,
msm^g^
mmm
Hr
r
JL
_J_
4-4-4
*ô l-i
l-i-i-i-i-i-i-i-i
.J.
en Octaves.
T
3
Exercise
4-4-4-4
jrn ~r~ii^n J_*
~j - c"i~3 " zz_
'
it~i
?CZ? ?eep
rff
tiff3-3
"^
^l****"^
-_#
r-
1-1.-1
....
o*"*^
1
Scale
Tenths.
in
Gamme
----1
4-4
en Dixieincs.
'
ZT
T" P
lo
3
l
I
,
d JL
JL d
1-1
1-1
4 -
'
I
,
4 3
i
4 4 4 4
'
i
VI
Exercise.
4-4-4-4
4
--^
r*"^.
_-i
r^",
r^r
rr^ s
0-d-J T->MlL-0-Ji
59
OARCASSI'S INSTRUCTIONS FOR THE GUITAR

2
AHOANTINO.
-* j-
3*--# *
>
zzm
r m ~\A m
J- J*
Stdy.j
3
a-- a
:3i^n:
-"-
"25"
/>/
jr
25
B"="U"-"3
"
I
01
PP'eê^S
'r
<-
I**
î^J^^f
-T-
_c
25
2.
2-2
Study .j
-,)
fl
L>
|
-*-
'
i-g-^-g 2
p
2-2
3 ~- 3
"p
P-(^
Ff
~J~* *^9
3d
"
:zl
-fc
3-3
tiissi*
"i
4 -

3-3-3
'
2-2
2-2
njf
-- *" X 1-.IZZJISZIl
* -
#8-
3fr=g= i=g= E*
^SPbt=A
2|
rscz^zi.
1Î
:e-?E5
-(S?-
-jT m-J>
__
j^*^^în-j^
rT-i_pp_jxjjjp w # j 5 j-
1
"1
I*
1-1
^sJUJÂ
Wl/"^-
8'
_iLgi_.*_j_
r
1
~1
r~3ar7i
i
r-* a
"^-J
**~~
* ^ 1~ r
~ ri ^r a~r r izzM

L=_L =X=J
i
*f^
i
"Sir~#~ -~r~ 1
1-1-1
>
'
'
'
i ez
*~r
13
E^^
JEl
_e
-r-^
m __m- r - r -f-h
!--^l
r~r-"i
3 - 3 - 3
lz^;
- 3 - 8 - 3 -
T^l
1:5
'
f~
I""
f~ f
^^*
,;
*-J
i
a - 3
# # -,>*""_= ?
^
l*
F
'
I
i
Vm
'
25"
CARCASSI'S INSThUCTl N
I)
fe
GUlTAh
TIIK
FOfv
Moileralo.
Study.
*-N
^s
3
*
\
V-
h^-
gr
k^1
=Z1:
==i
9-&
J w
-A
Andante*
3_ >.
!^5E^s!
P/
ST r
Study.
it
#J_
C^ THH> Lf Lf Lf
3Ez&:
1
3
LFlF
9th Pos
5- *
jrj
J3
"
jL
-*:
J7n
J.
c-
-*1
,rrn
^v*-
--*
-y--*-f
CK?
*
J.
-#-
eCsT
J-
#-
.!
-#r*-
lhhf
-t
l0^
&
^:
*J.
g gI
Gr^ u
i
u^
J
.= =: ,/:
rprpf
i_J__J
2
J-
rr r
LrLr
-Jr
~^~
7
* J.
-4
-#
J^-
i-
4*
i
M
T#I
Au
J.
fc*:
*
Tit
!?J
1*L
j^-4-
*<*-(-
* ,_P.- S1
^-\-
J*_#
1*^*-+
t^-T^-l-
#*
^
r
-J
^z^=^=j=j=;
~
-*T-J
PfWJ
rt 3
-*-
^:
II
CARCASSI'S INSTRUCTIONS FOR THE G.1TAR.

In passages of thirds, sixths,
.1
accompanying
and which is put
which
part
hote,
in to
and
tenths,
we
sometimes
upon a
rests
On
find
single continuous
et
61
trouve quelquefois. avec des passages en tierces, sixtei
dixiemes, une autre partie continue d'accompagnemeni qui
devient superieure ou intermediaire pour produire des effets par
produce an effect peculiar to the
This part should always be executed upon an open

in which case they
string, even if the other parts are higher
should be taken upon strings below the open string.
ticuliers a la Guitare.
guitar.
Cette partie doit toujours etre executee
sur une corde a vide quand
aigiies
dans ce dernier
diatement inferieures a
meme
on
cas,
la
les autres parties seraient pint
les doigte sur les
cordes
irarae-
corde a vide.
EXEMPLE
o
o
EXAMPLE.
o
2
nmt^Mm^mm
Thirds.
Tierces.
00 OOOO
f=?=BEF.M-^=i^^
ft
T V
3
04
Sixths.
Sixtes.
Or,
O4
oA
04
II
>
f-
Tenths.
Dixiemes.
14
IS
18
M 9p-
'w:
-0-
r
1-.I
:J:
i#f
ifflurs:
w-
iir
1
issn
Study.
EIEE
fetude.
-Tji-
4JL
--
:#iz:
"T
Z1Z
B9
-3
fF
2#-
!*ra-
is#:
og
~~
J*
_ri_
_
ro#
-
?g~gg
r-i
*?~
-F
5
ri
HI
1"'
rrri
^zio^-fc^zz??Z3zii^Z
Dim.
-F
~H
Dolce.
--
î*
E-
r*
:
1
-#-
zzbpzz
S^-s-
^=?
J
:-jziz gzzrtr-îZE*Z^RZ?Z^
^-\'9
^
P
-f
-J
\~Z39
5i
&9
^2
OfHI
**L
II
<;
AS SI'S
IIC
in
(amines, Cadences, Excrciccs et Preludes,
and Prclndcs,
Scales, Cadences, Exercises,

in
INSTRUCTIONS FOR THE GUITAR
the Major and Minor Keys, which have not been presented
dans
les tons
the First Part.
dans
la
majeurs
et
Key of B Minor
Ton de
4th Pos.
1st Pos.
8-e
Mincur.
Si
2d Poi.
rz*t
J^!ZE^Fi;EZZZ3ZEEEEZZB:i:
r#
Scale.
mineurs qui n'ont point ete prtientft
premiere Partie.
-r\-z^r*rr\\
JI
-j-j-t JIWl
:
>
2d Pos.
r-t~i
II
1"S"
r
1st Pos.
#-a
r#;
Eiercise.
"
rpP^fiÊE@îS
-3 5
ZLHzzzrnzziSi
-|
'i
r-tr
M-L-^S=
i~i~ -z-qH 9
".
^ ^ ^
fa*^^=flj*+zn
*-
-Tg r72T
~rzz
2d Pos.
_i^te
^.ji
Prelnde.
fe=li=#=F^
_4gI=^=T=,^
33:
'If
2d.
1ft.
Cadence.
'^^
?ffl
'
tt)3 4r-ig
Cffl_
H^n
**
^2$
P
^
1st Pos.
.^
S __z _=ttJ
|*
Hn_ ^35_
*2K_
^P_pp#zn=np_ _:^_**W_rp!L _z**3

TT
"i.T
y"
38"
y
"jg .zz hpzzzzrzzzntzz: bzn? z
r-j*-
S-H_j<H
^<*2$
.*2*_
~-
"ST
m/P"
gr. barre.
zêes*
:zr
==FIV
zz
"P
.*
*4$ ^^ &2
S3
n
- #T_G^nzinznn-rnf;
*S
n5zn#~i-p"
-
wmrwjfirwzjDzy
~r#p
hJ*
~^~S^
zzzzzzzzzEpz
~t~~
ZS_
'0'
l
Ton de Fa # Minenr.
Key of F # Minor.
:tz*zzzz
Scale.
"n td-l-^r Jzbsi^_J:przhz=_^zezz:

#
Zj-nzzn-j-gif-#
a:
'-?
^zcs^,
^
P^FZJZJZJ
l-
2d Pos.
4th Pos.
gr. barre.
id
r#:.-
Cadence,
jfc-g-e jg
jgpqpfg-:
e ^t_Tgzz^gjZZ
ê
ip
P"
zl
~~r -*li -#r

:J: "r
"*
ifftenazn
ir
E3
ZI~
V^-r-izT-f-i-J:
-fi-
r~zt
zj
H:
i^r
i
P5zzl3zlz
tgfcBEa
ZJZlg
-#-*Eiercise.
2d Pos.
5^1^
1 553:
=p ^
3=
::
l
.
ff
is
, --j.
5
f
*"
"

2d Pop.
4th Poa
petit barre
gr. barre.
63
2d Pot.
Prelude
4th Pos.
lit r*s.
gr.
*-i-n
mz]zd;
xgzzz
barre
rrr*
Key of C #
Ton dTt # Minenr.
Mineiir.
1st Pos.
1st Pos.
6th Pos.
SSI
^=%
Scale.
i?
2d Pos.
4th Pos.
4th Pos.
gr. barre.
Cadence.
iSP
2z8zîLZZZZZr
i *e
E t erfcise.
Liei
fe_ ff
fezzzrzzn~
Ê^g^
-4&
^zzzij
zgÎP
~
ZJZZr
j -5-i^ n~~r^j~TT
T^zgi&gz^zjzrzzjzzfi^zx^s^CuZr"
~r i3
fz
f*
~~E"~^~i
"
Z!ZZZr"*i
g-
;g
zgz*zzzT
6
4th Pos.
w n
ff-1-2nzn1 *-]
~8
_|
r^
l,ii)
\~9~i
~~* H r~\ - m
'
l_
Prekdet
2d Pos.
1st Pos- pet. barre.
l_
4th Pos
i~iz
&t-S
zjr
-Jz3
r-
r
'_
2 " ~r~i
]
'
L0_
-
ij-2
Z ^fS^
5^
gr. barre.
~t~
'
r j
-r
1st Pos.
4tb Pos.
MMHsaap*Ai
l^PEH^.
*
^zdz4z]z^zjzzz4zi:-^z^-f-j^!-i-
'
#_J_!'
'
i*_
|JL_L
r
3d Pos.
-(-,
--^*-
zzt:
T"1
i
gr. barre.
j~xtT"1 hiT'd tttJ"*'
>n-n^"l"i"Ji"i Z #
_zz _zi: jxz__j .bqpgxxxaLqic:

zi:
i
4th Pos.
gr. barre.
h Tn cnzn-i ttt
jzzzit* zjzrz in 9 "jzzc Ittittttt

XTJ
-3-XJ
Jztzf-* ZZZZ70 n 1;
_zx?_ _
r^r
1st Pos. pet. barre.
?,
~J "XL
"i~
zf't
z_*ztz[_sz
#-
n#
"
zi
# ~ r~
zi
^;
-P-
.^^
a-?
_U
04
Gamut
in
Ton de
Major.
1st Pos.
>
-#
iS
Gamut.
-i
Si
Majeur.
^ ^
^-4
:=
P
2d Pos.
:*
Cadence.)
*E|sst
*-
Ml
2d Pos.
1st Pos.
JF*
Ê
as
3g r 1_2^
~?r?
Tf^
1st Pos.
*r
Exercise.
^^
*
t2=*
j
K* #
W&
/fcÊziH
1st
4th
^ggf
Pos.
Pos
__
5^
-^'^t^j-
zsrst
tst
i
8d Pos.
2d Pos.
Mill
J
#=
EeS
-#=*:
-g
i
i* ...
brt
1
|
-p^=^=lT
3JE
G Sharp Minor.
Carnal
!^*j
if^
Ton de
- -
,#j>f
7pfpg
Sol * Mincir.
-*-# r^ft
5S
4th Pos.
gr. barre.
fc*=--r4A
Cadence.
1st Pos.
-*l7*
-jsr
1st Pos.
2d Pos.
1st Pos.
s Ml
--
1st Pos.
4 gt
iJ
-WS>-
rs
\&z
fc!bzJELJ
\p~
4th Pos.
.Id
^r
1&~
IF*
P!
UARCASSl'S INSTRUCTIONS FOR THE GUITAR.
1st Pos.
Riereise.
t^^-
pftf^~
%% &
jt
ip*
i 3*^
tA=-#
3 Ml
3ft=îb
4th Pos.
petit barre.
4th Pos.
r
gr.
4th Pos. gr. barre.
1st Pos.
^SÊ
r
4th Pos.
5t
petit Barre.
Barre.
:s^g^^
7^
^T-FP
^^^Ff
=3^
f=^
J
<~4r
Key of F* Major.
Serving also for that of
Gh
1^~
Ton d Fa # Majeur.
Major, with six
flats.
Servant aussi pour celui de Sol bemol majeur avec six Bemoli
1st Pos.
Gamut.
sIIEZai
fe=*Ezi3
Bt **-
Tf-0
4th Pos.
2d Pos.
2d Pos.
gr.
Barre.
M J.
J*J
j^fe p^=tj=|4y=|l^g^
r r
r ^
i#Ap*
Cadence.
m m
*-#-
1st Pos.
mmmmmmm&
=*=*
Barre.
--
?i
OAKCASSI'S INSTRUCTIONS FOR THE qui tar.
\;u
4th Pos.
gr barre.
2d Pos.
petit barre.
E^^^
#r#;
Prelude.
?d Pos.
?=S
petit barre
53^53J33L-u21 l*__i5!LJ33
*=*ES
gea^sssssera&SB
-Mb
IPPi
Pas.
6th Pos.
2d Pos.
4th Pos.
petit barre.
!--
4-
T*-
4th Pos. gr: barre.
-#-
-#
:3^c
1-4-
4#-
:ttot*-.
<10
=t?-d-
-4#-
3*
#-*-'
2d Pos.
4th Pos. gr: barre.
"23
ttizss.U* J^ 0J
4#-
m*.
4?
Key of
Gamut.
D#
Ton De Re # Mineur.
Minor.
#-##?-
p:y
barre.**^gr: barre.
petit
-S*-
-#"
c'
-o-
-***=*=
*=f
hs-
-2<S>
fc*E=BB
Cadence.
p*
_a^_
-2*2-
:ns
7S
"ST
Ift
^1
-4(S?-
-*<S-
Exercise,
PW
-2^-^
"7}
1st Pos.
?M.
fe-^ff-Q-^
3=gg^=g *=*.
"*
îp
>"
*j
[-
-j- -#-
4th Pos.
-*-#.
3pr
:&:
^LJ^=^^g
:^#
3d Pod.
Prelude.
]XS_
*;d=*:
petit barre.
#-
i'S 1
*&- -#0
1st Pos. gr: barre.
z^zatzi:
:#-
44
4SS*
T&
2d Pos.
hirf-Ttri
\-}
=:q=^=fzi=?3=|=J:i^=W=f^=^^^q
-+?^h
S^L
1st
Pos.
^=t
EB3
-!S-
s:
ill
4th Pos. gr: barre.
^=3t=i:
=11
-l<0r
2d Pos.
r^^""
-
-<S>-
-4
1st Pos.
:#:*#=*:
_*^
-\-m
0-
*<S>t4^
:s:
3d Pos.
--4-#
-is*
4th Pos
:=
-$.*-
1st Poa.
S=9^^=
-2^-
=fc
^pT
4th Pos.
---s>-
:*=* &
-&*-
-s?
i
i-fczafc
H
1
CAROASSI'S INSTRUCTIONS FOR THE GUITAR.

Key of Bb Major.
Ton de
let Pot.
>
ana ill.
fabQr
:
5s
-&-
_2
1st
Si b
JHajenr.
Tot
Tos.
^-^-
r^~*"
it
H^t ^-D
let Pos. gr: barre*.

I
je
<5>-
-b
3^=
I222ZZ
fefc
^>-
Cadence, fej^zfe
~gp~
*!-
T^
Tp"
*p-
1st Pos.
^^P^^^^^^^fe^^^
Eieicisc. jt-b-
-f
3d Pos.
1st Pos.
gr: bar re.
<^-
let Pos.
^""P
!55EHSESJf
-1-^1
ii
r
-*-#-
fc
-S*r2
-&>
Sd Pos gr: barre
giisj
G>
T0-&
^s?-^-*
1st Pos.
ts^
JI5?
st^=*
^-J
-)-
"Tn -*i
...
=j ***g [ .=j-g=| q i b f
c
fei
-P-*
H*
z$j
i -J
**'-
:rfe
-H
tot
PrcUde. Jtb
SI
3
r
II
r3d Pos
I
6th Pos. gr: barre.
Key of G Minor.
Usunut. /^b--(:
Ton De Sol linear.
'apfr-Tp+Hsrs
W&
&%*
-&-
3d Pos.
g>
--
m\
v^
3d Pos.
-Id
i
\%
i<3>-
fczfzzz^
2d Pos.
barre.
_l4_
Cadence.
W-9
*js-
&$&-
-*(*?
gjgjg:
"3
O^
.!<
I
I
1st
Kxereise.
Pos.
b.
j&k--^
^^-g^^m^^^^^^
#z^:
gr: barre
ij^ll
^
"f
CARCASSI'S INSTRUCTIONS FOR THE 'JUITAR.
HX
3d Po*.
i'
Prelude. jfeb-
z<*
'
I
petit
Barre.
'
f
I
i
I
i
^m
iI
UPn.
t
^^^^
*-h
*?
*-*
2d Po.
^^^^^
at.
p
b*Mf=*=
t
P*
1st
^^rr
*S>;
Barre.
3d Poi.
3d Poi.
3d Pot,
4th Pos.
h^
~r*-
^y
-^
f^-f
b Maicur.
mmaM&
.3d Poi.
++
+z=d
3d Pos.
1st Pos.
JESEliEEE^tl
:3s:
*S=t
32
-4-
is:
:M
-is1
T^
P-
gr.
î
fcS>-
Tp"
Barre
lft Pot.
ôtt
Exercise. /5-ft-G :
Pe*
'
Pos.
Ton de Mi
TtPL
1st
'i
'
T*
*=?=r
Bo ire.
p
rr
Key of Eh Major,
Cadence.
0.
r=3
fe^x
fe:
*t
:zfc
Gamut,
T--fl
i^
'i
'l^Ô
F*-2^
F#
3d Pos
I
i
+j^
lit Pos.
'
Jfe ggg
ii
<j<
I*-*
R-a-p.,
--
=*
fff?^
^=f
s
3d Pos.
Prelude.
jJj
&rk-fr^F-
*s
s :
i #~^
f^-^
f# #
-
^
*-*-*
-0- -w- -0-
^f
-i-L-0-
î
s^f
*
*-^-*
3d Poi.
-*r
.it
Po. gr. BarrA
petit
Barre
Ton D'ut Mineur.
Key of C Minor.
v0- 1
(tanrat.
/MyÊE
o-
Bjpgs|i||
^|g]l||
^# n
1
m- ?=<+
lE*hi
fciS "*"

Id Poa.
ttJJ
3d Poa
lat Poa.
jjls:
Cadence. fefcizzfg
SMS
a--
-*s
:Jgt
*S
I
E^mgîfe^^^^^
^ 'JJ Jl ^^^gi^^^^^^^^g^^B
r r
lit Pos.
^gg>-
Exercise.
J -at
J-
b:
'
3d Poa.
Prel-le.
^^
gSaSS
lit Poa. petit Barre.
?3*f@
afc^t
fe *<H*wHr
t=
r r
3d
f /
2t
r r
r
Key of Ab Major.
^
j?KS
3d Pos
lat Poa. petit Barre.
Gamut.
Pm.
iSdSâ
*
^^
<HH-
^1"
iP-fa^p-
W^^
4 th
Cadence,
Êl
fekb
id-*-
Ton de lab Najcur.
1st Poa,
*-+
3=0e
Pos.
=P-aV
-#-3t
1st Pos.
as:
-*<s-
*-#
f?
4th Pos.
.liss:
*<-
Ê
*<s>gr. barr6.
lat
Exercise.
fob
î^
Poa
/fcf^zH
1^3:
HSHIUS
^r
*o
6th. Pos. gr: barre.
4th Pos. pet: barre".
it "
"nn
r~*^
F-
r~2
'
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UAROASSI'S INSTRUCTIONS FOR TEA GUITAR
72
Harmonics.
Harmonics
scross
all
Sons Ilarmoniqaes.
by placing a
are produced
finger of the left
On
hand
finger
must
press lightly, yet with sufficient force to
prevent the string from vibrating as

string has
been struck with
open.
if
As soon
II
faut
que
le
I*
Guitare a de ce: ine*
la
man
doigt pose legerement
avec assez de force pour empecher a corde de resonner a vide,

et on leve ce doigt aussitot apses avoir pince la corde un peu
as the
sufficient force near to the bridge,
du Chevalet.
fort pres
Les sons harmoniques rendent une octave au dessus ce

qu'ils sont marques.
lis se font a la 12me, 7me, 5me. 4me
3me touche comme le demontre le tableau suivant.
the finger must be taken off.

Harmonics sound an octave higher than what they are
marked. They are produced at the 12th, 7th, 5th, 4th and 3d
fret,
toutes les cordes de
divisions settlement.
finger board.
The
produit les sons harmoniqnes en pos&nt un doigt
main gauche sur
the strings of the Guitar at certa'n divisions of the
ce
ti
as the following table shows.
7th Fret.
12th Fret,
7 me
12me Touche.
5th Fret.
4th Fret.
3d
6me Touche.
4me Touche.
Sine Touche.
Fret.
Touche.
-as-
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Irt String.
Ire Corde.
fe
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Se Corde.
J String.
8e Corde.
*S^
4th String.
4e Corde.
3t
Bth String
Be Corde.
-%&-
-&-&-
6th String.
Se Corde.
=r
Excrcice en sons Harmoniqnes.
Exercise in Harmonics*
The
upper figures point out the
frets,
-&-
-*^>-
-&-
and the lower ones the
chiffres superieurs indiquent les touches et .es ct
Les
trings.
jdfiril
inferieurs les cordes.
Allegretto.
12
12
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All the notes within the
12
712 5-
compass of the Guitar
may
be
To
-5
On
which is to be played harmonically is

then the
same manner as an ordinary note
point of the forefinger of the right hand is placed at the 12th
fret distant from the note which before has been fingered by the
left hand, the thumb is then removed from the forefinger, which
presses lightly on the string, and strikes this string which will
do
Fiae.
12
this the note
peut aussi executer en sons harmoniques toutes les notei
du Diapason de la Guitare.
Pour y parvenir. on doigte avec
played harmonically.
fingered in the
main gauche lanotequ'on
la
veut rendre harmcnique,
comme
si
note ordinaire, puis l'on
pose
bout de l'index de
droite a la
par la
le
devait executer une
l'on
12me touche correspondante de
main gauche, en
ecartant le pouce
la
la
main
note doigtee
de l'index qui pose
legerement sur la corde, on pincera cette corde qui resonnera
harmoniquement.
produce a harmonic sound.

7
12
12
6th String.
5th
6e Corde.
Position of the
left
il
hand.
=f
g= T
Place where the 1st finger of

the right hand
It be played.
must successive-
4=^
15th.
14th.
12th.
13th.
main gauche.
Place ou doit poser succeesivement l'index de la main
12th Fret
Position de la
droite.
12th.
12e Touche.
Rondo
to exercise all the Positions.
Rondeau poor exercer tontes
les Positions.
5th div.
5me
case.
Moderato.
Si-
Thumb.
Pouce.
7th div.
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76
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TROISIEME PARTIE.
56 Exercises Progressing in
Antlanlino
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101
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CARCASSI'8 INSTRUCTIONS FOR THE uUITAR
lal time.
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104
Aadnnie.
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7ARCAS,SI'S
H:
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45.
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Waltz.
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flAROASSI'S INSTRUCTIONS FOR THR GUITAR
Oft
To
lis
exjcute the following pieces, the Guitar must be tuned
Major.
Pour executer
Example.
les trois
morceaux
suivan.s,
rlA
*
75^
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1/
^ f f ^^
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7 r
Fin.
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77
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46,
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4th Pos-
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lau;
il
Mi Majeur.
Guitare en
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3^?
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r
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c.
harm.
6th Fret
sg psae
g^pySî
;
4th Striag.
-r
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T"
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harm.
lath
N. 48.
123 m\ff
14
34
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rg j
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March.
14 12
34
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7th
11.
5th 12th 5th 7th
Fret
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Indicates that the fingers of the right
kept closed, with the exception of the thumb
fee
one after another, letting them pass over
all
The
over
Xndex. Pass
thumb
hand are to
and opened
the strings without
ightly
lightly,
he
all
finger of the
from the highest to the lowest
right
hand, very
string, quite close to
Let the
upon the notes
fingers of the left
hand
fall,
so designated, with force
in
hammer
enough
to set
the strings vibrating, without (pinching or) snapping them.
Tambour.
Indique
qu'il
faut
tenir
'exception du Pouce
de mouvement avec
Index. On
Pouce.
II
les
doigts de la
et les ouvrir
Pouce de
sur toutes les cordes.

passe l'Index de la
main
una
la
main
main
droite Jegeremen.
droite, tres
legerement
depuis la chanterelle jusqu'a la derniere corde, bien pres de
Vibration.
II
faut
laisser
tomber
les doigts
de
la
la
main
gauche, en forme de marteau, sur les notes indiquees ; avec

assez de force, pour mettre les cordes en vibration sans les
avoir pincees.
Strike with the
thumb of
the right
hand upon
Tambour.
On
doit frapper le
ah the strings, near the bridge, with force enough, but without
tordness.
de force, mais sans roideur.
Pouce de la main droite, et

du che valet avec assea
les cordes pres
Ponce.
Waltz.
les
le bras.
faut passer le
en longueur sur toutes
No. 49.
apres les autres en les faisant passer sur toutes les Cordee, sanf
Rosette.
rosette.
Vibration.
fashion,
hand must be passed
the strings.
the index
Friser.
droite fermes a
faire
of the right
POUR EXECUTER LES DEUX MORCEAUX SUIVANTS.
any movement of the arm.

Pouce.
>-y
Explication des Signes.
ORDER TO EXECUTE THE TWO FOLLOWING PIECES.
Friser.
-i
X.
Explanation of the Signs.

N
I"
3:
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it*^
tth-i
25"
,..,,.....
sfc=
Vibr.
Tambour.
-^
W
WW
-W
CARCAfeSI'S INSTRUCTIONS FOR THE GUITAR.
Ill
FINE.
EIIEilzzzllb
-~ ^*~*
*H-ÊEEZEZ_ZEIÊlfaEZÊZ^ZltEZj~-Z:--EE^
7"
Friser.
a
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jbi :EEqZZITEE^ÊZilZIEEEfaÊ?ZEEEEEqEIE:JE?==Z-1
i"
Friser.
Pouce.
Friser.
Pouce
w3
7?
Index.
Pouce.
Index.
Pouce.
^fe^^^^Êa^^^ÊÊÊEffljÊE^rf^
r 0-
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Index.
Index.
Pouce.
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Ert
CARCASSI'S INSTRUCTIONS FOR fHE tiUITAlv
112
Fr.
r&mjtn
jEjE
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r
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If
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u a
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r
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Vibr.
Vior. Tambonr.
lam hoar. Fr.
J?r.
rammi
3
c
=:
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"?"
w/
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:
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if
h
,
12e tonche.
H-
58
it
9
3
TIT
8dPo*
7e
*-
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m/f
bartn.
1-/
LM.
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r r
harm.
mf
I
32
b
q
rJftrP*
if
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.a
-I
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id:
rw
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ClZ
13
A TEAR SHALL TELL HIM ALL.

ARRANGED bY
Sbwly, with~_
simplicity
*i
-t
JEmjo::
n:d feeling.
a;4;
3^
teEeE*E=E=E
c&
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1.
?=
EEP$E=
S^Q
Young Ebert
:*zz:
fond
-*
- - ly,
MEIGNEN
ziE+
'*z&t
*Z
the broken cross,
At moonlight, near
I..
N=^
=t
H-=I-
v-
To love but
fondly swore
and on - ly
me,
S
Slow.
me,
Till
life, till life
^_^
To note that vow on heaven's high name So fervent
should beat no more.
he seem'd
ly
'
-rt-
That ere my
te:
>
r-
-r-
-,-
r-
-^
ring voice replied
tear,
^lii^^Î
That ere
had told him all
tear
"^
my
fait' - -
^ff
SfeEESESJi3=Ê nE^=fe*^:= SE:|^3^

i
-""i
-"i
-^
-<^
^mpim
fait'
~w
:
-m- *-- --*

call,
to
-^f-f
ring voice re
Slow.
lE3.fE
H-t-
plied
tear,
tear
had told
him
all,
'^-p-*
Though heedless of
His falsehood
And
I'll
his
vow he prove,
not harshly blame
should he wander back to
I will not
me
ask him whence he came.
No angry frown shall cloud my brow,

No murmur from my lips shall fall;
But
ere this heart in silence break

tear, a tear shall tell
him
all
f f ?
114
MARY
ARGYLE
OF
ARRANGED BY
r-g=~
Voice.
II
Poro Alleercll*
-*
5
Guitar.
"Hi'
fSffE
d<li<-nmy.r,g.
T -
y~r
*ZZ=Z"=I=i====q^-q^TrtzzrSzz* m -P-9-.
3
T -!-!-
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love-song to the morn
3=E
3=
rose just
newiy
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t=
fIzzfc :f
:z>_5L.v_^
+ f
To
FFt===|=z.
3-?=#zzjzlzfzz?S
-#-*i-,
zzzzzz-zzzzz_*=*zz -
have seen the dew-drop clinging
=,
zzzz:t:z
ifzq^zNzzfczJSqzzzzzz:
/-
^fiîHiiLlii!
:
-+
--
ZE
8:
y -
U=
-vHis
-*
#"
have heard the ma-vis singing
hCHMlTZ
-#
1.
=rf===pf:
i=rdv
zjs-ztazzzz^zz} t-iV:zN
^=i=3*:
i^ >*-
horn: But a sweeter song hascheer'd me, At the ev'ning's gentle close;
the
zz*zi
And I've seen an eye still brighter Than the
:^z=zb^=5===
zH=i
-jg-#
zi:^zz^zz^zzi-qzz?z^zz?z:TZJzz?zzzizz_
z:^zz5zzz|zzSzz^=fzE**:id=:*?=3=**
zzSzzd=SzS=^=i=i=S
3=S- :^^-^-
r r
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:iz*zJzzziz3zd=?=^-J==îJ:
A Tempo
WMmmmmm^m^mmwmwmim
Rilard.
:zrp=*zzzt
dew-drop on
the rose
'Twas thy
voice,
my
gen - tie
And
Ma-ry,
thine
art-less
That
winning smile,
**EEEi2EEZE|ZÊEZIEzEÊ3=j'E=lES.ErÊx|E3E|Z3=lEE3E^^&-]
r*
z^rizzzzzD^zzjVzzEZizzpzzt-p
\
-V
made
tnis
world an
Bonny
E-den,
Ma- ry
of
Ar-gyle.
=X^TzJz= 2zz3-
it^Sgzz^zz^zzjzzzzzgzzzjgzrz:^:
-9
*-z
-J-.0-
-m-
;zM
M* *-
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t-*-
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y ^g
ICOND VERSE
Though thy
And
thine eye
Though thy
And
Still to
Than
voice
step
thy hair
me
all
may
its
brightness too
may
its
lose its sweetness,
lack
its fleetness,
for that alone
its
goodness was the wile
That has made thee mine forever,
wilt thou be dearer
own
But not
I have watched thy heart, dear Mary,
And
sunny hue:
the world shall
I have loved thee for thy beauty,
Bonny Mary
of Argyle.
115
SPEAK GENTLY.
As.
ARRANGED BY
B0HDSZKWIC2
B.
Speak gen - tlv to the lit - tit

::*z:i=:^zqN)
i_zzzzzz:#z:*z:z^_zî
3.
I
Speak gen-tly,
I.
o
o
O
222
1
imlantf
^-zfz^-u^*^
zfrS*?*^W-XH -%srtz*z
1^^,---
to
Teach
gain
it
is
bet-tei
/>
E.
'
accents soft
in
it
**
hmri-m
*:zj:*
and mild
#-*
It
ZZZZzazziZZZ^zzN:
=*::=
t:
5Ê:
Speak gen
- tly, let
not harsh words
II
The
mar
Ores.
t^^gem^m^&g^m^mmmi
may
r
good
not
long
4 Speak
re - main.
^ g_^_&
--i
we might do
1-
here.
fg
2.
gen
Speak
tly
gen
to
tly
-#-
Pass through this
as
life
love
may,
best they
for they
=^
^_
doth whis
p--
"1
|
oear
i-
the young,
And
bind
?--#- ^V*-* -*
1
PJ
Speak gently
- tly
friendship's accents flow,
^_?_^_?_^
to the
^_n__^
are nearly
Af
fee
.
tion's voice
^__qz._ #_ # _i^_?
1
kind.
is
t__&
so.
Speak gently! He who gave his

To bend man's stubborn will.
Let no harsh tone be heard
When
They have enough they must endure
elements were in fierce
Said to them, u
Without an unkind word.
'tis a little thing

Speak gently
Dropped in the heart's deep well
The good, the joy which it may bring,
!
tf-tcruitv shall tell.
Peace be
life
strife,
still
"
.i.
""
to the poor,
hearts
care.
"#"
kindly
ious
Perhaps unkind ness made them

Oh win them back again
Let such in peace depart
Speak gently
run
S^1
that true
Speak gently to the erring know

They may have toiled in vain
Grieve not the careworn heart;
The sands of life
anx
Rll.
aged one,
to
=zNzzzz:zzzqVz:zxzzzzzzzz
:^=t
*gen
nough
*i
of
'Tis
e -
The vows
pzz^zîzzgzzz
3=?=i
have
:zzh:zzEzzzzz*
per low
Will
116
AVOULD
Oil,
WERE
A BOY AGAIN.
AKKANGED
i-~rz1V
EZEE|EEEEEIEEE[i;3E.EiE,EE^:.}
BY L MEJGNE2T
z*z
(S6E=
Inriautino
O would I
1.
mf
GUITAR.
were
boy
I 1-t-^-H *-
4r;-Irzgzzz3zzz^^
as^^sEa
:zlz:zz:zV
gain,
When life
iJzztBzzJzzzti:!
#-f #
- F
:
*-y
Was wept a way
all
then
the heart
IzdriJzii:
-EÊ*==Ez*
tears,
And
seem'd form'd of sunny years,
pain,
-r
>
ej
*-f
^
-r
pr_. _|_.
ErJzt
EET
_ zzmz^zzi
:zvzz^z*zfzzzzzzjzzzf zzr=ztzzzzzrz;*z^zi
hope wisper'd then
tale
"
My
fancy deem'd
was only
""-EEÎeÊ'EIEE^
"
:EF~
in transient
#4#
-eh
-- zzz:5 zz3==S5=F "=si=
-^--^-pr
fa-*^
# *-
When ev'ry
Was wept a -way
dzztizzrzziz*:
in transient tears.
knew of
Cre.
truth,
d^
S=3==?my youth
(-
O would that
could know a
The happy
gain
qî-izqzq-izz^- 3rqzzfc*z
^-
visions
'
of
i- -^q_ztjzz_
--|--r
O would I
z2z-u.s
<~
were
a boy
#zzt*_ZL_q_*rl
<&-
Lfzzzzz^zzfzz^zllzzEizzzz^zz^Mztzz:^^
gain, When life seem'd form'd of sunny years. When life
seem'd form'd of sun
ÊaEEÊE
EEEl^=TÊl
-9
^z|J
5
0-\
ff
*-\
-* zz
Tis vain
How
to
mourn
that years have
shown
false these fairy visions were,
Or murmur that mine eyes have known

The burden of a fleeting tear
But still the heart will fondly cling
To hopes no longer
And mem'ry
The happy
C)
would
When
still
priz'd as truth*
delights to bring
visions of
my
youth.
wore a boy again,

life seem'd form'd of sunny years.
I
re.
117
QUEEN OF MY SOUL.
\RKANGED BY
Wftb
Feelias.
p
J^ZT^
V.
tT
L AN
,,.,,
dlJlTAR.
dueen of my soul whose

!
star-like eyes,
Are all.
the
1
:zzzJz3zzz*z2:
izezzzgzazizizgza
zzzifczgzzzazgZTzz
-' #
!-#-#-+
SE= S=IE5EEfE?EI=z?EIriElEzz8,z=zEiESEr
,-5q- 0-0
l-#-#-f!-#'--ZZtZfZ*'"
'r --
T7-"T
seek
light
z*zz?z3*:?zz?z=z
:3*zgzzzzfzz<fzzzzzfzi
Whose voice
8"weet - est
in
zzzzzt5=x2zzzpi=3==EmiS== j=zÊzzzzz^z^zzzNpz^:zzzzzzzzzzzz?*q
tLc z^ziztzzzzzÎ ?-H=j *

g
me
lo
Can
ds
love
or
par
don
....
speak,
Can
love
par
or
=i:
=z
j zz
^J__f"
'r-m
r~--J -^
don
-zzz*zz2z: zzzzizziizzzzL afcidz izzzib :zzzzzzizz*zizzzzzz* zl ~*t~

zzi=i* m sq
'
^-
'
'
speak.
T~32~ ai ia
__
~~
a>
I
"
"J
-T--
jp= ^=z1 zzjzzz=f=f^^

bow me
to
V SH-*-
thy
-=]-
Q,ueen of
con-trol,
-T-^-v
i"
">"
5j"
lo/'d
#--[-
.
my soul,
Queen
Mary!
-|*-Hf-p-"g:j- ^-j-g
f-fzag
"
Mary!
gr~tf'
"'
~zz"
':s: 7
"
'
of my soul
zziqifzztf
^r *~i
i
Eprom.
/i^zzz^zz^ zzz^zzzNzzzzzzTzzNzzzNzzzfezzzzzzzzrr
>
VI w
t-0-^ m
Ma - ry
Ma - ry
Q,ueen of
my soul
'
>
ill
|at=^fc=si :?zzzzzd=zz?=fe=f:^
Wilh
l>. line.
2.
The Mountain
3.
The per-fum'd
of thy native shore,

rose for thee
is
Are cold and dim and

The lute awakes its
Ah!
lin-ger 'midst their clouds
Then
shall the with'ring northern
gray,
twin'd,
strain
no more, Thy home

wind Steal
all
is far
way,
thy sweets in vain
Thy
Steal
,:^zz^-zNT:ztzzzzzNTz:tzNz^
tome
\1
is
far
-way!
thy sweets in
vain,
Where
No
fly
Italy's blue waters roll,
beyond thy
Queen of my
fate's control
Queen
soul
Mary
of my soul! Marv!
Mary Queen of my soul! Mary! Mary! Queen of my soul!

Mary Queen of my soul Mary MaTy Queen of mv soul
!
'
'
118
MOUNTAIN MAID'S INVITATION.

ARRANGED BY
J.
E OOOT.H
gpi^îîiiiîiiiiîiîEirirEi^^
Come come come
-#
",0
;#- T -J
-tl-2
i
O'er the
r
free
hills,
from care,
In
my home true pleasure share
Blossoms sweet, flow'rs most rare
#- T

-+
m
=
T-?^
-&-
r
j-tEj i
Come where joys are found.
Here
i
r?pptr-T '-
*f-^-ÊT
the sparkling
dews
of morn
Tree
and shrub with gems
F*
Jew
a - dorn,
- els bright
qzpzzzzpzzz:
iEESEgp&EpEllEEjElEpE|EEE|E|EilEEpEiE=
bMîU
bn
--
-j9-
^zN]
zzz
zX==*=^=%^t=*=3z
Beau-ty
gai-ly worn,
all
JzzSzz:zizzzz:gzzz#zzJ=T
-0-
-0-
-#-
zzzzzfczzjzz:Hzizz
-A-
round.
jzpzzzr^zz-zzzzizzJtqV
z*zzz:zzzzzz :z*z=*z:
:zf?r
-Jr=zML*z=*-i-*=^z
Tra
la
la
la,
tra la
=&*=*-
Tra
la,
la
la
la,
tra la
la,
zztzzdzzjzzztj
:*:tzzt
E3zz=*=zzzEzi
J-zz:zz:pqzzzlz=z*zzz]ziz3zz:d=Jzz:zt
^zz'gz=az|zzlzz^zzz:Sz=p z|zz:^zzz^z^zziz=*zz:zzzz:i^|zzjzz^zz:zzzg
lllzzzllzzzlg
r^
T ^_wn- T zgzzg: T :g_.gzzazg. T -J
t-P**^#
pE^F
iznfczzzzzt: :^zz:zz::|zz:zzz=:|zz:zzzz:zzzz
T
2
Come
Not a
E'er
come
come
is
found in sadness here,
Music soft, breathing near,

Charms away each care
Birds, in joyous hours,
Come
When
sigh, not a tear,
among
Hill and dell, with grateful song,
Dearest strains here prolong,

Vocal all the air
Tra la la la, tra la la,
Dearest strains here prolong,
V^cal all the air
come
come
the day's gently gone,
Evening shadows coming
on,
Then, by love, kindly won,

Truest bliss be thine
Ne'er was found a bliss so pure
Never joys so long endure
Who would not love secure ?
Who would joys decline ?
Who would not love secure ?

Who would joys decline ?
THE WATCHER.
-z^-m-::
eoicE
HIT
WKlÂND
F.
_a
i
ra
I J
TTq
TT=
*--
ZSZlZ-,-1*^-*5*zzz*zM?:
izj^z^zfzfzfzf
1UITAR.
ARRANGED
-*"t-t|-#
'^*!
ajri_^_
"1
-t-
ii-
"r
2.
Within that dwelling lonely, Where want and darkness reign, Her precious child, her on-ly Lay moaning
in his pain
And
Hfezzzizzzz:
z?zzN:zr:
1.
The night was dark and fearful, The blast swept

i
r^~"T"^
zJrgrlrz^* =**^=fcF^=*
A watcher pale and tearful, Look'd forth with anxious eye, How
wailing by,
i
"fc^*=:^z^zz=M==g=T*rz^fc|
^ ' *~
death a- lone can free him, She feels that this must be,
oh
But
for
morn
to see
ZfZZ"~J
"T
him Smile once
a-gain
on me.
And
^ zzzzzzlzzzzz^jz^zzz^zz^zzzzzzfszzNzrzzzNzzzNz--?
'W-
_l
wist-ful-ly she gaz-eth,
No
gleam of morn
zzzzz:=zzzlz5zz*zi*zz*zzzzz *zz *zzfzz*zz*zzf izziZzzzpzi

eyes to heav'n she raiseth, In
a -go-ny of pray'r. How
is there, Her
Vrznzjzzn:: JzzzzzNzi
:*zz?zz*z: *zzzz*zzj
him, She feels that this must be,
death alone can free
But oh
for
morn to
him Smile once again
see
on me.
Ail libilnni
fczzzzzzzzzz:
szEzNrfz^zz^
wist-ful-ly
Kg)
M-
she gaz
eth,
# #
f*zM*zzZ
No gleam of morn is
# +-
2p#zzz^z^zzzqzz=jv-q5fzi]5:
-0XT.
Hei eyes
there,
\-~\--
g-t~
to heav'n she raiseth, In

' n
' Z3
go
1-:tz:
'
ny of
pray'r.
II
-i
T
--&
-T3ZP-J
0- ZlZ
-di0- t--d
x
1
C?EEprz-
arr-H
t-N
pE^
'
t ^-r
'-?=
-<G>-
RaU.
A hundred
lights are glancing
In yonder mansion
And merry
feet are
The morning sun
dancing;
They heed not morning there.

young and joyous creatures,
One lamp from out your store
Would give that poor boy's features
To his mother's srazo once mor<
is
She heedeth not
fair,
shining
its
ray:
Beside her dead reclining,
The pale dead mother lay.

smile her lips were wreathing,
A
As
smile of hope and love,
tho' she still
i-
were breathing
There's light for us above
i-iO
CHARITY.
ABBANGED BY LEOPOLD ttYXQVtA
Dolce.
Moderate
"Efff
Guitar.
P^St
^zzzzP^zizz] zzzzz:=zzjzz3i:pz*^^-z^=:to :i_--^~ _: 1
=j
#t*
iE~=i^?iSE;
&
î^^
1r
'i1
i
i
__.
r -.i
1
-0-
Chief a-mong the "blessed three," Turning sadness

T
l~I
-0-
-0-
1-jjj
14- -Ii
_.
-i
J-S
ir-t
III
I-
~0
-0
--
Heav'n bora
in -to gladness,
T
*
~0_
A Tempo.
ltll.
it
- ly,
i-
PP
&=*==$=$-
T III
'M
"-i
III
^"i T ppwy^-T

L-*
L_
-.
>~^'
J ~>~1*1
iE=î5gzztEzir=zg^?zr?rz?ri
"
Meek and low-ly, pure and ho
_jk_# rr
-gf4?
JlZMi
=*1 qzzzzz^zzftfczzzv-' "
:=q==:^z:
x*z
1.
^"
'SS\
f-#-i
thou, Char-i - ty
art
Pi
ty
Rail.
u.
?-
dwelleth in
-""i
-f
Kindness reigneth
thy bosom,
ii
i'î
Gentle
heart,
ij
-*i
-4-
i*
thy
o'er
Rilard.
z^z^zpzz^pzzzzzzzgzJ^zzzzizK
g
^zzE=ÊrE^zzzzzli=^zb
eg=zzznfz:*z?z?gzzr=z5z^d:g
thoughts alone can sway thee, Judgment hath in thee no

I
part.
Meek and
zfxg*zi:f
pure and ho
low-ly,
----
zEUJEJEl
zzczt
ir
Rita rd.
Chief a
3-f
-t#
Eilfzz]3zzj-2z:
rzl_z!_*zz:z*z
TT
:zzzzzzzgzi
- ly,
51
7*"
Rail.
gfe
zzzzjsizzr
V-V
mons
#
-r
fzzzzi^zte:
zrzzixtzzt
Turning sadness
the " blessed three,"
n r ^
'
'
&&.
zziz^zzzzgzz-
-1
.L.
r-#zzj:-==
y-^
-U
in - to gladness,
Heav'n-born art thou,
Cha-ri - ty
iM-J-#M#4l-i-M--J1 _ip*-3=3n=3~ -'
=- =
is:
-V-Raii.
--
fj
-+^-++
-i
'
dzz^zztzrzip- #zzzzL3_i
?^fe=*=*=*
*
^ i^==tfzgzzzzsS::
failing never
Hoping ever
Though deceived, believing still
Long abiding, all confiding,
To thy heavenly Father's will
SBC OND TI1SE.

Never weary of well doing,
Never fearful of the end ;
Claiming all mankind as brothers,
Thou dost
all
alike befriend,
Meek and
lowly,
&c
21
LOVE NOT.
WHUKU
P=
-*
Andar.tino
jii espressione.
ARRANGED BY
:z^zg:=j:d^zj:zz^zz|f:g^^
tf#"
::?&3=EEzrg
=-fe=pE='J
*333E
Love
not!
"#*"#
not
Ye
of
sons
hapless
'-^ _^g"
TT
~#Z#;
*=fc5 =Z
Hope's
clay,
gayest
1/
-N-
i~
wreaths
made of
are
^^
fall
way,
P=^
thev have
they
blossom'd
R=F3
^!e=s=
?_zz*jz **-:=: :z8=^zgz*zIE^^
for a
_S=^ ^=^
made
to
:S"ji:
1
they have
R^
M~
i-
~l4 -'
ZZb
zzzz^zzz&=zNlzzt==rzS==i^z:
g1~_ ^
_y g^;-g_
pjj
:==zzzz^zz_:z:: - k
Ere
short
;:*fe;
few
3r
:-$
ar
hours,
that are
Ere
^=2
Things
flowers
pii==zz==i^rz^zz;izi=-=zrz:=zzz^:# =:izqz=i=z=z=zs^=zs^z=i
E=E* gE??*EzzEf=?+=z
lade and
earthly
blossom'd
for
few
HI
short hours.
zzEE|M-*3zz^^
f
Ad
li b.
-^
Love
:i:-jzqTqzqzzzjz: :zzzz:
Ezzz:i:?z*zjz*zz3=zz=:
Love
not
not
May
The
the thing you love may die,

perish from the gay and gladsome earth,
Love not
love not
silent stars, the blue
Beams on
its
and smiling sky,
grave, as once upon
its
birth. Love not
you love may change

Love
ceace
to
smile
on you,
rosy
may
The
lip
The kindly beaming eye grow cold and stiange,
The heart still warmly beat, yet not be true. Love not
not! love not! the thing
Love not! love not! Oh warning vainly said

In present hours, as in years gone by:
Love flings a hallo round the dear one's head,
Faultless, immortal, till they change or die. Love not'
isa
THE WIDOW OF NAIN.

ARRANGED BY A BCHMITl
1-
:4s*
*=:
Andanl 3
Wake
1.
not,
mo
oh
ther,
Affet ioso.
=&*= :-2a|z6Î5S^=3-=
33=^
zzg'zz * i=i= jzq=*ztz^=^_
-#r#
J#J
-.
#-i
-#-#- -T5
men-ta
T^
Weep
tion,
9
I
9
-
-0-
I -1
-KZZ
-i
-W
help - less
^^
-A
9
-
Wtsc=t=
EgZTgl^zzlE
his arm,
the
bring
va
of
- er
:
-
->~T"
- ly.
<"^
J=*z :z^zjg=*zz^z^zzJz^z*5 -zzzzzz
-0-
not
_'
-0-
-9-
:zzzpzzzzz*zszzz:i
igzzfzzzzznzrzzg:]
:p
Strong
- tion.
-m-
=rfzzzz^zz?3=
jzzzzzzez
*=
ItZZZZZZ^ZZZZ^
is
-,-
-#-#-
Strong
weep
dow,
ri-T
oh wi
not,
3= :=Sb=dES=5-t
:_gzz;izirfz =iz zzjz^z jzz^z^z Jzz^zlz^zgzzzgz^zfizz^z^z^zz^z^z

J
t
--0-0"
0-
9
0-p
p-
0-9
-0
f-
^zz:zz=z&t:zfzzzzz*zzz*zj;Jzzzzzzz z*_=z=Ejt*:z:?zz*zzzzz
la -
0-0
sounds of
*jz,a _*i?:z^-*z':sziz2z
0-0
the
is
word
of
z^Jzz5:z^Szz5zzzJzzSzzz3=5zfazS=J-^^
r/fz^z^zzz^zzfvzzfezzzzz!-:i/-
Ê
zzzzzz=przzz:^zSzz:iz^zzz^z-z:
^^:^z^Êzzfezz^=?Zzzzlz^?:feEÊ fct=
God
to
suc-cour thee,
^tlz-zzn:
0-0-^,-0-0.
.0^-^-0-0-^-0
00 !---0-0-
00-0.
Strong
-*?-
word
the
is
God
of
to
succour thee
L^ng_q _*z^^gz^z^gz|^g^|z^z^^lt
jzaz^^z^^jgzzgzzZ
SzSzzîJzztfcSzz'zzzzfcJzJzztJzSz^
SECOND TERSE.
THIRD VERSE.
Why
Bring forth the cold corpse, slowly slowly bear him,
Hide
Who
his pale features with the sable pall
Set
Chide not the sad one wildly weeping near him,
Wi lowed and
childless, she
has lost her
pause the mourners

the dark
down
the bier, he
Young man
all.
pomp
arise,"
FOURTH VERSE.
Change
then, oh sad one
Worship and
fall
grief to exultation.
before Messiah's knee
Strong was his arm, the bringer of salvation,

Strong was the word of God to succour thee.
who
forbids cur weeping,
of sorrow has delayed ?

is
He
not dead, but sleeping
spake and was obeyed.
123
LILLY DALE.
ARRANGED BY
DE A.NGUEBA
2.
-fc*
--eF=
ANDANTE
STMPL1CE.
SEti
-#
that once glowed,
__^
cheeks
-^
with the
tint of
rose
health,
3*EE3EE=E*
night,
still
By
--J
-v^
And
moon's pale
the
light,
-I-
i.
Shone
1.
1 -i-
*=*-]
hand
the
M=^=
'Twas .
%-^=*
had turn'd
of disease
Her
And
pale,
the
#o'er
soft
hill
and
L
(
fczzzzzhif zzSzzSzzztzSzzSzzf
zztzzzzzzz ztz&sEf
zzIzz^zit^zzzLfc^ziizz ftzzdzSzSzSzzJzzSzzzz
t
1=
l
*-*
=3=
qrzzt
-^
;zF=
=zzf
-zt-f*rrf-t*=}r2r
z
*
-0-0 -0-
^W
-m-
damp was on
death
rfzzzqzzzzz*zz*zzp:
_#
mute with
friends
"#Z#
grief,
zNzzNzTzzz^zzîztzizzqzz
*=r*zz zzzgzztfzz*
Stood
:zt
-#-* CHORUS.
:5
poor
sweet
Lil -
ly
'
'
Dale.
-_l
Of my
bed
3=ztzzt
poor
lost
Lil
Dale.
ly
JTli
3"zt
zqVrzzzzzrz
:z*
dear
Lilly,
zzfzz*
*E=r===Bi
Lilly,
'
BESEEM
-&>
Oh!
lost
afc=t3fc
*-
:1:
:*$-
*zz
round the death
=*
Of
brow,
white
pure
:zjzz3z:qz:izzqz=izzz|:
=t
*:
|Z.
The
i-
Lil
ly
ÊrÊfE^
zdzzz1zzziz-.q:
-&.
hdl
Dale,
Now
the
-dzijz^zizzJ:*:
zzzzz^JzSzlzzzizJzl SEIzzztSz^zSzzzrzrlzSzizz: zz^zSzizlzrzrESESzz*

J
x
*
*
:zt
zx
zi
:z
aEE3
-/
wild
blossoms, O'er her
lit- tie
green
grave, Neath the
trees
Er=^^
L -*
:zt
"I
go,**
she said,
To the land of
And
# -z=z-zzzzzzrszzHzizzzzzSzz! zzzzzqzzzz^zzzTZz-zrzz^zNzz^zzzizzzzzrTzzz:
:fzz*zz*zzI=zHz*^z*
zzzzzzzzzfzz*zzT Jzzz^zzzzzlziEzzztzzzzIzzz5
rose
2z*izzzzHf
^*
i-0-0-0
ere
my
in
the flow'
ry
-z
:i=fei
-fzizzzi*-
'Neath the chestnut tree
Where
rest,"
strength shall
fail
And
the wild flowers grow.
the stream ripples forth thro' the tale.
I must toll you where,

Near my )\vn loved home,
Their songs in spring,
You must
There lay poor Lilly Dale-
lay poor Lilly Dale.
Where
vale.
I
:zt
the birds shall warble
WITH FADED FLOWERS THY LYRE WE'LL WREATHE.

AKRAXGED BY
A.
SCHM.TZ.
Afocleralo lwii.
Voice.
tiMtr -=T50
it-Jfc
*>--0-\-
With
l.
fa
ded flow'rs thy
EEEEzB:
5E
3
ifctfi
we'll
lyre
zz_*:
wreathe, The
flow'rs
(jfcfe^^-fjzzjjj^
Guitar.
thee
And
that glad - den''?
5"
droop
ry
ev' -
bud
ing
will breathe
pur
mem
fum'd
^^^
I |zzzfe^z^*zj:*:!^^
._-t
-&
'
-i
zzzzzzz^zlzt:
No
ry.
f^~i^"H
wake
touch will
r i^""i^n
ther
r^^^^
r^"^^"~!
that
Fro
From
which such
string
p-im""P^
'
i-
fF_t
# "f-J
"*"!*
-#-=t
-pe
s?
:
rr
t*
a-
3z^zzizz^rfazzzzzzzzzg#pzzzz|
g
^zzzzzzfz:^zz:z zz^zizczzzzzzzzg zzzzzzzz#
:t^:
aq
Un
*-J~*
-jV
-H ---+0_Xm
came,
zzlrzfcg
j]
- less
be
it
night
the
wind's wing
To
syl
la-ble
thy
*-i zzzt~^ g
9 -i-9
--+-*
^-ai-g
f-gffgz
g-4
>
=L
j5*\=
name,
-tzzz^zizp:
No o
j
i-S
ifczqzzzz z=~zzzzzzzx:
?<g
J
1-
ther
touch
_e
wake
will
_^_
string
Z|_ #
came,
-^
_^.
The brazeii records of the brave

Time breathes on, and they're gone.
which
such
Mu
\_m
+
it:zz-tfzz*z:
sic
The sculptur'd uvn that decks the gravi,

Where sleeps the mighty one ;
From
=te*
81C
m_v
\_m
|zzz=z|zzzN:
0-
:z:
-:zzzz:lz
"
9
that
_-L__|_ #
1_!
which sucn
such mu
From
f rom wnicn
came,
3ZE=ZEEgEZ|E3Z;
E C O
-&
rom wnicn sucn music came.
=t
.^-
-jh
ND VERSE.
Thy grave will be a holy spot,
Where years have passed away \
Thou art not one to be forgot:
Thou art not for decay
;
*J
^-
Boston Public Library

Central Library, Copley Square
Division of
Reference and Research Services
Music Department
The Date Due Card
in the pocket indi-
which this
book should be returned to the Library.
cates the date on or before
Please do not remove cards from this

pocket.

Matteo Carcassi Metodo (Op.59)

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Matteo Carcassi Metodo (Op.59)

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NEW AND IMPROVED

LYON & HEALY.

tortred according to Act of Congress In the yer 1833, by Oliveir Dltsow

edition of Carcassi's celebrated Instructions for the

much valuable matter

not contained in those previously

These additions are those which have been made by the

guished Author, after an experience which enabled him to determine

what was actually needed by the pupil for a thorough understanding

The whole has been

thereby rendered as free as possible from those

slight but perplexing inaccuracies

which sometimes become a part

translations and reprints.

of popular songs in each of the different keys have been

appended, which together with the masterly instructions of Carcassi and

course of Exercises, furnish

desirable to both teacher and scholar

and a long expe-

;nce in leaching the Guitar, having furnished

Method before the

do not pretend to produce a

work, but one that

and give a thorough knowledge of the

facilitate the study,

strument, in a concise and simple manner.

have taken great care

from the commencement

voiding those dry

too often tend to discourage

extensively, the exact

eu Pin tent ion d

voulu seulement rendie pirj

la plus claire, la plus

simple et la plus precise, donner

une connaissance approfondie de toutes

ressources de cet in-

hand, of whicb I have treated

one of the most essential means of acquiring a

L'accueil flatteur que les artistes, et les amateurs distingues,

ont bien voulu faire jusqu'a ce jour a

have indicated the fingering of

as far as Part Second, alter

pupil will have

J'ai apporte le plus

grand soin a preparer

progressivement chaque legon, afin qu'un eleve, qui n'aurait

de ces difficultes arides,

qui trop souvent ne servent qu'a le decourager.

main gauche, que

avec beaucoup de developpement,

m'a toujours paru une des choses

acquired sufficient knowledge to apply the proper fingering.

mes ouvrages, m'a decide

Besides the fingering of the

however ignorant of the Instrument,

that the pupil,

composant cette Methode,

main jusqu'a ladeuxieme

five assuianee that

that from the success attending

fhe application of this