AARON SHEARER eter CLASSIC GUITAR TECHNIQUE Son Eton Revie) Franco Colombo Piblications© Copyright 1959 by G, Rlcordi & Co, New York © Copyright 1953 by Franco Colombo, Inc., New York ‘ie Ais 10 BiTABLE OF CONTENTS FOREWORD tothe Second Eition == - =~ PREFACE - ‘TWO TYPES OF GUITAR ‘THE CLASSIC GUITAR (Figure 1) ‘THE PLAYING CONDITION OF & GUITAR TUNING THE GUITAR === == HOW MUSIC IS WRITTEN (The Elements of Notation) HOLDING THE GUITAR (Figures 2 and 3) - ‘THE RIGHT HAND (Figure 4) NAMES OF THE RIGHT FINGERS - PLACING THE RIGHT HAND (Figures § and 6) -—- == ‘THE REST-STROKE (Figures ? and 8) RECOMMENDED PROCEDURE FOR PRACTICE ‘THE FIRST THREE OPEN STRINGS ~ ‘Ti FREE-STROKE WITH THE THM (Figure 9) THE 4th, Sth, 6th OPEN STRINGS ‘THE DOTTED HALF NOTE. ~ ‘THE LEFT HAND (Figures 10 and 11) MUSIC IN TWO PARTS - HALF AND WHOLE STEPS - "THE CHROMATIC SIGNS (aeceals) - THE EIGHTH-NOTE ~~~ ‘THE FREE-STROKE WITH THE FINGERS (Figures 7,12 vn 2) PLACING THE HAND FOR FREE-STROKE EXERCISES FOR THE FREE-STROKE FREE-STROKE ON ADJACENT STRINGS. ~~~ AARPEGGIO: Using (), (0), (m) and (a) Consecutively CARE AND USE OF THE RIGHT HAND NAILS (Figur ‘THE RIGHT HAND IN LONG SCALES = --- ‘TWO NOTES PLAYED TOGETHER ---~ THREE NOTES PLAYED TOGETHER ~ SUGGESTIONS FOR MOST BENEFICIAL PRACTICE ~~~ PIVOT AND GUIDE FINGERS (Important principles of lee tan tainigue)- GENERAL USE OF THE TWODIFFERENT TYPES OF ST#OKE = ‘THE IMPORTANCE OF REVIEWING FOUR NOTES PLAYED TOGETHER (MUSIC OF THE MASTERS CARULLI= WALTZ AND THREE VARIATIONS SOR ANDANTE I - ANDANTE It ALLEGRETTO | ALLEGRETTO it GIULIANI. ANDANTINO ALLEGRO. - AgUADO- WALTZ = ESTUDIO. - ACCOMPANIMENTS FOR EXERCISES 1-13 ~ M415, 16 and 17) 38.39 atFOREWORD to the Second Elition ‘he fest edition of this work, Classic Guitar Technique,” was the result ofa desire to present basic and orderly approach tothe development of clasbic guitar technique ‘Since the book waa written, sme six years ago, my conviction that the approach to Cech ical development presented in this book was valid has been generously substantiated by my aaea once, reachera with Whom I am in daily contact, ard etude and teachers from her farts of the country whose comments by lecter and in ferson hare been most helpful and ratifying. Continued inguiry, observation, and analysis since the first edition was written confirms my original conclusion that uncontrolled muscular tension constitutes the greatest impediment ID tne development of a practical gutar technique, Reasoning trom effect wo cause uncovers the feet tat tis causes of uncontrolled tension are lack of understanding of basic mechanics in- herent in playing the guitar, specifcaly: seating, holding the instrument, the placing ofthe right han in elatlon fo the arm, the correct fancloning cf the muscles and jtnts controlling inatingers, and the purely mechanical adjustment of the guar itself, Many advanced students lind even recognized performers find the playing of the gutar an arduous tak simply because they have Joveloped varying degrees of uncontrllod tensica, Few guitarists play accurately: the ones who do have cultivated technique based upon proper relaxation. The most desirable time te start development of a correctly relaxed technique in the early stages of stuiy. Re- lation can be acquired later bat only with considerable dificulty. While @ certain amount of montrolled tension is natural atribuce of weak, untrainel muscles, it must not be permited {o bocome an actual part ofthe student's development. This second edition will endeavor to set lowe even more explicitly than the first the means for acquiring a precise and relaxed basic technique and a progressive and systematic development of paying ability sh cause for chagrin with respect to the fist oditon was the realization, ehrough com- munication with teachers and students, that many were missing the main object ofthe book: the development ofa basic guitar technique, inorder thatthe student could devote maximum uention te finger setion, the music written for the first edition was purposely a8 simple a progtees would permit. has Decome obvious to me that many teachers and student regard Progress from the standpoint of how quickly rather than how well they can perform difficult stcclawing their way trough compositions beyond their technique, instituting deeply {a- rainad bablte of frequent hesitation, and creating great harm to thembelves in terms of ~ ‘controlled tension. “Assuming that the thoughful salen will agree that ‘echnique is paramount to the begin ner, there is but one more condition fo be accepted; the cultivation ofa deliberate and tranquil Spproach toward practice, I cannot overly emphasize tha: a headlong anxiety to play "pieces seh nat be productive; it Is harmful from every aspoct of good technical development. Only oughly regular, and, yes, joyful daily practice wil enable the stulen to develop mind, mus les, and spirit info a concord of execution and expression, Fie fire edtlon ofthis work, {used the adjective “concert” tm deotly the pe of ula Hm iis ak is elton, because of te mlsleading posses of he commen used erweSibcne' Tals was oot intended stan attempt io exes a sie among gurls con~ Simng tbe name of be Intrument Imagine mi surprise, therefore, when part of tbe aumerous correspondence, geoealy prals~ Imagine my rrr igorousproests at ny having used he word “concert” In peteretce ‘Dine word lass Wit te relation that de name given thls instumout is of considerable inporace to (Mi Seluca aod mace fam practislly sone ia tha ost of he term "concert, he autor RAgLPVidliso the tajocty. Henceforth, be wil ofr the instrument a5 “he classic peePREFACE ‘Tne author makes no pretense of having developed anything new in the actual technique of playing the classic guitar. World-wide recognition of the Instrument as a medium for inter preting serious music could not have been attined if a sound and logical basic tchique hed fot heen developed, We may reasonably belive that there are musiealy gifted inviduals who ‘agp to Known accomplishments with the gutr—and even beyond. But despite development of agultar technique toa high degree of perfection there remains a extremely limited number of fgultariats who have risen to the status of supreme concert artists, This surely inticates that ‘Some essential is lacking in te training and development of guitarists which impades their ‘ogress toward becoming accomplishal performers, ‘As a student, the author acon became aware of dhe rather haphazard approach he was obliged to take regarding the problems involved in playing the guitar, Authentic and explicit ‘step-by-step Information about how the guitar is actualy played was not obtainable. The situa~ ‘on was further complicated by lack of graded study material to insure proper technical and. ‘musical development, Could not this, then, be the principal re:son why more highly proficient iguiterises have not made thelr appearance on the musical scene? While rare and almost singu- Tar instances of intutional genius have existd, for the most art, learning to pley the gutar has involved vast amounts of time in "unlearning” and begining agai; the time from primary to advanced stages of development belng entirely dependent upan the student's slowly progress Ing ability to analyze his own errors. ‘Aserious effort has been made In writing this work to present concisely and explicitly, authentic information on the basic fundamentals and aplication of guitar cocknquo, While this bck is not intended to replace the instruction that can be obtained trom a good teacher it will, be of great service to both stixent and teacher; it presents in an orderly, progressive manner necessary basic information ant exercises essential to beginning guitar instruction. The teach- cr, therefore, may more beneficially devoce his time to detailed instroction aimed at correct- Ing the student's individual problems. ‘The easiest and most thorough means of quickly earning frst position notes on the guitar {in relation t printed music Js with te ald ofa writing book called the "Guitar Note Seller”. ‘Through interesting and extremely simple writing exercises the stodent becomes acquainted with the notes both in musi and on the gutar BEFORE attempting to play. lx this manner he ‘can more fully concentrate upon the probloms of losrning to acmally play the instrument, The fauthor has written the “Guitar Noe Speller” (published by Franco Colombo, lac, New York) ‘especially for use in conjunction with Classic Guitar Technique, ‘The author wishes to direct a sincere appeal to anyone inerested In learning the guitar: ‘Do not pen to rush through this work if you desire sometime to experience the thrill of really, playing the instrument. Any worthwhile accomplishment requires time and effort. Give your Self time to grow to the guitar; chia Is a gradual process, Suuents who try to hurry the process by atiompeing difficur phasos of tochnique without proper gradual developmeat, will find learn- ing the guitar an arduous task, The most productive and compensating efor’ is that directed toward establishing thoughtful practice hablts and applying them regularly. The speed ofa stu- dent's progress depends, to a great extent, upon the amount of careful daily practice. Sil, It takes time to develop the mind and muscles for playing this responsive instrument. So, resolve ‘now to be patient, Cultivate the enjoyment of knowing you have stulied and practiced well, of being aware that you are becoming acqualotad with one of the most boautful and personal of fnstruments ard its muse. F.c.1897atthe present time there are two widely used but distinctly diferent fretted Instruments ‘with the name, "gitae", In view of this often perplexing slustion, the article describing the two Types of Guitar” immediately following he preface has been included inthis work, Three points of interest are of special significance: 1, The fact that two types exist 18 contsing co an individusl ho hae heard a ‘uitar” and has decided to study the instrument. Authentic and unbiased infor~ ‘nation regarding the different types of gutar and tieir potential use is very ‘Often not available tothe interested person. He, therefore, has no clear ides as to whac ope of instrument 10 obtain, or what kind of fstructlon to seek: 2, Jes the author's firm belief cat a student of the classic guitar will benefit con- siderably from acquiring some knowledge ofthe qualifications and limitations of boeh types. The serious stulent should be able to discuss intelligently the pr tray dtferences existing in the two instruments possessing thename “guitar”. ‘Occasionally an avid enthusiast ofthe classic guitar makes the assertion oF im plies that che plectrum guitar lacks meritasan instrument and cannot sccurate- Iy be called a "guitar", Such an unvealistic attitude naturally cends todo harm by causing Fesentment, Ir must be recognized end accepred that the plecerum type is Known to millions of people in both Burope and America as a "gucar” Its crus that the plecteum instrument {8 vasty differen from the classic gui- tar in construction, use and performance method. There can be no question re- ferding the superiority ofthe classie guitar as solo instrument forthe perfor hance: of fine, highly expressive music. Wide use and custom, however, have {Ttintely estabished the fact thatthe ploctrum instrument 18 a "guitar". One type cantor replace the other;they are simply diferent instruments serving dit- ferent purposes. An excellent performer on ane type could not play the otter well without years of serious study, The merit of the music produced upon either Ippe is enlrely a metier of personal opinion end must be left o that predict able human element, individual taste 5, The average lstener, impressed wich dhe unusual fllness and beauty emanating from the clessie gulter ia often interestod ro learn how its characteristics dif for from dose of the plectrum «ype; the article, "Two Types of Guitar” is in- tended ce e concise and accurate discussion ofthe subject. “The author wishes to express his appreciation to Major Harold L. Maurer for his assist ance in preparing the text of this work, and to James N. Care for his assistance in preparing, this second edition. Photographs are by Steve Zweig, Washington, D.C. Aaron ShearerTHE TYPES OF GUITAR The Classic Guitar “The first of the ewo types co have made Ite appearance on the musical scene was the classic guitar, also known a5 the Spanish guitar, concert gutar, and the fingerstyle guitar ‘This Instrument and the technique of playing it are described in detail later in this work, Ie is the guitar use in playing solo recitals and concerts with orctestral accompaniment. Tue name "classic guitac” has misled many initially inverested individuals into believing the instrument to be suitable only for classical musie; certainly this is an incorrect impres= ‘lon, The description "elassie” for the guitar more properly derives trom is enduring Interest and value, from being in the frst rank of instruments, rather than from any righ! association with a particular type of music. The gulter can no more be confina to one type of music than can the piano. They both are “harmonic” instruments, celr greatness unquestionably culmina- ‘ing in the performance of classical music. Because oftheir excellence in playing fine music, it is only reasonable t assume thet both the classic gutar axl the piano are adaptable to ese ‘complicated forms. ‘The association ofthe classic gulter wih Spain {9 justified because of its centuries of Popularity there. ‘To refer to the instrument 2s a "Spanish guitar", however, would erroneous ly tend to confine interest and acceptance ofthe gultar as a major musical instrument, At no time during is long history, which dates beck at least tthe Ith century, has the development ‘and use of the guitar been strictly confined to one country, Recent studies revesl conclusive evidence thatthe guitar was not invented by Spaniards, It was developed by Provengals about 1000 A.D, from the ancient Greok Kihara and had but four stcings. The old six string vihuele, ‘50 widely used in Spain centuries before the advent ofthe mocern gultar, 1s now recognized a8 4 development of the Provengal instrumere, (The European lute is sometimes mentioned in con- ection with the origin of the guitar, While bot are picked instruments, they are not related either in husic construction oF by name.) Whether or not the modern guitar isa development ofthe vila in Spain Is nat known. Its Fecorded that atthe time the guitar came into promi rence, the instrumeat was being used aad developed in other exutries of Burope, About 1788 & German craftsman named Jacob Ofto, added a sixth string te the five-string guitar which was the popular plucked instrument in Germany at that time. Sone of the finest guitars ever prO- duced have come fram Garmaay, Excellent instruments, t00, have been constricted in Spain a8 well as ocher countries. Many of the ordinary features of the modern classic gutar~leop bridge, width of fingerboard, and the customary inner constriction, mere established in Spin about a century ago. The general characteristics of the matern violin were established by Italian craftsmen, but it isnot called the “tslian violin’. The gutar should be recognized a8 {an imernational instrument at home in the many lands and cultures ofthe world, Prior to the year 1946, the classic guitar was strung with three plain strings made of gut land throe strings of spun silk wound with fine wire, Since the time, however, immessursbly superior strings have been produced using a synthetic material (usually nylon) instead of gut and sik, Synetic strings rarely break, and once thoroughly stretched, will remain "in une" ‘over a long period of time, There has also been considerable impravement in the actual con- struction ofthe classic guitar during the last hundred years. Bren so, it remains a dalicate i strument not suitable for playing “rhythm” inthe madern dagce band type of orchestra where {great volume is require. I is a highly expressive instrument, at its best where sustained har- ‘monies, and richness and variety of tone are the qualities mast sought. The classic guitar is fan excellent solo ant accompaniment Instrument, whether itbe played ina concert hall for a lange audience, or in the Intimacy of one's own study room for the sole benefit and enjoyment of the performerThe Plectram Guitar “The second type of guitar referred to a the hoginning of this section does not have a set eseripeive name to distinguish it from the classic gular. I s sometimes called the plectrum suite, pick-style guar, American jaze guitar, and the rhythm guitar, although i isnot neces Sarlly restricted to playing "chythm” oF strumming. Its mest incorrectly referred to a8 the Spanish guitar, oinee the clasote guitar ie the typo meat widels weed in Spain. ‘The plectrum gultar is specially constructed ro withstand the tremendous tension ofits ste steel strings, which are tuned the same as thse of the classic guitar, Onlinarly, the first two strings are plain staol, and the remaining four ate steel, vound with an alloy wire, An oral or triangular shaped plectrum (plck) of tortoise shell or similar material, held between the thumb and index flger ofthe right hand, is used to sound the sings. Exployment ofthis sin- gle device in playing the plectrum gultar sets serious limicatiens upon the instrument. For ex- ample, most well-arrangad music, either accompaniment or solo, will occasionally require that notes be sounded simultaneously upon widely separated stings, such as che Ist and 6th oF Ist and Sth; use ofthe plectrum readers this an impossibility. Melody withthe supporting har mony necessary to give fullness and color to @ composition can be produced in only a limited lente when the gultar is played with eplectrum. As a matter of fact, the harmonic combinations and range of tone necessary tothe solo performance of fine concert music simply are not a~ ‘ailable on te plectrum gultar, This tye of guitar, therefore, isusually wed with one or more instruments when playing an accompaniment o¥ solo, ‘The plectrum guitar is excellent a5 2 "rhythm" instrument, working, a8 is customary, with bass and drums to ser the beat of the modern stidio or dance orchestra (In this ype of Accompaniment the correct resolution of chord tones is reladvely unimportant.) Ik produces a brilliant, rather metalic tone, which in addition co belng suitable for "rhythm section” work, ls also used by "western style” and "hillbilly" singers in playing simple accompaniments. When amplified electronically (it i then called the electric guitar), 1 is most effective a8 & ‘melady” instrument, usually playing a single note ata time, but occasionally brief chord pas~ sages. The electric type of plectrum guitar 4s Widely used as @ medium for playing various types of modern jazz, popular music and “western style" mus ‘This is noe intended as an exhaustive appraisal of che guitar played with a plecteum. Rather, iis an attempe to furnish the reader with concise, auenic information regarding the characteristics and customary uses of the instrument, Interested individuals often ask which ype of gutta is ore dificult to play. The author, having studied both types finds It impossible to say positively which is ultimately the more dit” ‘cule, Each presents its individual probloms, especially as tke student reaches the more ad- vanced stages of playing, The difficulty involved in playing either typeof guitar depends entire- Ty upon the extent of the student’ aspirations, I is comparatively easy to play simple chords (oF melodies upon either type; but several years of serious study are required fo become an ac- complished guitarist in either case. For beginning students the classic gular is unquestionably more rewarding and accally ‘easier to play, As will be noted in tis book, surprisingly melodic and full sounding line solos may be played after only a few hours of goo study. The reason for this is recognized in the ‘act that che classic gulter, played with the chumb and fingers of the right hand, permits theexecution of widely spaced harmonies of two oF more notes simultancously. I is easier to play Simply because the strings of the classic gultar are softer and more flexible than are steel strings, resulting in lesa irritation to the Left fnger ips. Which instrument fs more dificult to play is relatively unimportant question, however; lhe thst consideration forthe atalont f2 whisk type of guitar will bring the most personal sat {sfaction and will more fully satisfy the individual's taste, Flamenco COnly the classic type gultar is used In the performance of Flamenco music. The trve Flamenco gutar, however, diflers slighty from the classic guitar in is ier construction and is usuelly built of lighter wood, IE was originally used and developed in Spain primarily a8 an fccompaniment for singing or dancing. Now, solo performance of Flamenco music with the ‘puter has been developed ino what may be considered a fine art. [Most authorities agree that the best approach to the technique of playing Flamenco ts ‘rough a careful staly of busie classic guitar technique, Focause of the unusual and striking teffecta required in performing true Flamenco music, the technique of playing it must neces sarily be somewhat different. However, the basic technique of playing th classic gular, cor rectly applied, remains the same whether the instrument is used for classical, popular, or Flamenco music,THE CLASSIC GUITAR Figure 1 ‘The two customary methods of securing 4 string tothe bridge, IMPORTANT! The turn of the string competing knot must be behind hack edge ot heidge. “The author profers method number 1 forall six strings.THE PLAYING CONDITION OF A GUITAR ‘A most important factor for the stulent to conser Is the playing condition of the guiter he tntends to use. Ifthe instrument has a warpod neck or has a0 been properly adjusted i wil be dificult to play, if noc entirely unplayable. The fow minutes requtzed for determining the playing condition of agutar may save the stulent many hours unrewarding staly and consid erable expense, BEFORE THE PLAYING CONDITION OF ANY GUTTAR CAN BE ACCURATELY TESTED, ‘THE INSTRUMENT MUST FIRST HAVE BEEN TUNED TO CONVENTIONAL PITCH, (See page 6 for tuning information.) A guitar is vested for a warped or bent neck in the following manner; Depress the E or Ist string at the Lst and’ 15th frets’ simultaneously. With ee string hel fiemly in this manner it should appear almost to touch each intervening fear, The séme procedure must be followed with the E or 6th string. Hf eithor string does not practically touch each intervening fret the neck is warped, new fingerboard and/or resetting the neck nay be necessary before the gu {ar can be considerod for use, Next tn consideration is the “action” of ch guitar, whic from the standpoint of playabil- lty, 1s of umost importance, Ifthe strings are high aver the fingerboard the performer will experience difficulty in pressing them firmly agains the tres; the Instrument is then refered ‘0 as having a “high” or “hard” action. I the strings are low over the fingerboard they more ‘easily produce harsh, unpleasant buzzing sounds when played; tis is referred to a8 a "low" of "soft" action. A guitar suffering an extreme of either condition is dificult if not impossible to play; the action is said to be "out of adjustment.” The mos: desirable adjustment is one in which the action Is nelther too high nar to low; Le, the strings will not be too hard to press firmly against the frees, but will produce a clear tone with matimum volume. Excellent mat rials and erefesmanship have no beering ypon whether or not a guitar is "well adjusted", Many new gultars, even some expensive instruments, are ot in goo! playing condition because they hhave not been properly adjusted. However, any guitar which hes been constructed wich reuson. able care, and which does not have @ warped neck, can usually be adjusted quite simply by raising oF lowering it bridge-nut and/or heed-nut, ‘The most accurate method of determining whether or ot the action is in reasonably good ‘adjustment Isto measure the distance ofthe strings above th frets: 1, The first step in measuring the action isto determine whether the BRIDGE-NUT 1s sec at the correct height. 1, With the E or 1st string held firmly against the 1s: fret, the distence be- ‘ween this string andthe op ofthe 12th fret should be approximasely 3/32 in, (oo less; see paragraph ending this article), b, Measuring in the same manner, the E or 6th sing should be approximate- 1y 1/8 in, (oo tes). «©, The four remaining strings, 2nd, Sd, 4h, and Sth must be ona level plane Deoween the 1st and 6th. (The heavy strings should have the higher accion becuse of thelr wide vibra tons.) 2, The fina step in measuring the action 1s co determine whether the HEAD-NUT Is set ar the corract height, A standard leat or gap gauge Inserted between the strings and fret provides an excellent measuring device, 8, With strings in an pen position, the distance between the first two strings (€or Ise and B or 2nd) andthe top ofthe Ist fee should be 025 in, b. The four remaining scrings (3rd, ith, Sth, ard eh) should be 030 in, above the Ist fret,Ie action adjustment is required it 48 recommended that he guitar be taken ro a qualified stringed instrument repairman for correction “The foregoing specifications produce a mativm low acon suitable for the average stu dent, As the staien’s playing ability and knowledge of the zuitar develop, he may desire & lightly higher action: 1/8 In. instead of 3/32 in. under trem I) (p. 5), and 5/32 in. instead of 1-8 in under item 1(b) (It may be observed that in certain comparatively rare instances an even lower action than that specified under item I 1s used; tis is noc recommended for st fdents of the classic guitar.) Fine points of action adjustment are decided in accordance with the pesforiner’s individual requiremeste and in conformation with the characteristics ofa par ‘ewlar instrument ‘TUNING THE GUITAR Ieis strongly recommended that the beginning student, without prior musical training, cobtaina the assistance of « qualified teacher of musician (not ecesserily a guitarist) when at- tempting to tune the guitar. Much practice is required in order to tune the gultar quickly and accurately. The ear must be traned to hear the slightest difference in pitch; this can be accomplished only through patiently learning to focus concentration upon musical sounds. In learning to tune your instru ment precisely, you not only insure a true pitch in performance, you have also improved your- self greatly as a musician. “The names of the strings are: E oF Ist, Bor 2nd, Gor 3rd, Dor th, Aor Sth, and E oF th, temay be remembered thatthe strings ofthe guitar are numbered according to their size: the E or Ist is lightest, Bor 2nd slightly heavier, and soot to the E or 6th which is heaviest of all. “The six open strings of the guitar are the same pitch as shown inthe following illustra tion ofthe piano keyboord. Observe tht five of the strings are tuned below middle C ofthe plano, (When toning, the string should be loosened co a tone slightly below that desired, then Drought up to pitch Ih this manner all che slack is taken up the gear mechanism of the tun- ing keys.) 6m tt 4m ted_tod_ist The open strings as SS weiten for GUITAR = NECESSARY FURTHER TUNING CANNOT BE ACCOMBLISHED UNLESS THE "ACTION: OF THE GUITAR IS WELL ADJUSTED, (See the preceding article "The Playing Condition OF A Gutar.")7 ‘To insure precision in tuning it Is necessary to tune the guitar within itself, (Le, tune ‘one string tothe other) after it has been tuned with the aid of soother instrument. The flowing diagram represents a section ofthe gular fingerboard stRINGs 1, Place a finger on the E or 6th string just ack of te = RA DG BOE. Sth fret to obtain the corroct pitch for the Aor Sth yp SoS 92 t string, Ta 2, Place finger on A or Sth string just ick of Sth fret i for correct pith of D oF Ah TT 7 3. then on D or Sth et Sth free fo pitch of G or Sr 2 4. Now, place finger on Gor Srd, one fret lower than for ocher strings, just back of 4th fret, to tune Bor 2nd string 4 w | 5, Place finger on 8 or 2nd just back of Sth frt co tune the E or Let string. ppt After the guitar has been tuned as previously explained, the student should always make 2 final rest by playing this E Major chord: Not Fingers: With the left fingers In position holding the three strings firmly against the frets, strum six strings beginning with the sixth. Use the right thumb, quite relaxed, to glide slowly from fone string to the other until all are ringing clear. This is, without a doubt, oe of the most beauriful major chords on the guitar ifthe instrument is in tie; it should have a thoroushly pleasant sound with absolutely no fooling of discord, With a litle practice the stalene will be able to ell whether or not a particular string is out of tune merely by strumming the chord of Major slowly and listening to each tone a8 itis sounded, Wan A-440 (meaning 440 vibrations por second) tuning fork or pitch pipe is used, the E ‘oF 1st string is tuned by stopping it atthe Sth fret. Thon reverse the procedute explained above to tune the remaining five strings; ie., tune tho Bor 2nd stopped atthe Sth fret tothe E or Ist ‘open; the Gor 3rd stopped atthe sth fret t the B or 2nd string open: the D or th stopped at the St fr to the G oF 3rd open, ete ‘Another method of tuning the gultar (swith che a of guitar pitch pipes which mey be ob- tained at most music stores. This litle instrument consits of a set of six pipes whlch sve the correct pitch for each string, ‘The several available methats of tuning the guitar vary in usefulness according to the performer's knowledge of music andthe Instrument. The above method have been fount 20 be ‘most practical forthe stent, Fec.lserHOW MUSIC IS WRITTEN (he Elements Of Notation) 1, (a)Musi i written onthe STAFF consisting of five lines and four spaces numbered from the bottom upward, and (@) on LEGER LINES and ADDED SPACES numbered oucward trom the STAFF: » 4 7 o 2, The first seven leters of te alphabet, A,8,C.D,E,F, and G are used o name the notes in ‘music ‘The TREBLE or G CLEF SIGN ia placed on the stat so thar the scroll encloses the Se=~ cond line, establishing the position ofthe note "G. eS 3, Five kinds of notes and thelr equivalent rests appear in this book: whole-note, half= notes, querter-notes, eighth-notes, and slxteenth-notes “The seme of two of four consecutive elghth- oF sixtesnth-notes are usually Joined with "beams" insted of being written separately: VALUES OF NOTES AND RESTS auiralen Ress 1 Whaler ° > sures J Joe A qucer nos dds cd 2 ibe DI TTT ve stamome ANUTT IIT 4. (@)A MEASURE is a diviston of time by which the movement of music and fe rhythm is regulated. () Tue saff is divided into measures by vertical lines called BARS: o eB o o9 (e)The TIME SIGNATURE is a combination of numbers set just after the clef sign. The fol- Towing i a most important definition to remember: ‘THE TOP FIGURE SHOWS THE NUMBER OF COUNTS IN EACH MEASURE. ‘THE BOTTOM FIGURE SHOWS THE KIND OF A NOTE WHICH RECEIVES ONE COUNT. ee sx comnts 2 measare ‘spain Teeter Soe oor 123456 123456 123456 (Other TIME SIGNATURES in common use are: 3/4, 2/4, and 9/8 5. (@) The DOUBLE-BAR marks the end of a section, movemen: or composition, (@)A DOTTED DOUBLE-BAR means to repeat from the preceding (repeat trom (C) 0 ()) DOTTED DOUBLE-BAR; (c) or if there is no DOTTED DOUBLE-BAR preceding the Sec ‘on, repeat the composition from its beginning. (Repeat from the beginning to (¢).) @ » ® IMPORTANT! To beginning shudents: ‘The "GUITAR NOTE SPELLER”, by Shearer, was writen as a companion volumie to "Classic Gultar Technique." Learning to read music onthe gulter 1s unquestionably easier and more thorough when a writing book 18 usd,0 HOLDING THE GUITAR Figure 2 1, Place a footstand on the floor about sie Inches in front of the left front chair eg so that it lines up with tt and. the right rear chair lag. Te height of the foot- stand can vary generally between from four and eight inches —eren higher, i€ ne ccessary, according to your physique, 2, Sit on the forward part of the chair and place the left fot onthe footstand s0 that the foot and the left leg line up with the left front and right rear chair legs, as aligned above. In order to do this proper ly you will have to sit forward and a lit. tle to the left. Sitting inthis manner al- lows the performer to drop thigh down 29 suppor the guitar. 3, Fit she waist of the guitar over the left thigh Place the right leg bac, thigh down, 0 that it is supported by the toes and ball of the foot. A perpendicular drawn through the long axis of each foot will form about a 35° angle. More the left leg toward the right slightly 10 cradle the guitar between the thigh. Figure 3 ‘Adjust height of focestand to place the ‘ultar as follows: (a) Neck of guitar a 45° angle w floor. (b) Head of the guiar at approximately eye level (©) Foresem hortzomtal tothe floor when fingers and thumb are placed on fering shown in accompanying Performer should lean forward slightly s0 that te edge of the guitar rests a galnst right chest, Shoulders are relaxed fand on an even Horizontal plane; torso turned slightly toward the left knee, Some autorities maintain that the guitar should be beld absolutly vertical. Others believe that the lover part of the instru. tment should be tlted slightly oubward ‘The autho: prefers the later position. (sn adjust fottnd i almost a necessy In order to find aod malas te correcty te led positon shown, The instrament should Alvys be ila inthe same prion spares ‘tte heig ot chair or soo! upee which te Destormer is seated, Tho scjustble-collape™ Bie guar foteand aw in salable com mersly)Figure 4 shows the correct general positon for holding the guitar, 1, Vertical exis passes through foctstand, thigh, and diagonal legs of catr. 2, Gultar body is placod some- what under right-arm and 5. Head of guitar forward ‘THE RIGHT HAND ‘This section of "Classic Gulter Technique" is of extreme importance, The thumb and fingers ‘of the right hand are responsible for sounding notes with accuracy and speed, and producing different shades of tone with varying degrees of volume, Ik should be understood that playing any musical instrumext Is not an entirely natural pro- 8s for thé muscles involved, This is especially crue concerning the right hand in playing the guitar, First, the hand must he placed in a positon which wil ultimately bring he desired re- Sult of utmose accuracy, speed and control of tone and volume; the fingers are then trained to fact inthe most natural manner possible in onder to produce these results, ‘The sunt is cautioned NOT to watch the accomplished gultarlst play and then ty to emu late his right hand positions, Remember that ay fine artist hes diligently applied Rime in serious study for a sumber of years. If the concert performer takes liberties with respect to his hand postions in executing certain passages, he Is qualified to do so, ‘The proficient gui- tarist, through training, subconsciously employs CORRECT FINGER ACTION regardless ofthe positon of his hand, ‘The nalls of the righthand should be kept short enough so tht they do nor strike the strings. Use of the nails in playing the guitar Ia ot recommended for the beginning stulent, The devel- ‘opment of correct finger action should first be instituted, cen te use of nals will present lit- te, if any difficuly, instructions pertaining to the care and ute of the right hand nails appear fn pages 38 and 39 alter the notes onthe first three strings have been learned, To the advanced student ‘The natural tendency of the fingers to “hock” the atringe may be overcome without great ditficuley if che *relaxod tip segment principle” is unierstod and practiced correctly trom the beginning. However, the author would like to impart a word of encouragement to serious stu- dents of the guitar ‘bo have cultivated incorrect habits of finger action, and who recognize ‘that thelr tone and freedom of playing. are not satisfactory. Many guitarists have successtlly used the approach explained in tho ensuing section under the rest-stroke, to change from "“nooking™ the strings toa correctly relaxed flnger action within 2 period ofa few months,2 NAMES OF THE RIGHT FINGERS “The customary designations found in gulter music for the thumb and fingers of the right hand are ~ ov@ rom the Latin designations: o pelle, fadex, madius, and gnnlaris ‘The Hite finger of tho right hand is noc used in plucking the strings, It properly relaxed Ie will naturally follow the movements of () Figure 5 PLACING THE RIGHT HAND 1, Place right forearm on the top front edge ‘of gultar, forearm horizontal to floor, 80 that hand falls ust back of soundhole 2, Wriatis relaxed nas comfortable a side- wise curve #8 the conformation of wrist wll perm Wrist ie cute flat or never more than Slightly atched in accordance with inli- ‘dual tendencies of characteristics, see Fg. 9 4, Tip of tunb is relaxed and either rest- fing ona string for hand support or hang: {ng downward in normal. position not touching te strings, whichever seems more comfortable. 5, Keep shoulders relaxed, and genarally fon & horizontal plane. Guard against the tendency of right shoulder to drop, caus ing arm to cross che edge of guitar 100 far back ct the bridge. In actual perfor: mance, left shoulder is usually slightly lower thar the right, to facilitate reach. lng high esttons 6, iris recommended that a mirror be used Figure 6 to ald the student in placing right and,13 1, Hand tilted to left go that from a back oF front (mirror) view, (a) is perpendicular to the top of the guitar, 2, Seeing struck with lett tips of (i) and m, 3, Inthe postion showa, (p) easily extents to the side, never conflicting. with the movement of (i), even wién used slmul- taneously with that finger... 4. (executes a completely natural free- Figwe 7 ‘stroke without lifting or plunging inward, 8. HAND MUST REMAN. TILTED IN THIS MANNER AT ALL TIMES, ‘The dumb (p) and fingers (ma) ofthe right hand are trained to execute two different types of "stroke" for sounding the strings ofthe guitar; che are called: 1, The REST:STROKE, offen referred toby its Spanish name, Apoyando, and 2. the FREE-STROKE, Correct finger action 4s achieved most easily by first developing: ‘THE REST-STROKE ‘Thnk of che tip-sogment of the finger as if ie were the bristles ofa paint brush and that you fare going to paint a beutiful tone from the string. Naturaly, the bristles wll "give" as the brush makes its stroke across the string, coming to vest against the next lower string: this is the basic principle of the REST-STROKE, The amount of "give" inthe tip-segments ofthe fln- gers will vary wih the individual and is of ltdle importance; they need only to be relaxed end permitted to act in accordance with the individual's degree of natural flexibility. Pigere 8 ‘Thumb (p) need not be placed on the 6th string; it may be placed onthe Sth or 4th string, according to the size of the hand. Anyone acquainted withthe fel ofthe gultar need not base () on any string,“ ‘Now to begin; Place the tip of i) onthe E or 1st string as shown in Figure 8. Definitely feel the second joint collapse, Press the finger across the string, coming to rest against the Bor ‘2nd string, a8 ahown by the broken line, KEEP TIP-SEGMENT OF FINGER RELAXED! Hand land forearm must aluays be relaxed and steady; only the finger moves to make the stroke, SLOWLY! Repeat until lp-segment of fin- SS) fer remaing relaxed with each stroke; first = Sith (then (om, then 2). ‘Next, alternate (2) and (rm), then (m) and (a). Repeat many times; remember the “brush” action of tip-sogments, SLOWLY and EVEN- = LLY, COMING TO REST ON THE B STRING. ‘The especially emerprising student may observe thatthe first segment of the finger is used to place the other two aegmente in playing position, Themidale segment then mores to {lice the RELAXED tip-segment acr03s the string. However, the stent Is cautioned not ro at- {empe the perfection ofthis movement during the first few days of study. The element of first importance at thi time isto establish the hahitof relaxing the ‘ip segments of the fingers dur- fing each stroke. This is most easily commenced by placing the flager onthe string in Prepara- tion and pressing It across as explained above, Caution! The prepared stroke 1s 10 be used on Iy inthe boginang to establish the "feel" ofthe relaxed tip-sogment during the stroke. In cor- rect, actual playing, the stroke is begun withthe finger out from the string, followed by the tip Delng Micked ecross the string. IMPORTANT QUESTIONS BEFORE ATTEMPTING TO PLAY: 1, What are measures and bars? 2. What is meant by the 4/4 which is placed just after the table clef sign? 3, What kind of notes are found in Ex. 1; half, uarter, or whole notes? (For answers to these questions see pages 8 and 9.) RECOMMENDED PROCEDURE FOR PRACTICE 1. First name each now as i is played ntl all are thoroughly learned, 2, Then say {ym l,m, ee,, a8 you play inorder to maintain sbict alternation. Ip the beginning exercises, (i) reaches BACK of (m) to a lower string, and (m) reaches AHEAD of () 0a higher string 13, Finally, count 1,2, 3, 4 (oF 12,3), & count for each beat ofeach measure. USE A METRO- [NOME (MM) Set ie a slowly a8 neceasary to play withou: hesitation from the beginning. ‘Work the tempo up alowly, accurately; one count for each click, (TEACHER ACCOMPANIMENTS FOR THE FOLLOWING EXERCISES APPEAR IN BACK OF Book)15 ‘THE FIRST THREE OPEN STRINGS erie Bortnd Ger ded ‘Thumb (p) should not rest on lower strings: merely rolex it 10 anormal position, since te entire function in supporting the hand ls no longer needed Support is realized thfough re strokes withthe fingers. When alternating, each finger should extend simultaneously ro playing positon a8 the other flnger makes the stroke SLOWLY! Bet ‘Then with (m) and (a)—begin with (m)—be sure to alternate: (m) must reach BACK of (a) to 4 lower string, () in FRONT of (m) toa higher string. ‘What is meant by 8/4 in Ex. 27 be.2 Bet‘THE FREESTROKE WITH THE THUMB Figure 9 1. Han and thumb (p) ls in same position a8 for playing the rost-stroke with fingers 2, To begin practice of this movement, fingers (1), (mm), and (e) should rest upon the Ist or 2nd string for hand support. Thay should be removed when the hand can be held steady during the steeke 3, Stroke is made entirely from movement of thumb (mostly from joint at wrist, the first joint, with tip-segment turned comfortably back), HAND MUST BE HELD STEADY. 4, Thumb executes FREE-STROKE, gliding trosly over the adjacent string, nol coming 10 rest against ‘THE Ach, Sth, AND 6th OPEN STRINGS Hor forsm Dora Exercise 5 is played entirely with (p) executing the free-stroke. 1, Firat name each note as i is played unel all are thoroughly learned, 2, Then count each beat in accordance with the time signature. (Seep. 9) SLOWLY, HAND HELD STEADY! Bxs7 Below, in Exercise 6, the right hand has a tendancy to pull out of poition, Check the follow ing: curve of wrist (Figure 6) and tlt of right hand (Figure 7) Allow each noteto ring freely until struck again. KEEP TIE-SEGMENTS RELAXED. ALTER. NATE () ant (rm) bx 4 l =i =i ~ nN = = THE DOTTED HALF NOTE ‘DOT place ter anor creases the ine ale fh ne by oe fr example ‘The DOTTED HALE NOTE is to sound for three fll counts. “The following exercise is played with (). aa18 ‘THE LEFT HAND Figure 10 Figure 1 1, Strings must always be held firmly agains che frets to produce a good, clear tone 2. Bach finger should curve so that only the tip rests precisely upon the string just back of the fret, Note how Ist finger Is “cocked back and fingers press strings somewhat (on left portion of eps. 3, Having placed a finger, never lifts until necessary to pay & lower note or a note on another string 4, Fingers must never lift far cut from fingerboard. Keep them hovering closely over strings, ‘3. The thumb should always remain on neck as shown, msintaining ¢ position approxi- mately opposite the fret upon which the frst finger fale, Never should the tml pro- ‘rule over edge of fingerboard on the bass side 6. The lft arm must hang naturally with wrist and hand ic line with arm 26 showa in Figure 2. At no time isthe elbow co be forced away from or pulled in close 1 the body, NOTES ON THE E OR Ist STRING fom Fiske 9, Srd Fret Ise Finger f° 3rd #inger Again the student is urged to follow carefully che three steps of PROCEDURE FOR PRAC- ‘TICE given on pe. 14. SLOWLY! First with () and (ms then with (tn) and (a). Do aot lift lefe finger until necessary! XBx. 9 (ont) 14s recommended thatthe suulent closely examine RIGHT FINGER ACTION: 1, Tip-sogmonte relaxed. 2, Fingers should lit only high enough to make next stroke 3. Mand steady; only fingers move to make the strokes. NOTES ON THE B OR 2ed STRING 3, Oren Gy Ast Beet 1, ara ret Bx, 10) () a(n) then (and (2) Review Bx, 9 bofore playing Ex, 1 [NOTES ON SOTH THE H OR Ist AND B OR 2nd STRINGS SLOWLY: CAREFUL ALTERNATION! xP20 MUSIC IN TWO PARTS Prelude 1, consists of the two parts below, the creble (melody) and bass. Exercise 12 isthe ‘melody and Exercise 13, employing the tc is the bass, Thocoughly study each one separately, then play them together as Prelude 1, your first solo. Be, 12 (treble) The Tie A curved line joining two notes of the same pitch is called a TIE: dd ATI indicates that the second note is a continuation of the first and is held for its dura- ‘on without Being struck, ts countod, as usual, but simply isnot scunded agai, Be. 12 (Bass) Before proceading to Prelude 1, itis ecommented that the student carefully roview Bxer- 6,8, 12 and 13 until: ‘thoroughly familiar with al the notes. ‘an even rhytim can be maintained, at least slowly, M.M. 4 = 72 Uip-sogmencs of right fingers are relared while strict alternation is malnrained, right thumb (p) executes ree-stroke with reasonable accuracy. HAND STEADY! 1 2, 3 4a Prelude No. 1 has 2 duet part identified by the Roman Numeral Il whch may be played by @ second gultar or another instrument. Roman Numeral | incieaes the fir gultar of solo part. Before atempting to play a duct, however, It very necessary to master Preluie 1 as e solo. Work metronome speed up to 100! Prelude No.1 1 a Exercise 14 begins on the last hea ofthe measure. ln counting, the student should begin by saying, 4,1, 2,3, 4, 1,2, ete Bx. I (Make special effort now to Reep eyes on music: tain the fingers to tind thelr way. boats Rest on th beat2 [irst practice the treble and bass parts of Prelule No, 2(Homan Numeral separately, chen together. The quarter test appearing onthe frst beet of measure five indicates that the pre- ccting bass note may be stopped with (p). At this time, however, {is recommended thatthe rit the basses to sound withou regard to rests; no offensive harmony will occur in this plece and itis noe necessary to develop the technique of stoping basses now. Prelude No, 22 ‘The student should make a continued effort tothink of where the notes are locate on the guitar, then fn them without looking atthe inteument, THE EYES SHOULD BE KEPT ON THE ‘MUSIC! For easiest and fastest progress the student is again urged to apply carefully the three steps of RECOMMENDED PROCEDURE FOR PRACTICE given on page Ii. SLOWLY and EVENLY Prelude No, 2 F.c.le07Prelude No.4a NOMS ON THE GOR Sr STRING “The new note "A ig located on the 2nd fret, played with the 2nd finger, and is the name of the 2nd space of the staff. To make Exercise 15 more interesting, the notes ofthe 2nd atring shave been included Always apply PROCEDURE FOR PRACTICE (p. 14) when beginning staty of any new material, SLOWLY: LEFT FINGERS CURVED, RIGHT TIP-SEGMENTS RELAXED! Beis RIGHT HAND STEADY! Movements from thumb and fingers ONLY. Prelude No, § FRE26 ‘Etude No, 1 Careful alternation of (i) and (m). dep edd TerePrelude No, 6 FPR PRS2% HALF AND WHOLE STEPS ‘A HALE-STEP ts the distance trom one note t the nearest note up or down. For examp ‘zor an open string to the first fet, or from any fret to the nearest fret elther up or down. |A WHOLE-STEP consists of two half-steps: ‘THE CHROMATIC SIGNS (Also called ACCIDENTALS) [A CHROMATIC SIGN raises or lowers its note one haltstep, The chromatic signs used in this volume are: he stane SEEPS wich raises inte oe halen. se FLAT SPESHSE wich ower ts not on al-ep ‘The NATURAL, Which restores its note tothe natural pitch after ‘thas been ralsod or owered. NOTES ON THE B or 1st STRING [NOTES ON TH 8 or 2 STRING (open aad fee fur frets). (ope and fre four frets) “The numbers 0,1, 2,3, and 4 between the staffs indicate both fingers and fret, In playing the above examples the seulen will quickly obierve that some notes are identi- cal in sound but have two names, ¢.g.: F# ls Gb, Db is CH, ex. infact, any note which has & "abarp name” algo has a "flat name" and vice vers Iris recommended that the following CHROMATIC SCALE exercise te played ten or more times atthe very boginning of each practice session, EVENLY: LEFT FINGERS CURVED (see Fig. 10) RIGHT TIP-SEGMENTS RELAXED! Bx 16 ‘When ascending on any scale, the left fingers, must remain down until changing tothe next ‘higher string; NEVER LIFT OR PLACE A FINGER UNTIL, NECESSARY.» ‘THE EIGHTH.NOTE Anat nt, 2 (or rest 7) eceves oneal the in value of «quarter note. In instrumental msi the stems of consecutive eighth noes aroumsally ta togeter: ‘instead of each appearing with a flag: HY) " sper ae om 1k 2 384 Lez es eee dt “Musteal notation forthe gutar {8 not always writen a8 It sounds; {t Is done for convenience fn reading ana writing. Prelide No,7 introduces an example ofthis type of notation. Bach quar- note in the melady (treble part) has a stem also pointing downward to take the place of an eighth note in te accompaniment or bass part. tn playing the bass notes, the student may ob- ‘serve that each eighth note will actually sound forthe duration of a quarter note, In sounding the G string, where (I) comes to rest onthe adjacent D string, the finger must be permitted to bounce outward in order ro allow (p) to sound the D string immediately there- after, See measures 2, 4,6, 8, 10, and 12, SLOWLY and EVENLY Prelude No.7 HOW YOU PRACTICE ls the one most important factor in your study of music ant the guitar. ‘Thowghifl practice habits eppid regularly each day with enough time will assure you of suc- cess. Cultivate the enjoyment of knowing you are correctly learning to play one of the most ‘eauiful and personal of instruments,30 FREESTROKE WITH THE FINGERS ‘The torm PREE-STROKE means thatthe finger, in making Its stroke, does not come to rest tthe next lower string but glides freely abore ae Free-stroke with the fingers must generally be employed in playing arpeggios to permit tones of adjacent strings to be sustained. KX « Bs Figure 12 R Rest-stroke postion Is Indicated by the broken line, the new free-stroke position by heavy continuous lines Figure 12 Figure 7 (Same asunder Rest-strobe) PLACING THE HAND FOR FREESTROKE 1, gin with the hind in position for rest-stroke, (i) resting on Ist string 2, Witheltow as pivot, lower hand in direction of floor (Fig. 2) until (1) assumes a con- siderably sharper angle at first jlnt, X, (Fig. 18) and (p)s comfortably extended to the side (Fig 7) and placed on 2nd string, 3, DO NOT CHANGE TILT OF HAND (Fig. 7) OR CURVE OF WRIST! General position ‘of hand fo arm must eemaln the same for both rest-stroke and tree-scroke, 4, TTP-SEGMENTS MUST REMAIN RELAXED! The "brush accion" explained under rest- stroke, page 13 isto be carefully initated and mainained in free-stroke.a EXERCISES FOR THE FREE-STROKE Begin each of the following exercises very SLOWLY, CAREFULLY! x17 1. Ie tip-segmene relaxing? H not, hand should be lower. Also, It may be necessary 10 prepare finger on string and preas across a8 in begining sty of rest-stroke, Prac- tice until tip will relax when finger is correctly “licked” across atring. 2 Docs finger cend to touch next lower string (inthis case the 2nd) instead of gliding freely above it? H so, the hal has ot boon lowered erough an probably the finger Is not being direccad sharply enough upward coward palm of hand from the first joint aX 3, Doos she first segment end to "kick outward from knuckle during stroke? Some stu- dents possess this very harmful natural tendency. THE FIRST SEGMENT MUST EXE- CUTE’ A DEFINITE "FOLLOW-THROUGH" immetitely after finger scunds string. TAKE TIME NOW TO DO IT CORRECTLY! Thoughtful analyze each step, study specific problems and practice slowly. Do not expect to perfect the frse-stroke movement in one of 0 ‘easions. It will generally become habit within a few days of ood study. You wll be richly r2- ‘warded for your patience in terms of tone, aasurance, fluene, and volume, br 18 ‘ Vtg babe £ tT oe, $ Be. 20, aceon string, tote - Bx ben, a F.c.1997s FREESTROKE ON ADJACENT STRINGS B28 then, wa Bx. ‘When « reasonable degree of relaxation and fluency have been attained with the foregoing exerciaes, thoroughly stuly Exorcises 22, 23, and 24 WITHOUT THE SUPPORT OF (p) REST ING ON STRING, This is in preparation forthe following where free-stroke with both (p) and the fingers is required. IMPORTANT! Spare no etfore to perfect the coordinated free-stroke morement of (p) and fingers introduced inthe following exercises. Study each exercise thoroughly until the fingers extend as (p) makes stroke and (p) lifts to Playing Position as finger makes stroke, similar (0 the movement for Preluie 7. ‘The problem here which requires most careful attention is that of holding the RIGHT HAND STEADY, since all movement for each stroke come from (p) oF the fingers. The student will find this nereasingly difficult a8 (p) and the fingers become farther soparsted. Keep hand in position for fingers to execute free-stroke with maximum ease; then train (p) to perform the ‘required lift n reaching lower strings. DO NOT LIFT HAND!Do not atempt a this time to stop vibrations of strings wtere rests appear. Bhude No. 2 (All FREE-STROKE) ‘The student is advised to review caretully and continuoly the material presented on this page until the right hand fingers and thumb move with a reasonable degree of accuracy and freedom, Progress willbe faster and easier if the fingers are properly trained fom the begin- ing.st ‘Always play any new material SLOWLY until thoroughly learned. Only then can the fingers be properly trained to move quickly with relaxation and smootiness. Brute No.3, in 3/4 time ts counted 18, 2&, 3& VERY SLOWLY AT FIRST Bude No, 335 HalfSteps on the G or 3d Sexing The following CHROMATIC SCALE. EXERCISE includes G# and A on the G-3nt string: these notes may also be called what flats? Begin each practice session by playing Ex, 29 ten or more times, The REST-STROKE is used here as in all scale exercises and studies. LEFT FINGERS CURVED, HELD DOWN IN ASCENDING; RIGHT TIP-SEGMENTS RELAXED. br. 2 tule No, 4 includes G¥ and A on the 3d string, A CHROMATIC SIGN Is effective forthe rest ofthe one measure in which ft appear Gf is played throughout measures 3,4, and 12. First with () and (m), the (xn) and fe); DO NOT NEGLECT (a), (COUNT SLOWLY and EVENLY; RIGHT HAND RELAXED and STEADY, Blade No. 4 (Free-stroke) Hold fingers down as show by broken lines, is ze 436 CObserve the sharp (f) just after the clef sign on the fifth (F) le ofthe staf in Prelude No 8, Ieindleates that whenever the note "F" appears inthis piece, F sharp is played instead of F natural “The shaxp signs in parenthes! y found in music. Do you know the meaning of "C" used as a time signature? (Se p. 9) stroke with fingers; free-sivoke with (p) 38 in Prelude No, 4, have beon included as mere reminders and are not ordinari- Res Prelude No, 8 Strict alteration of (=n) 804 (0) ARPEGGIO: USING (p), (i), (m) and (2) CONSECUTIVELY “The following example and prelude are in arpeggio form, that Is to say, the recurrent fig ure that occupies each measure contains the three nowes of a complete chord. They should, therefore, be played by using: PREE-STROKE wich fingers, and (p). The student should observe the following points of importance: 1, Fingers (jjm2,) must NOT be placed (rested) upon strings before strokes are mate. ‘The tingers should be in playing positon, each suspended sbore its string, until time for the stroke, then flicked across executing a fll "follow-through". 2, After playing the arpeggio figure (one measure), the fingers should return to playing position atthe time (p) makes its stroke, SLOWLY: HAND RELAXED AND STEADY Bx, 90 REREAT ont) thie gure can be ‘aged WITHOUT wating teers [T'SBOMENTS RELAXED!a [Numbers by notes indicate left fingers. (F¥ on Ist string Is played with 3d finger, G with 4th finger.) SLOWLY with EYES ON MUSICI Prewde No.938 ‘CARE AND USE OF THE RIGHT HAND NAILS ‘The work's finest and most widely recognized classic guitarists use nails in conjune- tion with the fleshy part oftheir fingertips to Sound the strings of the gular. Duc to the nature of thelr work or for other reasons, some stulents arc unable to keep thei nails In good playing condition; they should not be discouraged in their efforts to play the ffllar” Much pleasure may be obtained from playing the mstrument well witout nas. How= Srer, the serious and aspiring student of ce classic gultar must consider use of the nals ab- Solutely necessary. Without them there exists lack of brllimce in execution and volume; and most important, the tonal resources ofthe guitar, toa great extent, remain dorinant. the staient has properly developed the first principle of correct finger-action (Le., relaxed tip-segments), very little diffculy will be experienced in using the nails, The strings ‘Should be seruck with the fleshy part ofthe finger ips exactly as previously described in de- fall; when the naila have grown to proper length, they will exomacically sound the strings each stroke Is executed. ‘No attempt will be made here to set down definite oF procise rules regarding the shape cof the nails because their characteristics vary with the inisidual. By studying the following figures the student will acquire some knowledge as to how different rypes of finger-nails are shaped then through practice he will oon learn how to shape kis own for best results “The important points to keep in mind are: 1. With the hand Sn correct playing position (previous Figs. 6 and 7) ony the lett tip of nail wil strike strings. 2, Nalls must not be to long; not more than 1/16 in. ofthe nails should strike the strings, 43. Nails should be shaped by holding a fino file or emery board at somewhat of an langle and underneath (Figs, 14 & 15) 80 a8 to form a flat or straight surface for siking the strings. (a)Nelle which tend to grow in a hook or curve will assume en angled shape (Fig. 17; those which are straight will become romded (Fig. 16). 4, After ahaping {com underneath, rough top edges should be lighly smoothed 5. As required, in accordance with the texture of the nails che striking edges may finally be polished with very fine emery cloth sandpeper, ete. 6, With the tipesegment ofthe finger relaxed the correctly shaped nail wil glide frooly across the string. If there Is sensation of "hooking" or "catching" dur~ Ing the stroke, the nail has not been properly flatened from underneath, 18100 long, or tip-aegment is noc properly relaxed, 7, And most important! Listen fo fke fone; if {ts harsh or unpleasing to the ear in some respect, alter the shape ofthe nalls slightly. Experiment unt you ob- tain a beautiful cone; this is prime essential forthe concert guitarist,Pa [NOTES ON THE DOR sth STRING nd Pret, 3rd Feet ‘Name each pote a8 itis played until thoroughly learned. Careful alternation of (om) ad (3), then (a) and (im Bx, at SLOWLY, EVENLY; LEFT FINGERS CURVED, RIGHT TIP-SEGMENTS RELAXED! Beare a ‘The two following Brutes No, 5 and No, 6 are played free-seroke with BOTH (p) and flngers. IMPORTANT! Carefully check ro ee that right: 1, wrist is prectically flat (not arched). 2 hand has been lowered to free-stroke position. 3. hand is being held very STEADY. [SLOWLY attest! With (2) and (om), then (om) and (a). Bhude No. 5a Bhude No. 6 Prelude 10 introduces a new time signature; how is It couted? (See p. 8) (0m) must execute a follow-through movement as I) makes is stroke; both fingers extend to playing position when (p) makes its stroke. Also practice with (a) and (m) applying the sare principles, Prelute No. 10s played free-stroke with both (p), ant tigers. Carefully observe lft hand ‘fingering; the 4th finger is used for G onthe Lst string and D on the 2nt sting. SLOWLY until learned; then practice for more speed. Prelude No. 102 Carefully practice measures 4, 8, and 16, separate from the treble part before attempting to play both rogoter. Right band RELAXED and STEADY; only thumb and fingers move co make the strokes. Left finger CURVED and HELD DOWN; chey should move only when necessary. ‘SLOWLY until losened, then faster, Use metronome end count, MOORISH DANCE48 ‘The (), (a), (),() movement introduced in Prelude No, 1 is wed in playing the beautiful tremolo compesitions often heard in recitals and recordings. Ina similar manner to that explained in Prelude 10, (a) ind (rm) each in turn must execvte a fotlow-tarough (he follow-through with () is ony slight). Emphasize the extension of (a) as (0) makes its stroke, (m) and (2) will normally follow out to playing position. CAUTION: (a) must arack with sufficient force to maintain a balance of volume with tie stronger fingers (m) ant (). Prelude No, 100 Meee Bees 7 HalfSteps on the D or 4th Sting ‘The following chromacie seale exercise (No, 38) includes the notes, DY and FF on the 4th cing, what are thelr “at” names? The chromatic exercises are a moat important parc ofthe student's daily stay, A concentrated effort should be made wien ascending, hold ALL left fingers down uncil changing to the next higher string At the beginning of each practice session, play Ex. 33 ten or more times, until fingers are ‘thoroughly free and invigorated, Bea[NOTES ON THE A OR Se STRING Open 2a Fret nd Pager Fret Sed Finger = = = "Name esch note as itis played until all are thoroughly learned. Frow-vtroke with (p). LEFT FINGERS HELD DOWN IN ASCENDING. Be (COUNT SLOWLY, EVENLY. With (m) and (i), then (2) an (mi Elude No. 7 F.c.issT45 [Beercise 35 {s first played with (p) until che LEFT HAND fingering is executed with contt- ence; then thoroughly practice with (}) and (m) rest-stroke always alternating By. 25 ‘The measures containing 8h notes in Prelude No. 11 should be practiced separately, spe- cially where (i) and (a) are used. COUNT SLOWLY, EVENLY Prelude No, 11 FF FT ? HOW YOU PRACTICE I te one most inp co In or Saimin he gute, Thoughift practice habits applied regularly each day with envugh time will assure you ot su, ‘cess, Anyone can learn to play the gutar well who sincerely desires to do 80NOTES ON THE BOR 6th STRING Open Fy let Bret G. Sed Fret ae Finger {Sed Flyer “The instructions given on the preceding page for Exercise 99 vhuuld be carefully followed {in stuiying Exercise 36. ‘Name each note until all are learned, Bx. = a ‘he bass part of Etude No, § should first be studied slone und i ean be played vesy freely and evenly; then the treble part may easily beincluted to form the complete composition. Care- fully observe the ehcomatic signs (accidentals): 4h string D# and let string F8 insecond meas sure; Sth string C# In sixth-measure Bhude No, 8 F.c.1997Bude No.8 (ont,) bear If the rhythm of Prelude No, 12 is broken by difficulty encountered in the third measure, practice It separately until i flows. Prelude No, 126 ‘THE RIGHT HAND IN LONG SCALES Maintaining the correct hand position for rest-stroke when crossing the strings in long” scale passages roquires careful nalysis and training. This demaxts concentration on two func- tons: 1, Crossing the strings at an angle: ‘The hand correctly crosses the strings st an angle, acwualy describing a slight arc, when THE ELBOW IS USED AS THE SOLE PIVOT FOINT, and the proper position of, hand-to-arm is mainained, Crossing the strings inthis manner eliminates the com- plicated, unstable piston-Like ation of the arm sliding back and forth along the eige of the guitar. 2, When playing a descending scale the hand must be lifted sufficiently to maincan the correctly extended reat-stroke position with the fingers, There generally exists a strong tendency not to lift the hand enough when the Sth and 6th strings are reached, forcing the fingers to curl under the hand in an awkward, tension-inducing position, ‘Memorize the following scalewlse progression of natural acts and observe carefully the points of technique just explained. Use as a warm-up exercise every day, constantly striving to perfect a smooth and accurate right hand and arm movement i crossing the strings. Bx, $8 (i) and (m), then (m) and (a) LEPT FINGERS CURVED, HELD DOWN IN ASCENDING Bx, $9 (and (m), then (m) and (a)Bue No. 9 is an excelent stuly ofthe natural nowes on all six strings. ‘The coordinated action of (p) and (i) 18 especially Important in playing the (ype of figuee found inthe first and second measures: as (p) makes its stroke, ()) must extend downward to ying postion; as (0) makes is stroke, (p) must lft back to playing postion, Employ free-stroke with both (p) and the fingers, RIGHT HAND RELAXED AND STEADY! SLOWLY until Tearned, then practice for speed Bude No, 9Blude No. 9 (cont) ‘TWO NOTES PLAYED TOGETHER (Fingers, restostroke; (p),fvee-stroke) The following five studies are examples of two notes played simultaneously. In Ex, 40, the fingers and (p) work closely together separated by only one string, () and (p) must not bump together causing one to restrict the stroke of the other; this tendency is eliminated by extend ing (p slightly farther forward (coward the flagerboard), and te fingers slightly backward CORRECTLY RELAXED FINGER AND THUMB ACTION IS EXTREMELY IMPORTANT! Repeat each study until the indiviual fingers and () coordinate emoothly and witha zeasen- able degece of relaxation, Firat with (p) and () together, then ) and (m), thes (p) and (2). REMEMBER, fingers, rest-stroke;(p),free-strate.xa ror fF First apply strict alternation as marked; then begin with (m) and alternate (m) and (); then (9) and (mj; then (om) and (a), SLOWLY: RIGHT HAND RELAXED AND STEADY brese tude No, 11 Faarety F ? a a ‘he student is cautioned to not hurry through this material. The coordinated movements ot the thumb end fingera must be carefully and thoroughly develope, Half Steps on the A oF Sth and E or 6th Strings igure 18 (of left hand ‘The new notes are Af and Cf on the Sth string, and F# ant Gf on the 6th string; whae are ther flat names? Ie is ineresting to observe that in playing the chromatic scale exercise below, the 4th fin- ger is used on all strings except the 3d. x. 43 should be playa from memory many times atthe begining of each practice session; eis an excellent study for both bands. LEFT FINGERS CURVED, HELD DOWN IN ASCENDING; RIGHT HAND INSTRUCTIONS FOR Ex. 38 MUST BE APPLIED HERE; EXTREMELY IMPORTANT! Ex.43is marked with Gas indicaed just ater the cet sign; locate them. al sign, your guitar, REMER 83 R, when i Play the melody (treble part) alone until thoroughly familiar with the notes and rhythm; Serica aleernate () and (om) using the rest- stroke, “The Folk Song below includes the three sharps: Ist string Ff, 2nd string Cf, and Sed string ‘of these three notes appears In this composition i i a sharp, except in measure 12 wher then both treble and hass parts together a written. a1 Pine” ac te ent of the fourth tine means to repent Gen dhe begining othe compo sition to "Fine", (For full meaning and pronunciation consult a music dictionary.) SLOWLY, COUNT EVENLY Moderaw M.M. J =92 Folk Song " Tr OTF rr OTPst [Another method! of sounding two notes together is with te fingers, while (p) again assumes 1 position of rest to support the hand, “The student will observe thas only the FREE-STROKE Is possible when playing two notes to gether ON ADJACENT STRINGS, First with (om) and (J) sogether—(m) for the higher string, () for the lower —then practice thoroughly with (a) and (m), forthe higher and lower strings respectively. SLOWLY; carefully oerving the bowie principles oF fuyer-sctioa, RIGHT HAND RELAXED AND STEADY! ext REMEMBER! A chromatic sig is effective for th rest of the me measure in which it appears ‘Again the stutent is advisad not to rush the process of learning the guiyar. The speed of your progress depends upon the amount of thoughtful practice you apply each day. Sill t takes time to develop the mind’ and muscles correctly for playing his responsive instrument. The Sstulent should experience much enjoyment from good practie; already you have been richly Fewarded! Have faith that te fll extent of your agpirations canbe realized with time and pa tient etfort, Prelude No, 13 it Fc.isa7COUNT SLOWLY, EVENLY Covntry Dance F, cama Allegretto MM. 4 = 100 770-1841 = Dt Pine ‘The RIGHT HAND MUST REMAIN RELAXED AND STEADY. These compositions were in- tentionslly written tobe played slowly 60 thatthe student can concentrate upon relaxation and accurtcy Prelude No. Ml (p), free-stroke, (Remember to play Ff throughout the entice composition)Allegro . Canal am, De 160 D.C, at Fine ‘THREE NOTES PLAYED TOGETHER Apply the instructions given for Ex. 4, except now, to (a, m, andi) wgether. Due to ite natural weakness, special attention should be directed to (a) in ths case, The highest "Voice" of a three note chord played with the fingers is always sounded by (a, and ‘must be atruck with sufficient force tbe heard distinctly ‘The following familiar reminder is repeated here because of ‘ts extreme importance: RIGHT TIP-SEGMENTS RELAXED, HAND VERY STEADY. Br 453 Carefully observe the chromatic signs (accidentals) appesring in these prelude: Af and CH con the Sth string, and CH on the 2nd string. The natural sign appears in the 13th end 19th mea SLOWLY, EVENLY: RIGHT HAND STEADY Prelude No. 15 SUGGESTIONS FOR MOST BENEFICIAL PRACTICE ‘The difficulty of playing accurately and fst increases wit: the distance he fingers are lift ced avay from the strings, s0 never lft them higher than necessary; this rule applies to both ands ‘Wharover the students aspirations with the guitar may be, he must not noglect daily prac- tice of scale and arpeggio exercises, Begin each practice session by playing chromatic scale exercise No, 33 slowly and forcefully 20 that proper finger movements of both hands can be carefully established. Then after the fingers become invigorated and free, practice lightly and ast; but not so fast thatthe fingers become tense, ani evenness is sacrificed, AMter exercise No, 38, play exercie No, 43 many times, Do not neglect the training of (a) in scales, ‘Then practice various arpeggio formulas; especially the 2, {, m, a, m, { movement in Pre- lude 9 and the p, mi 4, m, & movement in the following Prelate’1Sa. Again the srudent is ad- vised to play slowly and forcefully at frst thn lightly and f45¢ a8 the finger action bocomes free, Bue make certain every note of the arpeggio is distinct and in even rhythm: arpeggios should always "tow Now the fingers will be "warmed to their task of playing and the stulent can much more benetically apply himset ro the problems of becoming a beter musician and guitarist. casa58 [An important new arpoggio formula Is introduced in Prelude No. 158: p, m, 1,2, mya ‘The student fs cautioned reparding one extremely important point of right hand technique: ‘THE FIRST (BASAL) SEGMENT OF A FINGER MUST ALWAYS PERFORM & SLIGHT "FOLLOW THROUGH" INSTANTLY APTER THE STRING I SOUNDED. When playing arpeggios, the first segment often tends to jerk outward dvring the stroke Instead of following in the same general direction as the middle and tip segments move, Besides creating tension, this actlon produces fa very weak cone. The stuient is urged to carefully check the finger ESPECIALLY (a}—move- Prelude No, 150 PIVOT AND GUIDE FINGERS (tmporcan Principles Of Left Hand Tecinique) A pivot finger is one which remains stationary while otter fingers are moved to form new A ude finger does not entirely leave the string when moving up or down to a new note In progressing from the 2nd to the 3rd measure in Prelude No, 16, the 2nd and 3rd fingers remain lightly upon their respective strings and shift the distance of one fret to che next chor. ‘This principle of employing aulde fingers greatly simplifies shitting to ancener chor position; ft should be developed and used whenever practicable in playlag all music forthe guitar, Ob- serve thatthe ad finger remains on the 3rd string throughout the first 16 mesures of the fol- lowing prelude, ether on the 2nd or Ist fret, serving either a8 a guide ora pivot for placing the other fingers. The foregoing 18 an epplication ofthe familiar rule: NEVER LIFT A FINGER UNTIL NECESSARY.9 Prelude No. 16 e D,C.al Fine ‘The sealy of arpeggios must not be neglected because they form a part of almost all guitar ‘music, Prelude No, 16 becomes an excellent arpeggio stuir simply by playing the chomds as arpeggios. Apply the same arpeggio formula used in Prelude No.9, thus: Prelude No. 16aGENERAL USE OF THE TWO DIFFERENT TYPES OF STROKE “The student may already have observed thatthe 7est-stroke lenis facility to the execution ‘of rapid soaie paceagos and produces # hrordar tone and greater volume than doee the free Stroke, Walle there are exceptions, 4 is possible to state generally where each of the two strokes ‘may be used. ‘The rest-stroke ls employed whenever practicable in playing 1. any part requiring spectal emphasis such as the melody (usually ound in either the treble oF bass part of a composition. 2, scales or scale passages. “The free-stroke is employed in playing: 1, arpeggios. chords 2 3, scale passages in which rest-stroke is nelther practical nor desirable. 4 parts which do not require special emphasis. “The student should keep in mind thatthe foregoing rules are of « general nature only. Uses of the strokes vary in accordance with the spirit and character of a composition, The ability 0 ploy the correct stroke at any given time requires a high degree of musicianship and rech= ‘ical development. Rest Stroke with (P) “The next step in the study of classic guitar technique pertain to playing two notes together, using the free-stroke with the fingers and the rest-strote with ‘The development of the rest-atroke with (p) {8 an importane area of guitar technique. Ie is aso a difficult stroke to execute properly. The student aspiring toward te higher reaches of {Guter virtosity and musicianship cannot neglect this technical necessity. Those preceding Saulies having bass notes which sound alone, Etules 7, 8, 9 anc Preludes 12 and 13, should be practiced—preferably from memory to permit focusing fll attention on righthand and (p). CAUTION! Maintain the correctly tilted hand position 48 stown in Figure 7. DO NOT IN [ANY CASE ALLOW THE HAND TO FOLLOW ITS NATURAL INCLINATION, TO ROLL TO THE. RIGHT. However, to facilitate execution of the rest-stroke with (), itis permissible to arch he wriat slightly.ou Exercise 46 must be carefully studied with (p) ant each of the fingers; first (i), then (m), then (3), \VERY SLOWLY; RIGHT HAND RELAXED AND STEADY Bx45 Feporrr ttt pee pre pre te Next, ALTERNATE: (1) and (i), then (m) and (i), then (2) and (m), then (m) an (3) Bx.46a«2 First, practice the bass part of Exercise 47 slone, counting VERY EVENLY; then both parts together, Remember, rest.stroke with (p) and free-stroke with he fingers SLOWLY, RELAXED, AND EVENLY Ex 47 a SS SSS SS iF rrr ro i Now, withthe order of playing the Ise and 2nd string reversed; 1.c., play the Ist string and the bass together followed by the 2nd string, thus. ‘Thoroughly practice both finger formulas: (m) and (1, then (a) and (1m). Br. 47a ‘THE IMPORTANCE OF REVIEWING ‘The student advised to review the various sections of this work frequently uni they are mastered; otherwise, the "touch" of certain "movements" might be lost, A qualified guitarist ‘must be able to execite any "movement" fluently at any time, inaccondance with tie demands fof the music. Therefore, those sections which have been fotind » present difficulties must be thoroughly revieied again and again,6 Exercise 481s short scale study of repeated notes using the rest-strcke, EVENNESS i¢ most important! SLOWLY ani FORCEFULLY, then lightly and faster. Ex, 48. (Strict alternation throughout) wererery Bx, 49 (Rost-stroke with flngers, free-stroke with (p).) Prelude No, 17 (Sez alteration of (m) and ()throughowt)6 The flloming section of this text desls with executing the FREE-STROKE with BOTH (p) and the fingers simultaneously. This particular movement is employed when playing adjacent strings together and in playing chord; It is quite simple and nataral if te hand i held proper Iy relaxed and steady. ‘A this time the student is well acquainted with the two different positions of the hand which are necessary to play: 1, fingers rest-stroke, (p)free-stroke, 2 fingers free-seroke, (9) rest-stroke, “The hand position for playing free-etroke wlth both (p) and te fingers simultaneously is ep- proximately midway betwoen 1 aod 2 “The student is again remindad to extend (p) forward (toward fingerboard) and the fingers backward (coward bridge) in all movements, suchas thls, where they must work closely tech er, (See instructions for Exercise 40,) te, unt coordintion of *3" fb4 ose8 ger Ie achieved b> > “The right hand must be relaxed end steady with plucking movement coming from (p) and fin- gers only: thus, the natural tendency ofthe hand to fly” outward is minimized SLOWLY and EVENLY—{p) for lower notes, a finger for upper notes. Bx, 9 frre fu.s1 (oat aon wove nt) hoeFOUR NOTES PLAYED TOGETHER (Pree-stroke With (p) And The Fingers Sinulteneously) ‘nen playing four notes together the right hand Is held ina very relaxed free-stroke posi- ton, Specialettort is required to maincain the usual sdewise curve from the wrist. (See Fig. 6) RIGHT HAND AND ARM MUST REMAIN STEADY; all morement comes trom (p) aod fingers. VERY SLOWLY a fire. Br, 82 e ‘The highest "Woice” of each chord in Eade 12 is regarded a8 a melody note; it must be soured with sufficient force—by (a)—to be distinctly heard, Most students find it necessary to ‘tress the stroke of (a) until the finger becomes accustomed to it task, Carefully observe left hand fingering; NEVER LIFT A FINGER UNTIL. NECESSARY, to practive thoroughly the Remember, the easiest way to play any composition is elway dittcule passages separately. Bhude No, 12Co Wales ‘Allegro MoM. 4 = 138 F, Carutit D.C. al Fineor All single melody notes In Prelude No, 18 are played with rest-stroke, Practically mo change {in hand position is required to play reststroke inthis case; the fingers merely extend forward toplay the singlenoces. THE RIGHT HAND AND ARM MUST REMAIN RELAXED AND STEADY. ‘The sort of musical vexture in which chords are followed or preceded by single notes 1s very widely used In all ypes of music for the gultar; theretere, the following piece should be stalied most thoroughly, Prelude No. 18 is not tobe played fast, Emphasis must ke placed upon EVENNESS and the ‘aiing of (a) o sound the melody note of each chord distinctly, Cavefully observe fingering for each hand. Prelude No, 18 ‘The final section of Classic Guitar Technique, explains a rarticular movement of the right fingers whlch is used co emphasize the melody of a compostion. This requires that « REST- STROKE with one finger be immediatly followed by a FREE-STROKE with another finger, Complex passages involving the use of both pes of stroke wil, forthe purpose of explana tion, be marked with wo easily Mentified signs placed above or below the notes Rest-stroke wll be inleated by: ¥ (Line-ends come to “rest.") Free. stroke will be indicated by: U (Ends of curved line are "free.") ‘When placed below the notes they are inverted: & vinen place ‘hove ante6 Repeat Exercises $3 and Sia many times with careful attention to stroke markings. Be sure the tip-segmentof (i), in executing the free-streke, RELAXES as usu VERY SLOWLY Bx 53 x, 50 aid hing Prelude No, 19 Slowly until learned, then moderately fast PLaigiad ae a ort ?Andantino M. Caseanat “ons English Dance . carat70 MUSIC OF THE MASTERS “The four composers who are represeatod by short pieces on te following pages were the greatest guitarists of their time. Not only sere they great instrumentalists i thoy were fexcellent composers a8 well, The fact that cheir compositions regularly appear in contempo- rary recordings and concerts all over the world is evidence of te quality of thele music, Each Adadicatod himself to the task of improving the technique of playing the guitar and establishing fa better system of teaching i, Their written method books, wnlle incomplete in the light of present day technique, are considered worthwhile contributions to literature for stuly ofthe fuitar, Each of these masters has helped to clevate the instrament to its present respected Position inthe world of music. Of eren greater value than are their methods Ia the unquosticnely rich treasure of studies and concert compositions let tous by these men. Each wrote a trementous number of compo- Sitiona ranging in difficulty from easy litle etwles to compositions requiring the highest gree of proficiency. While the following selections belong in the frst named category, each one fs 2 complete musical composition in iselt, Some are tuneful with the necessary harmonic support for contrast and color; oshers are arpeggio stuties requiring fast and even execution ‘with both hands for proper interpretation, Proper study of these works will he most helpful in developing the stufent musically as well as technically, ‘Te atutent may be assured that by carefully learning to play each composition he will better equip himself for progress co larger works of eves richer musical conten. ‘The student is urged to memorize those of the following pleces which most appeal to hm land not to be hesitant about performing them for everyone interested Ip listning. Eis a privi- lege to be able to play the guitar and its music, The auvhor strengly euggeste that one should share his goad fortune with others, FERDINAND CARULLI was bora in Naples, Italy on Februaty 10, 1770 an dial in Paris on February 17, 1841, He was a famous gulter virtuos9, composer and musical author. He receiv fd his first training from a priest and after several years of persistent study, galnad recogni tion in Naples a8 performer and teucher. He moved to Leglora in 1797 where he soon be- ‘came established as 2 virwoso and teacher. His concert performances were 80 successful Io ‘cally that son after the turn ofthe cencury he bogan touring Europe. The wide acclaim he re- ‘clved in Paris caused blm, in 1908, oo make that city his permanent home. During the remain- ing thiry-three years of his life he did not leave France for any long period of time, choosing rather 10 be "in residence” as @ concert master, wacher and composer until his death in 184), Waltz and Theee Variations ‘ Gara, P.c.19atVan l ge Vary : ft ror Fp catrie ‘he Wotan Tres Varios hy Califo is “cd pa ie Sth win crt scoop omg. he caro neem ate Sete oie dps sm he compet sande erat ae Saas2 [FERNANDO SOR was born in Barcelona, Spaln, February 14, 1778. He died in Paris July 8, 1839. He was one of the greatest guitarists and Composers of al time. His thorough instruc iow in musts theory and composition, received at @ Barcelona menastery, provided the found tion upon which he allthis career, At the age of 17, already en accomplished guitarist and Composer, he wrote a successful opera. His impact’ pon the muse world was particularly ‘euable in England whece he journeyed in 1809, Through his efforts the gutar became an im- Tonsely popular instrument in that country, Needless to say, he soen became recognized {hroughout al of Europe as a master of the gultar and an extraoriinary composer. ‘Sor wrote an incredible number ot musieat composisious-—is all, over four hundred. His works include opera, oratorio, symphonies, quartets and church music. His guitar compost tions aze of such excellence ehat even rolay they appear on numerous recordings and in prac- ically all concert programs af the leading contemporary guitarist “The ltalian word andante Is used! in music to indicate a very moderate tempo. Therefore, any composition matked andanfe mast never be played fast, but at an easy, moving pace, “the first secton (16 bars) of the Andante (1) by Sor is played entirely by employing the free suroke, (Por the meaning ofthe aigos Vand U_ see p. 67.) Measures 17 trough 24 re- (quire a combination of both the frec-stroke and the rest-strcke. Melody notes which have ‘Toms pointing up are played rest-stroke; all notes with stems pointing down, free-stroke, The Tet 8 measures ofthe piece are primarily @ repetition of the beginning and are played inthe ‘same manner as the first section, ‘Observe the time signature indicating that an eighth note receives one best. A quarter note, therefore, revelves two beats, The entire piece should be played with a steady and even 1-2-3, count, Practice slowly at first. Andante 12B ‘The first 8 measures of the Andante (I) by Sor Is playeé by using the free-stroke for both the melody and the bass parts. In measures 9 theaugh 24 the rest-stroke is sed forall melo- ‘dy noes; free-stroke for the bass, Andaste IL” [Allegretiis an allan word used in music to Indicate a rather light and cheerful tempo, hut not fast, Allegro means fest oF Yapld, Allegreto is taste: than andante and slower than allegra Allegretto (1) by Sor should be played a8 Legato (or smoothly) a5 possible, Ir consists of 3 and 4 parts (voices), Practice slowly, counting evenly, increasing the tempo only after well earned, Carefully analyze each part separately ani observe the manner in which notes and rests are employed to form a measure, Allegeeto 1 Allegretto (1D by Sor s considered a two part composition The treble part contains some rather difficule right and fingering; it must therefore be sealed carcfully. Note that when a finger is repeated it begins a three note figure; examples are marked with curved lines, The pntire treble part is played rest-etroke excepe inthe Ist beat of measure 24 and the Sr beat fof measure 30, all basses are played free-strake Allegeeto 178 MAURO GIULIANI was bor in Rologna, aly in 1781 and died at Vienna in 1829, His educa tion in music began atan early age, During tis early period the violin and fice were the prac, tical application of his studies, While stil «youth he entirely discard these ewo insteumenta and began a serious and intense stuly of the guitar, He wes, for the most par, sel taught. 80 extraordinary was his genus, however, that by the time he fed reached the age of 18 he began Touring Europe as a virtuoso, More amazing still, he had already compossd number of Bul, lant compositions forthe guitar. Throughout his lite he associat withthe greatest muciclans ‘of is day, al of whom held him inthe highest esteem, itis said that Beethoven, after heating him play, Cxclsimed: “The guitar tw # miniature orchestra in set, Giutian! wrote over three hundred compositions ranging in difficulty trom easy exexcisos ‘to works requiring a high degree of technical skill, His compositions sell appear inthe cons Cert programs and recordings of our foremose gutarsts Andantino is also an Katian word. When used a8 the nam of @ composition & indicates a ‘short piece of andante tempo and character. ‘The heginning 16 measures of the Andantino by Giullant introduces a melody (heme) supe Ported by one lower voice Line. Both are played with the free-stroke, The melady is repeated {in thenext 16 measures but now with the ful harmonie support of two lower voices, In the three part section the melody is played rest-stroke; the ewo lower parts free-steake, Due to ‘the complexity ofthis section in three parts, It is strongly recommended that each putt be ans alyzed and practiced separately before attempting o play thes together as written, The entire ‘composition must be played atthe same tempo; the first 16 measures no faster than the last Andantino M, cltiast% Allegro indicates thatthe movement of this composition {s rapid, But if it 18 00 be played swell the AUlegyo by Giuliani muse be practiced very slowly at first. Ir isan excellent sty for the development of both hands Carefully observe all finger markings. Allegro M. Guten,7 DIONISIO AGUADO was torn in Madrid, April 8, 1784 and dled there December 20, 1849, Fis fire instruction was at a college in Madrid, where te monks taught im music theory and the elements of the guitar. Later, Manuel Garcia, who became a world famous singer, instru tex the young Aguado in the more’ advanced phases of guitar technique. He became a brilliant Virtuoso who, according to no less an authority than Fernando Sor, played with extraordinary velocity and musictaneip, Aguado produced several volumes of states forthe gultar which are of much value to the serious srulen of today. His advanced compositions are extremely difficult since they contain humerous passages requiring brilliant exzcution—the kind of playing in which the composer ex celled, His "Method", which has never been published in English, contalna many excellent stu dies for the advanced stulent of te guitar AL melody notes in the Waltz by Aguado are played rest-stroke except in measure 16, where a three note chord appears and in measures 21, 22, and 23. Observe time signature indicating that an eighth note receives one beat, Where sixteenth ‘notes appear (a8 on the second beat of measure 5) the measure is counted 1, 2&3 ‘After thoroughly learned, this composition shouldbe played bright waltz tempo Wale8 studio isa Spanish word meaning "stuly", The following Estudio by Aguado is an excellent arpegsio stuly The Sed and 19(h measures ofthis composition require some explanation, The note "B" is playad on the 3rd string af is indicated by the @. (In guitar music a number enclosed by @ ci. Ele aways indicates the string; plain numbers indicate loft hand ‘ingers.) "B™ cn the third line fof the staff besides heing the mame ofthe open 2nd string, i also found on the Srd string, 4th fret, a8 we have learned from cuning the gutar. ‘This piece must be played very evenly and after thoroughly learned, at an alegro tempo (auite fas) fully observe lft hand fingering (nave extensive use of "gue fingers"), Estudio Be Aguado F.c.19a7ACCOMPANIMENTS FOR EXERCKES 113. x. 1 (Ace.)x102 “The student is now acquainted with most of the finger movements (especially right hand) required to play the classic guitar well, Emphasis has been placed upon the righthand because, primarily, its training is the most difficult and usualy the most neglected of the two hands. [From the standpoint of musical training, considerable knowledge has been acquired pertaining ta the manner in which musle ls writen for the guitar. Ifthe material presented inthis work hs been carefully studied, the student may rest assured that an excellent foundation for devel- oping imtoan accomplished gukarist and musician has been estatishedshe may, therefore, pro- {gFe88 with confidence to more advanced phases of sculy. ‘he absolute necessity of rurter work hy unkubially Income evident to the student ‘The study of music inal different keys in conjunction with technical studies for the continued ‘raining of both hands is most necessary, The aspiring etulent:s strongly advised at this time to enzoll in a course of solfeggio (ight singing ant ear training) under a good teacher, {fat all posaible, A thorough familiarity of the notes and how they sound acquired inthis manner will, fake all phases of music and instrumental study infinitely easier. Learning to play the guta® Vrithout also making a thorough study of music is imply not logical; like learning to paint with- fut understanding the effect of color. Care of the Guitar ‘uudens often inquire concerning general care of the guitar how to minimize the chances of the instrument eracking, the finish bocoming marred or checked, and she neck warping First, it must be emphasized that reputable manufacturers guarantee their guitars against faulty materials and workmanship, but this only, not against improper care of instruments oF the unpredictable nature of wood itself, Obviously this places considerable responsibility upon the oomer of good guitar to treat icas the rater delicate and sensitive instrument it ts, Some bf the most important points inthe proper care ofthe gultar are: I Never subject a guitar to sudden extreme changes in temperature or humidity, or to direct sunshine. 2, Ifthe guitar must be kept in a steam-heatod room, keep a contsiner of water on the radiator and a humidifier in te gultar case 43, Never tune the guitar toa higher pitch than standard #440 (iz. p. 7). If he oix Strings are tuned even alightly high, a dangerous amount of unnecessary strain is exerted upon the whole instrument including the nece and bridge, 44, Aleabol, acids from food, and even perspiration can mar the finish, Keep the ‘nish clean and frequently apply a good polish sold by any recognized gultar manufacturer. “The possiblity thac the guitar may crack willbe Lessensd considerably by following the vice offered in items | and 2 above, The reader must remember, however, that all wooden {nstruments, violins, woodwinds, and pianos, as well as guitars, sometimes crack regardless cof the quality or care given, Generally, the appearance of a crack in a guitar eonstinces n0 grave damage if given proper and Immediate attention. The instrument should simply be tak- (Er toa quilified guitar or violin repairman to be fined before the crack widens oF lengthen Rarely, if ever, does a repaired crack detract in the least from the tone, response, playability, or, 10 any serious degree, from the appearance ofthe instrument. F.c.1957Now available— ‘The Complete Method for Classic Guitar by AARON SHEARER CLASSIC | Volume I GUITAR TECHNIQUE Volume IT SUPPLEMENT I Slur, Ornament and Reach-Development Exercises SUPPLEMENT II Basic Elements of Music Theory for the Guitar SUPPLEMENT II Scale Pattern Studies Guitar Note Speller ‘i Fo01937