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Simply Guitar Book Two

Vincent Lindsey-Clark
and
Alexander MacDonald
Part I - Positions
The Fifth position

 
C major scale


V

          
1 3 4

  
1 2 4


1 3


Spanish folk song

         
       
4


3 3 3

 
1 1 1
4 4 4


1 2 2


1

          
4

  
3 1 4 1 4

 
2 2 3


1 1 3


     4
      
 
2 2


1 3 1 1 3 1 3 1


Cançion
       
    
4 4


3 1 3
4 2 1 2 4 2 1 2

  
        

         
    
3 4 3
1 4 1 4
2 2 1 2 1

 
1 1 3



       

     
    
4

 
3 1 3 1
2 4 2 1 2 1 1

 

     
   
MM 124 (Please do not photocopy)
Tone & position
Here and there 3

colour study VLC


I V
             

1 3 0 1 3 1

  nat.
 
  
dolce

             
I
1

 
3 0 3 1 2


    
nat. dolce

I
         
V
 0 1 3 1

0
 1 2 4 2

1


 
 
nat.   dolce 

I V
             

1 3 0 1 3 1

  nat.
 
  dolce 

I
              
V
 1 2


1 3 0 0 3 0 1 3 1 1 3 1

  nat.   dolce 

        
3

  
1 0 3 1 0 1 2

 
1

  
2
nat.

MM 124 (Please do not photocopy)
4 Variations in D minor
AM
Andante V
       
   
1 2 1 1

   
2 4 4 2


  

   
i m

      
  
2 3 1 2 1 3 1
3


  


                      
i m i m i


1 2 1 1

  
2 4 4 2


  


                        
2 1

 
3 2 3 1 2 1 3 3 3


  

                     
i m i a i
V
 
1 2 1 1

  
3 2 4 2 4 2
3 3 3


  

            
I
   
         
2 4 1 3 4 0 2 3 0 2 3 4 0


 


                     
i m a m i
V
 
1 2 1 1

  
2 4 4 2
3 3 3 3


  

                  
I 1
4


1 2

 
2 4 3 4 0 2 3 0


  

MM 124 (Please do not photocopy)


Arabian nights 5
AM (after F. Tarréga)

       
   

 
   

       
  
 
   

          
 
   

        
 
  
  

     
      
 

 

          
    
 
  

      
    
 
   

MM 124 (Please do not photocopy)
Allow notes to sustain to achieve
Night light
  
6 the cross string dissonances
VLC
Reflective
   
i m a
a
V
        
i m a a m i 4 i m

     
1 0 0 1 0


     
p mf p


-4
      
      
     
2
1 0 1 0

    
mf p mf p

                 
   
1 0 0 3 0 0

   
mf p


                  
1

 
3 0 3 0 0 1 0 0 3

   

I
       
         
2 0 1 0 4 0 2 2 0 0 0 0 4 0


1

    
-3
3
  2
3
0 1
mp mf

           

4 0


0 2 1 0 3 0 1

 
2


 
    2 0 2 3
0
p

   
2

     
 
0

      
1 0 1 0 2 0 0

   
2


0 1

 
2
0 3 
p 0 1

MM 124 (Please do not photocopy)


7

       
0 0

 
2 0 0


0

       

3 4
1
-1
cresc. poco a poco 0

V       -4

     
4

      
2

      
1 0 1 0 1 0

      
f

   
       
-4

         
4

  
1 0 0 1 0 1 0

      
p

 
                   
  
2
1 0 1 0 0 3 0 0

      

 
                      
1


3 0 3 0 0 1 0 0

      

 
          
4

    
3 0 0 3 0

    

 
  
4

 
1

0
   1

0 0
 1

0

  


V
I
        
 
2 0 1 0 3 0 2

 
1 0


1

  
pp rall.
MM 124 (Please do not photocopy)
8
Position changing
Letting go
using link fingers
Expressively VLC

 
V

  
I
  
I
  
 
-1 1


1 1 2 0 4

    
2 4 3 0 0 1 0 1


  
p
Position change using
link finger & open string
V

I
  
   
 
-2

 
2 1

   
1

   
0 4 0 2 0



 0
2
 0  0

1
mf 0

   
  
I
      
4


2

    
1 1 1 3


2 2 0 0 1 0 1 1 0 2
3


  
p

          
  
4 2 4 4 0


4 0 0 0


2

 
 
0

1
     1 3 0
2 3

0
f

  
         0
  
  

0 1

  
0 4 0
4 0 4


0 0

 
2 0 2


3 0 0
0

0
0 1
3
p

       
     
    
3 1
4 0


4


0 1

 
0 0


0 3 0
1 4


0 2 0
2 2 0
0 3

f
MM 124 (Please do not photocopy)
9

        
   
0 4

 
0

 
1 4 4 0


2

  
0


0

 
0 2 3
1

0 1 3 0
p cresc. poco a poco

 
V I
       
 
1


-1

 
1 1 2


2 4 3 0 0 1 0

 

0

  
0
4

V
      
   
  
4

  
1 -2

   
0 1 0 4 0 2 2 0



 0
2
 0  0

1 0

      
     
4 2 I

 
1 1 1 1

  
2 2
3 0 1 0 1


0

  
mf

           

4


1

  
0 2 0 4 0 4 0 2 0 2 4

 
 
      1 3 0 2

p 0


V

      
 
0


2 1

 
0 0


2

  
3

3 2 0  
3
dim. poco 0a poco
MM 124 (Please do not photocopy)
10 Second position
II

    
 
0 1 3 4 1 3 1 2 4 1 2 4

     

     
2 1 4 2 1 3 1 4 3 1 0

    

 

Anon.
A Prelude
               
   
4 1

  
2 3 0


0 1 2 0 1 1 3 1 2 0 2 0 1 2 0 1

      
    
0 1 1 2 1 0


1 3 0 1 2 0 1 3 0 1 0 1 2 0 0 2 1 0 1 3 1 0


                
4 4 2 2
1 2 1 1 1


0 2 0 0 1 2 0

    
                 
2 0 1 2 1 1 0 1 0 1 0 1 3 0 1 0


0 1 0 3 0 1

MM 124 (Please do not photocopy)


Italian dance 11
AM
II
Allegretto
       
a i


m

    

1 0 2

 
2 0


1

1
mf

       
  
1 1

 
2

 
  
1
3

         
 
0

 
2 1 2


2 1


0

    
1

1 3
f

       

2 1 2
2 0 1


   
1

fine
     
1 2

   
3 0 1

 
1

 

2

   
I II
         
3

  
1 2 0 1 4 3 1 0 1 2

    
3 
mp
D.C. al fine

         
1.01 2.
 
1 0 1


0 1 2 0 -1


0


 
1

 
3
3
 
MM 124 (Please do not photocopy)
12 Merry-go-round
VLC
II

           
Lively
     
1 0 2 0 1 0 4 0 2 0

 
 f
   

          
     

1 0 2 0 1 0 4 0 2 1


0


    

        
1 4 0 4
       
1 0

 
2 2 1 0

 p   

              
  
1 4 0 4 3 0 1 3 4 1

 
    

          
     
4


1 0 2 0 1 0 0 2 0

 f   

          
     
4


1 0 2 0 1 0 2 0 1



     
MM 124 (Please do not photocopy)
Speeding along 13
AM

                   
Allegro

                   



to coda

               
                       
 

             
                   

    

                            
        


 

          
              
  

D.C. al coda
          
            
    


 
                
       

     
               
     
MM 124 (Please do not photocopy)
14 Back home AM
Medium tempo
           
II
     
0
     
   
2 2 0

         


1
 1
1 0 1
0 0
mp

A7sus4 D Dmaj7
½CII
           
  
4

   
1 0 1

 
2

f
  

A7 Em
Em

         
2 1

0
  
        
0 2

        
      

A7 D A7sus4

  
½CII
         
    
4

  
1 1 0

 
1 0 2 0 2 2


       
 
mp

D Em
Dmaj7
½CII

            

    
1

  

        
  

A7 Em A7

             
        
1 0 2 0 2



     
    
MM 124 (Please do not photocopy)
15
D F#7

          
        
0 2 0 0 0 2 0


    3

3 0 1
1

mf

F#7
A7

    
0

     
   
1

    
2 0 0 2


0 2 0


0

3     
1
   
1 3
0 3
0 2 1 0 p

F#7

 
I
    
0

    
  
1

        
0 2 0 0 0 2 0 2 1 4 1 0 1 4 1

 1
     3

D Dmaj7
½CII
     
II
         
2 0 4

     
1 0 2 1

 f 
      

Em7 A7 Em7 A7

                
          
2


1 0

    
0 2 1 0 2 0 3


        
       
mp

     
       
1 2 0 2 1 2 0 2 1

       

   
 0
rall.
0
0 0

0
pp 1
0
1

MM 124 (Please do not photocopy)


16 Seventh position
VLC

   

1 3 1 2 4 1 3 4

  
VII


 D E F© G A B C© D

Sky high
 
VII 1
  2
 
4
    
1 2  4

 

          

     
        
3 4 3
1 1 4 2 4
1 2

    

     

            
3 1 2 3 4 2 2
1

 
          

         
    
4 3 4
1 1 1 4
3 2 3 2


           

   
1 2  
4
   
1 2  4

  

         

      
        
3 4 3 4


1 1 4 4
2 1 2 1 3 1

    

  

MM 124 (Please do not photocopy)
Jacob's ladder 17
VLC

      
VII      4

      
1 2 2 1
2 4 2 4
3 1 1 1 3

 

 
 

          
4

        
1 3 1
2 4 4 1 2 1 2 4
3 1 3


1

 

 

               
    
3 1 3 4 1 3
4 2 2 4 4 2 4
1


 
   

             
     
3 4 3 1 1 4 3 1 3
4 4 4 1 4 4
2 2 2 2 1 2 1
1 3


3 1

 
  

               
4 3

 
1 3 1
3 2 4 1 2 4
1 1 3


 
 

     
1 2 4
1
   
3 4 3 1    
3

   
1 4 2 1 3


1 3

      
MM 124 (Please do not photocopy)
18 Half bar twelve bar
Relaxed swing tempo
0 0 0 0
AM

      
0 0 0 0

              


CII 0 CII 0 CII 0 CII 0

              
    

CVII CV CVII CV
        
0 0
0 0

              


CII 0 CII 0

       

  
 

E
CIX CVII

CVII CV
      
    

   

    
   

         
  

0 0 0 0

     
0 0 0 0

              


CII 0 CII 0 CII 0 CII 0

         
   
   
   
    

CVII CV CVII CV
      
0 0
0 0

              


CII 0 CII 0

     

        
     


CIX CVII

CVII CV

        


    

      
    

  
          3 
MM 124 (Please do not photocopy)
Chanson 19

AM
Slow
 
½CV
 
3 0
½CV ½CIII
        

 p  
2 0
0

 
to coda

½CV
 ½CIII

½CI
  
      
 
 
 
2 1
2
2

p 

     
½CV
      
3 0
½CV ½CV ½CIII ½CI

½CIII

              
 mp

2 2

 mp
0 2


0

   3

D.C. al coda

        
½CI
   
           
4 1 2 1

 
    
  
2


3


2 2
3
mf


   
½CIII
  
½CV
   
½CV


½CV
 
                     
    
2

 

½CIII
   ½CI   ½CI
  

                          
4
4

     
2 2 2

3 3


 

harm.12fret

  
  
  
            

1 2 1 4

     
3


2 2

MM 124 (Please do not photocopy)


Part II - Articulation
20

Thumbs up VLC

       
Slow
         
1 4 0 1

 
2 1 1 4

 
    
Rising open strings need to be
stopped/damped after next note.
Stop all
strings

           
1 4 1

   
0 1 2

     
    

              


1 0 1 4

 
4 2 3 0

  
  

Stop chord

     


and play bass

     
1 0 0
3 1 3

 
    

   
   

        
1 4 0 1

 
2 1 1 4

 
    

     


II
   

4

  
0 4


   
3

  
1 0

 
    
MM 124 (Please do not photocopy)
Suggestion:
Go back to all previous pieces Behind the base line 21
and apply damping technique
to rising open string bass lines.


II
   
Slow
   
0 1 2 0 3 4 0

 
   

 
I

  
 
2 0 1 2

     
 4 2

     
   
2 1 0 2 0 2


  
   4

       
 
0 0 0


4 0 0 1


2 0 2

    
2 


II
         
3 4 0
0

  
0 1 2


3 0
2 4

 
1 1

 

       
 
2 0 1 2

  
2 3 2


0


0

  
1

 2

MM 124 (Please do not photocopy)
22 Staccato exercises
Staccato dots shorten the note by half.
These two bars will sound the same.
1.
    
                   

Right hand stops

                 
2.

         

Pizzicato - An effect like the non sustaining
plucked sound of the violin.Pluck string with
thumb while damping with the side of the
hand close to the bridge.
Stop it!
VLC


 
      
    2 1 2
2 2
3 2 1
0
p p p


 
1 2

 
   
    2
3 2 2
NB No staccato dot 1

   
0
pizz.
 
0
  
    
0

 

 
2 0 4 2 
2 2  0
4

      
       
 
 
     
   
  
2 0 3 2 0
1 2

        
          
1

          
0

      
     
 
2 0 3


0 3 3 2 0 2
2

 
    
   
 
  
0


0

 
0


1

 
2

 pizz.  
2


3


2
1
2
0 3 1

MM 124 (Please do not photocopy)


Powdered wigs 23
VLC

Moderato
      
   
         
m

 
i 1 4 0 1 4

  
 mp 
0 0

      
2 1
3 3
p

     
     
      
4

  
 
0 0 2
1 1 1 1

 
2 3 -3 3

  
3

mf

    
      

         

  
1 0


4 1 1
0 0 0 4

     
0

mp 

          


     
4

     
 
 
0 0 0 0
1 4 0 1 1
1 2 3


2 1

   
3

legato

       
   
rit. A tempo
  
 
            
1

 
4 1 1 4 0 1 4



0 0

       
2 1
3 3
3 2 0

mp

nat. - natural sound

      
       
       
4
pizz. nat.
  
 

0 0 2

    
1 1 1 1

 
0

 
2 3 -3 3


2

   
3 3

mf p 3


1
3 1
0

MM 124 (Please do not photocopy)


24 Slurs - Strike the first note in the usual way
with the right hand. The second note is sounded Slurs
by the left hand either 'hammering-on' to the new
note or 'pulling-off' to pluck the note below.

Off the cuff


VLC

      3
         
0

 
3 0 2 0

      
i m i i m i i m i

    
0

      
0 0 2 0 0 2 0 0 3 0

  3

  
m


i


i4 i i m 3
i

  
3 0

        
0 0 0 2 0 3

 0

0    2 2 0 2
0 0
0 p p p
2
p


a

 
a

  
m m


m

     
0 3 0 2 0 i

  
0 2 i 0 2


0 0
1 0


2 2

0


 
a a a

    
m m m
i

       
i i

  
0 2 0 0 2 0

  
0 0 0
0 0 0

 
2 2 2

0
1 3

A tempo
          
rit.
    
    
i 4 4
3

  
0 4 0 4 0 0 2 0 0 0

 
0 3 0





0 1 1
2 2 2
i
3 p
2


a


m

    
i 1. 2.

         
3 2 0 2 0 4

 
0 0

  
0 0

   
0
i
i
1 3 3

MM 124 (Please do not photocopy)


Minuet 25
VLC

        
     
4 2 4 4
2 2

   
3 1 0 0 0 2 3 1 0

  
 

              

4 4 2

   
3 0 1 2 0 4 0 4 1 0 4 0 0

 
1

      
3 2

   
    
4

   
2

   
4 4 1 0


0 2 3 0 1 0 1 2 0 2

 
0

   
  
2 3 3

Gigue
VLC

             
   
II
 
1 3 4 3 1
4 0 2

 
1 2


1 0

   
 

                   to coda
   
1 3 4 3 1
4 4 0 2


1 2 1 2


1 0

     
 
Optional ornament: 
A mordant - hammer-on + pull-off

    
I (010)
 
(010)
  
               
1 0 2 1 0 2 1 0

        
Could be fingered 141

          (131)

 
(010) (010) (010) (131)

                 1 3 1

 
3 3 3 4 3 1


  
   

       D.C. al Coda  
1.(010) 2.
(010) (010) (010)

             
(010)

  
2 2 2 1 0

        
MM 124 (Please do not photocopy)
26 Cheeky Chôro

VLC

 
V
  I
    
          
4 1 2

 
0 4 1 2

 
0 0 3 1

     
mf


 II V
 
            
4 1

    
1 2 0
2 3 0 2 0 0

    
0 1

 
1

    

     
        
I

1.
     
     
4 0 0
0 1 2 3 1 2 4 2

   
    
 
Bang thumb
onto bass strings



2.
   
I
    
4 2
1 2


3 1

             


 
  2 4
0  i
0

   
I
      
V m


4 1


1 i i


2 2 2 i
4 0

        
0 1 2 1 2 0 2 0 2 0 1

  p p 
p
p 3

  
    
0

    
  
2 1

 
2 0

   
4 1 1

      


   
V1
     
4 1

     
2 2

 
2 0 1 0 4 2 2

 
1 2

 
3 1

    

MM 124 (Please do not photocopy)


27
  i i i m i

      
m a m

            
0 4 0 0
1 2

     
1 1 2 1 0 2

   
p 1
 

II I  poco rit.


                     
2 0
0


0

 
-1
     3 4
0
cresc. poco a poco
  
A tempo
   
I
   
V4

      
1

  
2

  
0 4 1 2 1
2

  
0 3 1 0 1 3

 
2

  
  
  
f

 
       
m

 
      
V i i m a
II
  
2 1 2

   
0 2 4 1 3 3 2 0

 
1

 
0

  

     
V 
        
I
             
2
1 4 2

  
0 4 0 1 0 1 3 0

 
1 2 2

 
3

    

 II
  
    
0

       
4 0 0 0


0 2

  
1 4

  
2 2

 
    
-2

 
1

  

  
                 
I

2 1 0 0

 
 
     3

   
1
2 3

  
2


     
V i m a


I
   
4

 
1 0 4





1 0 0 4 3

f
1

    
1

  mp
p i

MM 124 (Please do not photocopy)


28 At the carnival
AM
Lively VII   II
    
 
4
1

  
  
4

 
2


1 0 2 0

  
f

        
        
1 0 3 1 1 2 0 1 0 2

 
 

  

VII
       
4

  
3

  
1 3 1


4 2 4
1
4


  
 
p

   
II
      
  4
    

2

  
4 2 1 3 1 4 1

 
      
 
  mf

        
       
      
1 2 1 2 0 1 2 1

         
 

    
         
 
1 2 0 2 0


         
   
 
3

 
1 0
3 1 0

 
       
legato 1 0
2

   
2 4



     
    
 
4


1 0
0 1 3
pp

MM 124 (Please do not photocopy)


29

      
0 2 0 1 0 2 0 2 0

        

 
1
  1 

         
    
1

 
1 2 1 0 1 0 1 2 2

  

VII
 
CVII
  II
    
     
4 -4

   
1 1 4

    
2 2 1 0
3


 
 
ff
D

  
2


0


2 0 3 1
    
          
1 0 1

   
G/A A7 D G/A
3fr 3fr

                 


          
 
  
D A7
G/A D
3fr

                     
                
  
G/A A7 D
3fr

            
            
 
     

MM 124 (Please do not photocopy)


Part III - Tone and dynamics
30

Spain
VLC
Freely
  ponti.
dolce (tasto)
   
i m a m i a m i

         


i

 
 mf 


   




p
p
p
p
p p
 pp 
p

II ponti.  
                  
0


2 2 2


1 0 1


0 0 1 1 0


1
1
2 0
3 0

mp

dolce
  
         
2 0 2

 0
1

 
p

ponti.
     
i m a m i

    
     
4

    p p
p
3 1 mf

     
i m a m i

 
i m a i m a i m

        
  


2 0
1 0 3 0

 0
  
p
0
 
1 p  p
p

3 2 p
p
dolce
     
dolce

4
VII 1

 
a m i 3

       
i

  
 



   

p
p pp p
mf

    
ponti.

3 4 1 3
I
     
4

     
1 4 0 3


1


2 0 0


0

   
2 3

   
dolce
  
       
3 4

        
VII 1 II 1 3


4 4 1 4 2 1 0 0 2 1
2 2 1 0

   
 mf  
MM 124 (Please do not photocopy)
31
ponti.
     
0

                  
1 2 1 0 1 0 3 0


   

               
      
0 1 0 1 0 1 3 1 0 0

  
   2
 2
1
p
0
p
3
p
2
p


dolce

i m a

     
2

  
1 0 1


3 4 0 0

    
   
 
1
2


3

 4
p
1
mp
p
ponti. i m i

 II
       
     
1
2 0


0

 pp
1

   
1
2
3
p p p

dolce

II 3
i m
3 3 3 3 3 3 3

                      

0 0

3
p
  1 0 3 0
1
p cresc. poco a poco

 3
I
3 3 3 3 3 3 3

                
   
3
     1 0 3
0 1
G6 A7

 
II
               

i

            


i

 f 
0 0 0
2

    
0 0

 
0


0 0
4 0 1
3 1
i i i
2 0

G6
ponti.
        
i m a m i a m i

            
0 i

  
0 0 0

 
     
  
0


   
0
0

 
1
4
p3 p p
2 p
fp
1
pp
MM 124 (Please do not photocopy)
32 Accent, sforzando, marcato:
notes played with special emphasis Two minds
C C

    
3fr
VLC

                  
                    
 mp 
0 0

               
0
1 0 1
0 0 0
2 0 2
3 3 3

marcato - play with extra 'weight'.

Dm A/D Dm

    
                 
                  

1 1

               
0
4 3 4
2 2 2
0 0 0

G7 E7sus4 E7 Fmaj7/A
to coda
  
                       
        
2 1 2 1

  
0 0 0 0

 sfz  sfz     
1 0 0


0 0 0
0 0 0

     
0 1 1
3 2

 sfz  sfz
0 0 0
2 3
2 0
3 0
3 Em
mf p
sforzando - extreme accent Accent - more attack

 
                
0 4 1 0 0 0 2

       
0 0 1

 

0

      
0
0

     
2
3
0
Dm7
D.C.
E7sus4
al coda
         
4

       

1

                 
3 0 1 3 0

 
2

           
1 0
3 0
3

      
0 0
2
0
mf f
Dm7 sfz
G7 Am7 A7
  


CODA
             
              
 mp

2 1 0

      
1 0 0
1 3

      
3 0 0 0
0 0 2 2
0 0

Dm G7 C

  rall. - - -
3fr
- - - -
               
                

1


      
4 0

       
0 1
2 0
0 0 0
2
3
p

MM 124 (Please do not photocopy)


This piece is a study in
chord balancing
Saturday night 33
AM

                  
Slow p

      
4
            
 mf 
    
0

    
0

2 0
2 0  2 3
3 2 0

Emphasize bass line

to coda

            
        
           
   
4
           

   
4

 
1

  
0

  
2 0

0


Three part music: project the upper line

     
mf
              
         
4 0 4 0 4 4 0


   
0 1

  
1

p    
3

 
2

3 0
0

                 
       
      
4

 0
   2  0 3 
2
 
p 0 3
mf 0

½CV
      

            
3 1

   
-2 4

              
2 2 1
2 0


3

 
1

    1 0 0

      
3

     
0 4 0

  
4

    
0 4

  


 
3


0

 
harm.12

 
D.C. al coda
 
4

        
1 4

  
2 4

       
4

 
4

  
0
1
0

MM 124 (Please do not photocopy)


34 Reflections
AM
Slow
           
4

      
0 3 0 0

       
 mf    
 2
1 3
2

  
       
1.
      
4 -4 -4

 
0

  
 
0


3

2
1
 2


2.
       
 
4 -4 4 4

      
0 2 -2 3

           


    
0 1
0 0
2 0 2

mf 1

 
a m i i m

         4 4

    
3 3 3

      
3

  
 
1 2

p 0
0 2

     
                    
4
0 3 0 0

   1 3
2

mp

    
           
4 -4 -4

  
0

 
 
0


3

2
1
 p
2

MM 124 (Please do not photocopy)


Jam spoon 35
AM
V   
½CV
   
Slow
    
3 4 1 4

   
1

         
0 0 0 1 1 1 3 1


 
3

 
0 1


0


mp

½CV
 
V

I
  
3
  
4



1

            
4 3


0 0 0 1 1

 
 
1


1


0
0

1 
to coda

         
4 1. 2. I

1

         
3 1 I 4 4


4


3 0
1 0


0 3

    2
2 1

      
                        
 f 
0 0 0
0 4 0

    
1 3 3

2 0 2 0 2
0

   
III I

                        

0 0 0 0
0 0 0 3

  
-3 -3 1 2

 2
  2 0
1
-2 0

D.C. al coda

    
I

     
         
3


0 0 3

 
0


0 2 0 0 0
2 1 3 0
1
2
4 1 2

MM 124 (Please do not photocopy)


36 Shadow of the moon
VLC

Very expressive
     
IX

  
a -4
VII 1 VII 2 4 1 4 2 1 2

                     
i m i


0
0 0

mp
  

  
       
2 4 2 3 1
1 2 4 1 2

              
1

   
0

 I
  
             
4

   
3 3

      
0

 
 
2

1 1
mf

 
V
  
a


VI -3
        
4 a i m

    
4

       
i m 2

     
2 0 0 2 0 0 1 0

f  -1 
mp

 
      
-4 I
 
2

 
4 -3


3 3

  
0 1 0 1 2 1 0 0

 
   0 0
0
p 2

     
VII
 
4
V4 I
    
1

    
2 2 1 2

    
0 3 1

     
0 0

 
1

   2

f mf

  
V
       
I
 II
   
-4

     
 
2 4 0

 
4 4 2 2


0 1 0 3

   
2 1

 
0

 
1

3
f

MM 124 (Please do not photocopy)


37

               
2


4 4 0 0 4

               
3 3 0
1

  
-3

mp
1

 VII

  
V

 
a

 
1 2
-3

           
4 4

 
2 1 0 3 0 3 2 0 3 i m i

 p  
0
0 0


0 0
0
3
mp


IX
    -4
 
  
4 VII 1 4 2 1 2 1
2 4

     
1

                  
  
0

 


       
2 3
I 1
2 4 1 2

      
0 3 4

                  
 
2


  mf

     
                               
3 2
0 0 1 0

     0 3 1
0
3
2
mp p


          
0

    
4 0

   
1 3 1 3 1 3 4

   
1 2 3 4 0 2

 
    
2
  2

  
  
VII
 
 
 
4

 
1

              
4 1 2 4


0

 
1

 
0

  pp 
MM 124 (Please do not photocopy)
Bending the rules
38
VLC
Slow or quick Swing feel
    
   
V


  
d
1 3 ben 3 3

 
1 1

 
 p   
  0 4
0 3 2
     0
3
1 2
mf

   
      
d
    
       
ben



3 1 3 3 0 1

 
1 3 3 1

  

   
      
d3
I V  ben
       
3
4 1 3
3 2

 
1


2 1 0

       
0

     
I

3

  
1 3
     
0 1

0 4 1 4 2

  
0

  
      
   1 0
3

E7


 
   V

d
 

d3
V ben bend 3 ben 3

         
1 d
0 ben 3

      
i

  f
    
    

 mf
 


      
    
 
d


ben 3

  
end 3 4 1

  
b


1 3 3 1 1 3 1

 
1

  

         

    
  
I II I
   
3 4

 
1
1 3 2


0 1 2 0 4 1


     
  
MM 124 (Please do not photocopy)
E7 D7
39

 
              
       
             
 3 0 3

E7

            
       
V
 

d
ben 3

      
4 3 3
1

   
1 2 0 2 1 1 1

 
0

      
      0

      
         
d 4


3 2
ben

  
1
0


1

 
3 3 1

   

    
      
d 3 3
I V ben
      
4 1 3
3 2

 
0


2 1 0

       

      
I
         
3 0 1 0 1 4 2
4

   
1 0


  
3

      
 1 0
3

   
    
V bend 3 3

 
I

1

3


0

        
0
4 0 1 


    
    

d 3
V ben 3
I V bend 3 3

  
1 1 1
 
3 3


0

      

 
I
   
 
4


 
 
2

 
0

    
1

2
4 improvise . . .

MM 124 (Please do not photocopy)


40 Vibrato gives a warm expressive
quality and helps to sustain the sound. Port Quin
It is most effective in higher positions.
VLC
With passionm
                   
VII i

                 

0


0

mf 
1 4 3 4 1 3

vibrato on melody

           
a

     
m

                
i

   

0
0
0

1 1 4 3 4

mp


 
      
mf
   
2 4

            


     


1


0
1 3 1

    
    
2 4


1

                  
1 0

 
1

  
0 0 0
0 0 0


0

   
         
2 4 2 4
1
       
            
  
0

 
1 1

  
0 0 0
0 0


0

mp

       
m
IX -4 -4

       
4


1 i m i m 1
2

       
2
0

     
1 0

 
0
2
0 1
0

p

Simply Guitar 2 Part IV MM 124 (Please do not photocopy)
41

 
molto vib.
 
 
    
 
3 1 3


4 1 3 3

 
 
3


0

 
0


0 1


0 0


0
0 1
p p
0
0

      
 
   
1 3 4

  
4 1 3 4



0

 
0




0 0
1 0
3 0
1
p
0 p
0

                        
m
i

                        

0

 
0

 
1 3 -2 3 1 4 3

                        
a
m

          
i

           

0
0
0

1 4 3 4 1 3 1


      
         
2 4 2 4

  
1

          
1

            
0

 
1 1

   
0 0


0 0 0 0 0

 
0

mf

   
IX
 -4

                   
2 4 2 4
1

                     
0

 
1 1

   
0 0 0 0
0 0 0

 
0

mp

       
        
-4 4


VII 1

 
1
2

 
2 3


0


1 0

 
1

 p
0


0
0
0 3

rall. pp p

MM 124 (Please do not photocopy) Simply Guitar 2 Part IV


42 Tremolo - An effect that simulates a
sustained line. You can use pami in
Evocación
the right hand but pimi is easier.

III AM
Not too fast ½CI
  
    
i m i
4


1

 
0 0

 
 

1 0
3 3 0
2 2
0 1
p
mp

    


I 4
-4 1

 
0


3
 0
 0
0
2
4
2 0

  


1 1

  


4 0

  
0

 
 
  
0
2 3
 2 1 
0
2 3

    


4

         
4 1
1 0

   
0 0

    

0 2 0 1
2 2
3
3
mf 0

  


4 1

                


0
2


0


 
 
0
1 3
2 3 
0
2

1. 2. 1

                       
1 0 0

  3
 4 0
3
4 0

Simply Guitar 2 Part IV MM 124 (Please do not photocopy)


43
III

     


1


4

 
0

 
0

   0
2
0
0
3 1
0
2
3
mf p (2nd time)

III
        
1
I 1

 
-4

   
0

 

1   0 3 3 0 2
-2
2 0

1. 2.
I
I
         
4 1 -1

    
0 0



  

3 3
0 0
2 3 2
0

rit. A tempo
½CI

               


4 1 0

 
1


0 0

 
  

1
1 3 3
2 2 2
0
0

        



4

 
-4

 
2

  
  0  0
3
0
0 3
0
1

       


4 4 4 1 0

    
0 0

  
 1
 0
  3 0 3 2 3 2 0

I ½CV

III

  
1 1

 
3 4

   
0 0


 

 
3
-3 2
3 -3
2 2
0
0
pp
MM 124 (Please do not photocopy) Simply Guitar 2 Part IV
44 Whirlwind
This piece demonstrates the effect of tempo change; in this case a gradual increase in speed.
In later music you will come to use rubato - the manipulation of tempo for expressive effect.
VLC
Start slowly
             
4 4
           
       
2 2 2

 
0 3


   
0

   
1
0

mp 0

                   
2 3 0 3

    
0 2 0

    

 
1   0
 

                        
        

2

  
0

   
1

poco accel.

           
    
3

    
2 4 2 0

    
3 2

 
2

 
0

   
0 1
0

   
a little quicker
  4
          
 
2

 

2 3

  
0
0 0 1

   
1 1

mf

           
    
2

        
2 3 0



0
0

   
0

                
             

2

  
0

   
1

poco accel.
   


    
       
2

       

Simply Guitar 2 Part IV MM 124 (Please do not photocopy)
45
quicker
                  
             
i 3 2 i 0 2 i 3 2

    

2 0

               
0 2 3 2 0

 
1 0
0 1
i i i
i
mf p

                 
                 

       
2 3

 
2

  
poco accel.
                   
               

        
2

    
0
1
2
1

                   
fast

                    

                
f

 
accel. e cresc.
                  
                    
                    

                     
                   

               
       
ff

             
             

          
   

         
           
         
sfz

MM 124 (Please do not photocopy) Simply Guitar 2 Part IV


46 Harmonics Harmonics give a bell like sound.
They are played by touching (not pressing)
the string at the 12th, 7th or 5th fret.

 
    
    
   
Harm.12



Harm.12


Harm.12

 
Harm.12 Harm.12 Harm.12


 
 12th fret 7th fret 5th fret
    Harm.7
harmonics harmonics harmonics Harm.7
Harm.7 Harm.7

Tuning using harmonics

     
     

0 0

         

5fret 7fret 5fret 7fret 5fret 7fret 7fret 5fret

Tune up tune VLC

       
Harm.5 0 Harm.5 Harm.7 Harm.7 Harm.12

 
0 Harm.12

 
0

        
0

  
Harm.12
  
  
Harm.7 Harm.5 0 Harm.5


Harm.12 0 0 Harm.7

         

    
Harm.12 Harm.12 Harm.12

 
0 Harm.12 0

  
Harm.12 Harm.12

 
0 0 0

   
0

    
 
 


  
Harm.12


Harm.12



Harm.12 Harm.7 Harm.12


Harm.12 0

       
Simply Guitar 2 Part IV MM 124 (Please do not photocopy)