Pop, Rock, Jazz for

Classical
Guitar
Arrangements of the brightest musical trends of the twentieth century

POP ROCK Рок

музь1ка
MUSIC MUSICсамые мелодичные
композиции
рок -эры

Igor

Bartholomew

CD
Jazz music
jazz standards, appendix
evergreens auditions
themes
of the
coursework.

© 1999-2011, lgor Varfolomeev http://www.lute.ru/cuorse.htm, info@lute.ru

 Content

S e c t i on I " P o p m u s i c "
Preface. Introduction. Theoretical points ........................................................................... 4
Commentary........................................................................................................................ 8
1. Joe Dassin Es Si Tu N'existais Pas ........................................................................ 13
2. Joe Dassin L'Etelndien ........................................................................................ 14
3. Мichel Legrand Jet'attendrai (FromTheMotionPictшe"LesParapluiesDeCherbough") ..... 15
4. Francis Lai Love Story (From The Motion Picture "Love Story") ........................... 16
5. Demis Russos From Souvenirs То Souvenirs .............................................................. 17
6. Мireille Mathieu Pardonne Moi Се Caprise D'Enfant ..................................................... 19
7. Teach-In I'mAlone ............................................................................................ 20
8. Nino Rota Speak Softly Love (From The Motion Picture "The Godfather") ........... 21
9. АВВА I HaveADream ................................................................................ 22
10.Julio Iglesias Nostalgie ............................................................................................ 24
11. Stevie Wonder I Just Called То Say I Love You .......................................................... 26
12. Barbra Streisand Woman In Love ............................................................................... 28
13. Sting Fields Of Gold .................................................................................... 30
14. Sting Saint Agnes And The Burning Train ............................................. 32
15. Chris De Burgh The Snow In New -York ................................................................... 34
16. RichardMarx Right Here Waiting ............................................................................. 36
17. Mark Кnopfler The Friend's Song, Нарру Ending ........................................................ 39
18. Madonna Material Girl ........................................................................................ 42
19. Michael Jackson You Are Not Alone ......................................................................... 44
20. Мichael Jackson Earth Song .......................................................................................... 47
21. BeeGees How Deep Is Your Love ..................................................................... 49

Section II, Rock Music.

Preface. Introduction. Theoretical points .......................................................................... 52
Commentary ...................................................................................................................... 54
22. Elvis Presley Love Ме Tender ................................................................................. 61
23.Animals House Of The Rising Sun............................................................. 62
24. Rolling Stones Lady Jane ........................................................................................... 63
25. Rod Stewart Sailing ................................................................................................. 64
26. The Beatles Here, There And Everywhere .............................................................. 65
27. The Beatles Let It Ве ............................................................................................. 66
28. Andrew Lloyd Webber The Last Supper ................................................................................. 69
29. Andrew Lloyd Webber I Don't Кnow How То Love Нim ........................................................ 70
30. ВоЬ Dylon Кnockin' O n The Heaven's Door ......................................................... 73
31.DeepPurple Soldier Of Fortune ........................................................................... 74
32. LedZeppelin Stairway To Heaven .......................................................................... 76
33. Black Sabbath She's Gone ......................................................................................... 78
34. Ozzy Osbourne Goodbye То Romance ........................................................................ 80
35.PinkFloyd The Gunners Dream ......................................................................... 82

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36. Pink Floyd Is Тhere Anybody Out Тhere .............................................................. 85
37. Eric Clapton Tears In Heaven .................................................................................. 86
38. StatusQuo You're In Тhе Army Now .................................................................... 88
39. Queen Love Of My Life ................................................................................. 90
40.Queen Bohernian Rhapsody .......................................................................... 92
41. Scorpions Wind Of Change ............................................................................... 93
42. Guns 'N' Roses Patience .............................................................................................. 96
43. Guns 'N' Roses Don't Cry ............................................................................................ 98

Section III "From Rock and Pop to Jazz"

Preface. Introduction ......................................................................................................... 103
Commentary ..................................................................................................................... 104
44. ТheBeatles Yesterday .......................................................................................... 113
45. ТheBeatles Because ............................................................................................ 114
46. Тhе Beatles Неу, Jude....... . ... .......... ............... .............. ... .............. ........... ... 115
47. Тhе Beatles 1n Му Life.. . ... ... ...... ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... ... ... 117
48. ТheBeatles Ob-La-Di, Ob-La-Da ....................................................................... 118
49. ТheBeatles Мichelle ............................................................................................ 119
50. ТheBeatles Gid ................................................................................................... 121
51. ТheBeatles Whenl'mSixtyFour ......................................................................... 122
52. ТheBeatles WithALittleHelpFromMyFriends ................................................. 124
53.AndrewLloydWebber Memory .......................................................................................... 125
54. Andrew Lloyd Webber Тhе Phantom Of Тhe Opera ................................................................ 127
55. Frank Sinatra Strangersln ТheNight ...................................................................... 129
56.ElvisPresley Are You Lonesome Tonight? ........................................................ 131
57. MorrisAlbert Feelings ............................................................................................ 132
58. ArielRarnires La Peregrinacion ............................................................................... 134
59.lgorVarfolomeev Тhe Sigh ........................................................................................... 135
60. Harold Faltermeyer Axel F (From Тhе Motion Picture "Beverly Нills Сор") ...................... 136
61. Whitney Houston Saving А11Му Love For You ............................................................. 139
62. Тhе Eagles Hotel Callifornia ................................................................................ 142
63. Righteous Brothers Unchained Melody (From Тhе Motion Picture "Ghost") ..................... 146
64. Celine Dion Му Heart Will Go 0 n (From Тhе MotionPicture "Titanic") ................ 148
65. Valeriy Maslov Тhе Drearn ........................................................................................ 151
66. Paul Desmond Take Five .......................................................................................... 152
67. Joe Garlend 1n Тhе Mood (From Тhе Motion Picture "Sunvalley Serenade") ......... 15 5
68. George Gershwin Тhе Man I Love (From Musical "Lady Ве Good") ............................. 156
69. Jerome Kem Smoke Gets In Your Eyes ................................................................. 158

Section IV "Final"
Preface. Introduction. P.S .................................................................................................. 159
Commentary....................................................................................................................... 160
70. Stevie Wonder I Just Called То Say I Love You ........................................................ 162
71. Мichel Legrand Je t'attendrai (From Тhе MotionPicture "LesParapluies DeCherЬourg") ......164
72. Rod Stewart Sailing ............................................................................................... 166
73. Queen Bohernian Rhapsody ......................................................................... 168
74. Led Zeppelin Stairway To Heaven .......................................................................... 173

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 Section 1 "Pop Music"

Preface
People sang of the day when you learned to speak. He did it when he was overwhelmed with
feelings of joy, and maybe sorrow, in moments of leisure or work, the love of a woman.
Unfortunately, not all magpi to do it properly. And then people who can't sing, and created a
replacement device, namely a musical instrument in the image and likeness of the human voice. So
the legend goes.
Of course, you're right, assuming that you can't pass on the strings of words but you are wrong, if we
doubt that the strings of timeless soul vocal music.
Since the creation of the first musical instrument has sunk a lot of time. The tools have
changed, improved, gaining the most shapes and types. A special place in world culture took
plucked string instruments. Going the way of many millennia, along with the development of
civilization improved instrument guitar. Having different forms and names, have survived under the
name classical guitar. The last two centuries has proved that this tool has reached its perfection, like
a violin. And now it is unlikely that the guitar's appearance will change in the future. It can be argued
that the perfect design of the guitar is subservient to it not only the best masterpieces of world
classics, but also modern music in rock, pop, jazz. You will be not right if they consider that for this
purpose there is a sound technique. We are talking about the creation of his own hands, favorite
melody in your hands.
Without a doubt, the music of the future would sound on a classical guitar. But we live in the
present, and this course will help you to perform your favourite music on your favourite instrument.
Introduction
This edition is a practical course for playing six-string guitar. Designed for guitar lovers who
have initial experience of playing, as well as familiar with musical diploma and guitar appendicature.
It consists of 4 sections, each containing a foreword, an introduction and the most important theoretical
items, as a supplement to the well-known knowledge on classical guitar. These paragraphs explain the
specifics of performing variety repertoire in playing classical guitar. Section IV gives the complete
versions of the previously presented in the I and II sections of abbreviated and facilitated works. This
book can be useful to a wide range of guitarists from beginners to professionals, from classical to
electrogitarians. The changes from the original phonograms and most closely reflect the entire palette
of style and spirit inherent in the original. However, they are quite simple and do not require serious
training from the performer, but inevitably raises him to a higher technical and aesthetic level of
development. The basis of the course is the practice of playing familiar and favorite melodies. By
expanding the repertoire, the student will study all kinds of guitar techniques in a pleasant form.
Practice supported by unobtrusive theory is the best learning, which is the basic principle of the present
book. For ease of search content is built on the principle: performer - the name of the composition -
page number. All titles and names in the original language. For information about authors, album
titles, movies, see notes. An audio recording of the repertoire contents is attached to the course, which
will greatly facilitate the work on the notes.

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 1.Sound
The pitch of the sound, as well as its timbre, primarily depends on the instrument you
have chosen (type, quality, strings), as well as on the method of sound extraction. Use the best
tool and practice the nail way of playing. The compositions offered in the course sound good on
any type of instrument (as on a classical guitar with nylon strings, and on any acoustic guitar
with metal strings). An interesting effect is achieved when playing an acoustic electric
guitar using all kinds of digital sound processors and in conjunction with sound amplifying
equipment.
Signs of dynamic hues and tempo have a generally accepted appearance. If in the
work in the last bars there is dew and dew diminuendo, and the last bar is double, then this
means to gradually and completely calm down, without having finished playing a bit. For
example: No. 1 Joe Dassin "Es Si ТиN'existais Pas ".
2. Structure
The basis for the arrangements is the most popular music of our time, or rather songs,
consisting, as a rule, of couplets and choruses, during the repetition of which only the lyrics are
changed. The melody in most cases remains unchanged.
Therefore, in some cases, for artistic purposes, the instrumental structure of the song differs
from the original. Some repetitions of verses and choruses are omitted. Such a difference in the
notes is not displayed, since it does not matter in the instrumental presentation.
For educational purposes, some compositions are given in abbreviation and light version,
for example No. 40 "Bohemian Rh a p sody " Queen, №32 "Stairway То Heaven "Led Zeppelin and
others, which are presented in full in section IV of this course.

3. Arpeggio
The arpeggio note mainly shows the rhythmic sequence of extracting sounds that, in fact, layered on
top of each other, form the harmony of the chord.
Example:

Writing: The actual sound:

& &
remain pressed
If the notes are located on different strings that together form a chord, then the fingers of the
left hand should be placed on all strings immediately or in the order of extraction of sounds, and
do not remove them until the end of the performance of the chord configuration, achieving a rich
arpeggiated game. If the next chord contains the sounds of the previous one, then the fingers of the
left hand on these sounds should preferably be kept pressed. The principle of arpeggio should be
used in all works. The exceptions are those in which there is a staccato game play (jerky),
indicated by dots above the notes. for example, №18 Madonna "Material Girl". An exception may
also be bass, the sounds of which are not desirable to overlap, especially when changing
harmony(see example). In more detail in the comment to №38. Уои're In The Army Now.

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 4. Polyphony

1-the voice ... melody ......................... (most expressive) ............................. calm notes aloft
2-mid voice .... accompaniment ............. (less expressive) ........................... calm notes down
3-low voice .... bass .................................... (expressive) .... ......................... calm down notes
For easier perception of the text when reading from a sheet in most compositions combine the 2nd and
3rd voice into one 2nd (by writing). In this case, the 3rd voice is rhythmically hidden. In this regard, when
parsing and playing it is important to represent the bass line by ear or to navigate the right hand marking it -
p, which unlike other fingers gives the sound a more expressive sound, which allows to highlight the bass.

Example: " Nostalgic" J. Iglesias " The Last Supper" A. L. Webber

Spelling:

Bass Sound:

" Don't Cry" Guns'N' Roses " I Just Called To Sav I Love You" S. Wonder

Spelling:

Bass Sound:

Since the first voice is the most important, during parsing and during the game it is necessary to
achieve the greatest expressiveness of its sound in comparison with other voices. In some cases, the melody
may be lowercase and play the role of a solo. Note styles in this case are directed downward. The 1st voice
rule applies to this melodic line. Example №36 “Is There Anybody Out There” Pink Floyd.
In many works, along with 2-voice measures, 3-voice can be present in any combination, such as №3
“Je t’attendrai”, №4 “Love Story”, №10 “Nostalgie ” etc. It is possible to meet in the same measure 2 or 3
voices, as in №15 “The Show In New-York”.
It happens that the duration of a note is indicated shorter than it actually sounds. Such a recording
rather reflects the sound of a note in the original, such as a vocal part.
example: " Don't Cry" Guns'N'Roses " Knockin' On The Heaven's Door" B. Dylon

In such cases, the open string usually sounds longer than the indicated duration. There is nothing
wrong with this, as it does not have a rather long and bright after-sounding tone. Do not pause the string.

6
 Sometimes there is an overlap in the duration of 2 different voices. The note is recorded longer than it
actually sounds. Not having a full sound, the note is distinguished by the rules of expressiveness of the 1st
voice (melody).
Example: " Nostalgia" J. Iglesias " She's Gone" J Osbourne

5. Glissando
A method of playing a music that gives a colorful transition from one sound to another by sliding on
one string. It is indicated by a straight diagonal line between the notes or finger numbers that indicate these
notes. If the notes connected by a glissando are still connected by a gliss, the last note will remain after the
slide stops.

6. Signs of abbreviation
Signs of abbreviations for musical notation have a well-known appearance. It is worth recalling that you can’t

cross the double bar line above which sr stands together , and, having finished playing s, go to the first
sign r, then proceed to the next r and continue. If there are no signs of r, you need to repeat from the first
segno s then to the second segno s and continue. If several measures in the end are highlighted by a repeat

sign with the designation poco a poco dim then they can be repeated several times and gradually calmed
down at the last repetition. Repeat sign it is not included at the beginning of the work. Repeat sections -
different ends of the same fragment. First, the repeat section 1 is enclosed with the repeat signs
is played with the first sign, and then repeat to section 2. Consecutive playing repeat sections 1 ans 2 is
unacceptable.

7. Application
Fingering (marking fingers, frets, strings, etc.) is one of the most important points in learning to write.
The exact and beautiful sound, fluency and ease of play depends on how correctly fingering the work is
performed. When playing with the wrong fingering or “at random”, the aforementioned, as well as the final
probability of execution, is called into question. In this regard, the course has a very detailed fingering, which
is the most optimal and rational.
Right hand: Fingering - letters. If the designations are absent in some measures and even lines, then
the previous configuration or its principle is preserved.
Left hand: Fingers - numbers. If the note does not have a finger number, then it most likely remains
pressed from the previous measure (see paragraph 3 “Arpeggio”) or was used in previous measures in a
similar situation. Designations of open strings - O in most cases are absent, as they are used very often. If the
note of an open string must be played on another string, then it is necessarily marked on which string and is
indicated by a number in the circle.
If fingering is absent in measures or lines, then similar measures and lines are found earlier. The
fingering is maintained or its principle is maintained.
Barre: A large barre is indicated by a Roman numeral above the place of capture. It remains pressed to
the end of the dotted line used with the number. Similarly, a small barre is indicated, except for the addition of
a vertical bracket, which indicates half barre.

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 Commentary

1. Es Si Tu N'existais Pas
The most important point in the game of this composition is the correct voice control. Although this
play is set out in 2 voices, it has a 3rd bass voice, which has a hidden character in writing (see paragraph 4
"Polyphony"). Particular attention should be paid to the expressiveness of the 1st voice (melody), as in
some measures, for example, in the 4th, 5th and 12th accompaniment notes of the 2nd voice sound above
the melody and can be taken by the listener for it. Therefore, the first voice (calm notes are directed
upwards) must be played a little louder than the rest of the voices. The play is lyrical in nature. The pace is
moderate. Designed for beginner students.

2. L'ete Indien
Unlike the previous number, this composition is set out in 3 voices. Without complicating the
writing, the 3rd voice (bass) becomes obvious. The main stroke of the whole work is arpeggio ( see
paragraph 3 "Arpeggio"). Learn p. 7 "Fingering" and p. 1 About "Analysis and execution", which
follow when learning this work. As in the previous work, highlight the melody. Pay special
attention to the 13th, 14th and 15th bars. In the 13th bar, press all the sounds of the F chord at once
and beat the figuration of the notes with your right hand. Provided assured possession of the
methods of playing the Barre, this work will not cause any difficulties.

3. J е Т' attendrai
This play can serve as an example of a mixed 2- and 3-vocal bars. In the 1st, 3rd, 5th and
other similar bars, the accompanying notes of the 2nd voice should sound quieter, without
disturbing the melodies (do not count the contact when counting the bars). In the 2nd measure the
last note is pressed with the 4th finger, which, not rejecting the bar, should be moved to the next
note in the next measure.
The sign (mf) in parentheses means that it starts when it is repeated. When playing this play,
pay attention to the lyricism and softness of the performance, especially in the 2nd part, starting
from the 19th cycle. The play is designed for the initial level of preparation. In section IV of the
course there is a more detailed version of this work, which more accurately and fully reflects the
original and, of course, requiring a higher level of technical training of the performer.

4. Love Story
This play is suitable for students who master the technique of small and large barre. In the 2nd
measure, the barre is pressed only on the first 3 strings, as indicated by the vertical bracket. At the
same time, the 5th bass string remains open.

8
 In the 4th bar, the left hand remains in the 5th position, preserving the continuity of the arpeggio,
which plays a major role in the beauty and transparency of the sound ( see paragraph 3 "Arpeggio").
Pay attention to the accuracy of pressing the notes of the chord of the 13th bar. This chord is rational to
take immediately, but in the order of extraction of sounds ( see section 3 "Arpeggio"). This work can
be called a true masterpiece of modern French music.

5. From Souvenirs То Souvenirs

The theme (melody) begins after the Intro with the 5th bar. It is important to highlight it and
hold it evenly, avoiding confusion with the accompanying notes, especially in the 1st, 14th and
15th bars. From the 25th to the 26th bar there is a change of position from the 5th to the 1st.
Rearrange the left hand is best at the time of extraction of the 5th open string. In the 30th
measure, at the end of the dotted line, the Barre is removed, but the 3rd and 4th finger remains
pressed.

6. Pardonne Moi Caprise D'enfant

The character of this composition is bright, solemn. Immediately pay attention to the signs of
dynamic shades and signs of reduction of musical notation, which are mandatory for performance.
The 4th, 5th and similar bars are virtuoso in nature, so use precise fingering ( see paragraph 7
"Fingering"). Achieve clarity of performance of each note 1. Although this play has certain
difficulties, it can be classified as "for beginners".

7. I'm Alone
The peculiarity of the successful learning of this work is the precise analysis of the application.
Unlike many other works, where the liberties in the application of applications are possible, here is
possible one, following which the play will be available. Other variants of the application will
complicate the performance or make it impossible. Pay attention to the bass sound in the 8th, 12th,
13th and similar bars (see p.4 "Polyphony"). The "chorus", starting from the 17th cycle, will not
cause difficulties.

8. S p e a k Softly Love
This work is for those who recently picked up the guitar, but can also give pleasure to
advanced performers. In the 12th measure, the fingers of the left hand should be placed in the
order of extraction of chord sounds (see paragraph 3 "Arpeggio"). The musical character of the
work lies in its title.

9. I Have А Dream
This is not only a wonderful melody of the wonderful and classic in our time group ABBA, but
also a good exercise for practicing the reception of the game of the grace notes. If you have
problems parsing, then refer to the audio recording. Analyze the fingering of the 8th, 10th and
similar measures. The same fingering principle will be in those measures where there is no
fingering designation.

9
 10. Nostalgia
Despite its scale, this composition has no special difficulties in execution. Before parsing, study p.
4 "Polyphony", according to which determine the bass line. Play it flat, connected. In many places,
the melody is lower in the sound of the accompanying notes, so highlight the melody, creating the
illusion of its sound on a separate instrument. In the standard, the listener should feel the ensemble
of 3 instruments. In the 53rd measure, the 16th notes are performed as French BURN, overlapping,
on top of each other ( see p. 9 "French BURN"). In the last bar, the sign rit. (slowing down) starts
to take effect when repeated. Listen carefully to the original recording of this work performed by
H. Iglesias, as well as a version of the performance on the classical guitar from the CD-application.

11. I Just Called ТоSay I Love You

This number is for beginners, so it is presented in an abbreviated and simplified form. The full
version of this composition can be found in section IV.
Examine the clause 4 of "Polyphony". Accompanying notes play smoothly, monotonously. In no
case should they stand out in front of the melodic line. Pay special attention to fingering, especially in
the 14th, 17th and 18th bars. In the 33rd bar, the glissando is not executed, just move the 4th finger
along the neck, without looking up from it.

12. Woman In Love

This beautiful song by the brothers Gibb (Bee Gees) will not only add to your repertoire, but
also become one of your favorite and performed works. In this example, you will learn the technique
of playing glissando ( see paragraph 5 "Glissando"). In the 1st and 5th bars, the glissando begins with
a lower undefined note, about the note D.
In the 31st bar on the V fret, the minor Barre is pressed against the 4 first strings, as indicated
by the bracket. At the same time, the 5th string remains open. According to p. 7 "Fingering",
disassemble fingering versions of the entire work.
Starting with the 41st bar, the tonality of the piece changes (modulation). Pay attention to the
accuracy of the execution of key characters.
Quiet and completely calm down, you can already at the second repetition.

13. Fields Of Gold

This is a very beautiful work can be classified as "For Beginners". There is no barre in it,
many measures are repeated, a small volume and the most convenient playing area is the 1st
position (the whole game takes place on the first 3 frets). But, despite the simplicity of the
performance, this play may be the most sounding not only in the performance of the legendary
singer Sting, but also in your hands.
Repeat step 7 “Fingering” and step 3 “Arpeggio”. Pay attention to voice control in the 11th,
22nd and similar measures. Pay attention to the exact fingering, the correct execution of which will
turn the play of this melody into a pleasure.

10
 14. Saint Agnes And The Burning Train
Who may not be familiar with this wonderful instrumental composition of Sting? It is designed
for the average level of training of the performer. For the best analysis and performance of this play, first
of all, listen again to the original recording and the version of the guitar (CD-application).
The staccato notation in the first two measures of the 2nd voice is stored in a similar configuration
throughout the work.
Play rhythmically. Observe the signs of dynamic shades and abbreviations of musical notation
(paragraph 6 "Signs of abbreviations").
Do not miss the performance of accents from the 25th to the 28th measure. Use accurate
fingering, which will give the sound not only lightness and expressiveness, but also bring the design of
the whole composition as close as possible to the author’s intention.

15. The Snow In New-York

According to paragraph 4, "Polyphony", each 1st and 3rd share of a high voice is a 3rd bass
voice. Therefore, although these notes are designated as eighth durations, they should be considered
and played as half durations.
Repeat step 3 "Arpeggio", typical for use in this case.
In the 9th, 17th, 22nd, 26th, 30th, 33rd, and 36th measures there are 2 and 3 voices (point 4
“Polyphony”). You will captivate the listener if during the game imagine a walk in New York in the
snow.

16. Right Here Waiting

With a seemingly large volume, this composition is not complicated and not large, given the
repeated measures. Look at the text and those measures where there is no fingering, simply repeat the
earlier paragraph 7 of “Fingering”.
The performance of this composition will give you pleasure, even if you have never heard it. The
first measure is a kind of pattern by which the remaining measures are performed (see p. 8 "Alternative
Record"). Do not forget about the proper conduct of votes, especially in the 11th and similar measures
where the accompanying notes sound more melodic and can be mistaken for it (Section 4,
“Polyphony”). Follow the signs of dynamic shades, which will not make the work boring.

17. The Friend's Song

This instrumental composition is one of the works of Mark Knoffler (Dire Straits), written for
a film. It consists of 2 parts, interconnected thematically. The second part is called "A Narrative
Ending."
In the first x 9 bars, pauses must be precisely counted. The after-tones of the notes preceding
them should not creep into pauses. Starting from the 1st Oth bar, a third bass voice appears, which,
by its spelling, has a hidden I character (see paragraph 4 “Polyphony”). According to the same
paragraph, do not forget about the rules of voice control, as the accompanying notes are more
melodic. Click the melody. Make her connected and expressive.
In the last 10 measures of the first part, do not miss the staccato stroke (dots above the notes).
Try to use precise fingering, especially in the 13th, 20th, from the 58th to the 68th measures.

11
 18. Material Girl
This famous song from the Madonna’s repertoire will serve you as an exercise in practicing
the reception of the staccato game (jerky), as well as refresh your repertoire as a fun and rhythmic
composition.
Note that jerky notes (staccato) are not everywhere. Where they are not there, the principle of
arpeggio is preserved. With the 5th measure, the theme (melody) begins,
which does not use staccato. In the 2nd accompaniment voice, the staccato is retained. Thus,
the main point in learning this work is the punctual analysis of combinations of detrital and non-
detrital notes.
To minimize technical problems, use the fingering indicated on the sheet music. Be
especially careful with 13-go to the 20th, 25th and 43rd measures. A tempo designation means
setting the metronome to 144 beats per minute. Each beat (beat) is equal to a quarter. Repeat step 6
"Signs of abbreviation."
Reception staccato requires sufficient testing efforts, so this play is suitable for advanced
students.

19. You Are Not Alone

It is difficult to imagine a person, regardless of his musical tastes, who would remain
indifferent to this melody.
This composition is provided in full. Signs of abbreviation are mandatory. In this example,
you will try playing the same melody in different keys. In musical theory, this is called modulation.
When learning, carefully consider the changes in tonality and the changing key signs of
alteration.
Learn p.4 "Polyphony" and the sound of the guitar will get an ensemble sound. When learning
this piece, stick to precise fingering, especially from measure 36. It holds the key to a successful
game.

20. Earth Song

This composition is intended for students who are fluent in musical notation, especially in
rhythmic terms.
It is impossible to indicate in notes all the dynamic and rhythmic subtleties, therefore, working
on this work it is not enough to understand the notes. Listen to the author’s intention - the original, as
well as an option for playing the guitar.
In this case, it will be possible to convey all the dynamic, rhythmic and other nuances of the
work.
Repeat step 7 "Fingering." Get down to business, and before you the greatness of human thought
will be revealed. You will see that the labor invested in this work will show not only rich sound, but
also the beauty, plasticity of the movements of the hands.
2 1 . How Deep 1s Your Love
The proposed play is a vivid example of the use of syncop in music (displacement of strong
beats). For a medium-level performer, this work will not be difficult provided that accurate
fingering is used, both on the left and on the right hand.
This composition is very melodic, which makes it understandable to everyone, even those
who first hear it from their performance.
Repeat and summarize all the knowledge gained in this part and use in this work. This will
be the completion of the next step in mastering the guitar.
12
 S e c t i o n I I " R o c k Mu s i c "

Preface
At the end of the 19th century, at the dawn of the birth of guitar art, the guitar was not a common
musical instrument, since it was believed that it was very limited in its technical and expressive
capabilities. The problem was also a rather meager repertoire for this instrument. This point of view was
changed by Fernando Tarrega and further Andrei Segovia, who demonstrated not only skill that
previously seemed impossible, but also a new, highly artistic repertoire inspired by this skill. Only such
skill and such a repertoire could perform a miracle: radically change the views on the guitar. The
transcriptions and arrangements of F. Tarrega and A. Segovia were a true masterpiece of world culture,
which mainly influenced the recognition of the guitar as a full-fledged solo instrument. Thanks to A.
Segovia, new sound possibilities of the instrument were discovered, and in particular the nail method of
playing, which allowed to enhance the sound of the instrument, which in turn led the guitar to large
concert halls and to universal world recognition.

Arrangements in those days were performed, as a rule, from popular contemporary works for
those times. It is enough to mention the transcription of the piano play by I. Albeniz “Legend”,
“Spanish Dance No. 5” by E. Granados, “Fugue” by I. S. Bach from Suite1 No. 1 in the transcription of
F. Tarrega, numerous folk songs, such as “El Mestre "processed by M. Llobet.

Nowadays, the song genre has become widespread, which is associated primarily with modern
means of sound recording and reproducing techniques. This genre today is not typical of a classical
guitar, as it is considered impossible to be played on six strings. But this music is loved all over the
world, as well as by those who practice classical guitar. Not only the best examples of classical music,
but also the hits of modern pop and rock music, which may in many years become the best classical
works of the twentieth century, should be subject to such a wonderful instrument.

Introduction
This part presents the most popular works of the rock era. Even if we say that rock and roll is
not comparable in size with classical music, it still has no less significance in the world musical
culture.
All works are arranged taking into account their increasing technical complexity, as well as
chronological sequence. At the beginning are the old men of rock and roll, at the end are hits of
modern rock music, which now, without a doubt, can be called classic rock.
The choice of works is best determined based on your desires, tastes and performing abilities.
It’s better to start learning more simple, albeit less familiar, works than beloved and complex ones.
Comments will help you in choosing. Best works will be performed by those who love rock music
and listen.

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 8. Alternative Record
Some works are difficult or impossible to record with standard sheet music due to reasons such as the number
of voices exceeds 3, in some places additional notes appear that are not related to any voices, etc. In such
cases, the note text will look extremely complicated and confusing. In such cases, an alternative musical
notation is used.

Example: " The Gunners Dream " Pink Floyd. " Goodbuy To Romance" Black Sabbath
Addition 4th voice Addition voice

Artworks like “The Gunners Dream” by Pink Floyd have many hidden voices that need to be shown, while
highlighting the melody. Therefore, before you begin to learn, you must carefully listen to the original recording
and the recording of the performance on the guitar.

9. French leagues
In guitar practice, there is a concept - the French league (a league departing from the note does not come
anywhere). It is used when it is required to emphasize the sound of notes according to arpeggios (see p. 3 “Ar-
peggio”). These notes can be in a second relationship with each other and should be layered on top of each other.
This creates an effect that resembles the sound of a harp. In most cases, this designation replaces the detailed
fingering, which differs from the standard, with exact observance of which the arpeggio reception is obvious.
For more details, see commentary to No. 59 “The Sight" I. Varfolomeev.

Example: " The Dream" V. Maslov " Is There Anybody Out There" Pink Floyd

Continues
to sound

10. Parsing and Execution

Before starting to learn a work, it is necessary to determine its genre, form, dynamics, etc. The first plays should
take place at a very slow pace, which, like a magnifying glass, will make it possible to understand in more detail
the features of the musical texture and fingering options. To speed up the work of learning, you should not rush.
One hour of careful work costs three hours of superficial. Quality is much more important than quantity.

Best works will be performed by the performer who loves this music and often listens. Do not forget that the
notes are just a hint and do not reflect the emotional picture of the works. When playing, rely more on
your feelings and emotions than simply extracting sounds from notes or copying the sound of the original.

53
 Commentary

22. LOVE МЕ TENDER

This legendary work of the legendary singer Elvis Presley is built in 3 voices ( see item 4
"Polyphony").
This work will sound best if you divide the voices as widely as possible dynamically.
Approximately the 1st voice sounds Tr, 2nd, 3rd Tr. With proper conduct of votes needs to create the
illusion of an ensemble of 3 guitars. In the last bar, the artificial flageolet is performed according to
the generally accepted rules for the classical guitar. This piece is suitable for all guitarists, regardless
of their levels of technical capabilities. The character of the play lies in its title.

23. House Of The Rising Sun

The main component for the successful development of this work is the separation of the 1st voice
(melody), since in some bars the melody is intertwined with the accompanying notes and can create
confusion of voices, such as from the 9th to the 12th, the 14th, from the 18th to the 21st bars.
Throughout the work, the arpeggio technique is used ( see paragraph 3 "Arpeggio"). Pay special
attention to the fingering of the right hand, especially in the 11th, 12th and 22nd bars.
To perform this work well, you need a confident mastery of the technique of Barre. Based on this,
determine whether it is too early to take up this work?

24.LadyJane
Initially, you need to rearrange the 6th string a tone lower in D, which should sound an octave
lower than the 4th string. It must be remembered that in this case all the notes on the 6th string will be
pressed 2 thresholds higher from how it would be without tuning. Pay attention to the accuracy of the
fingering in the 12th, 13th and 17th bars.

25. Sailing
This work is adapted for beginners, so with elementary initial skills of playing the classical guitar, the
performance of this piece will not be difficult.
The full version with comments can be found in section IV of the course.

26. Here There And Everywhere

Smooth, melodious and gentle work. To most accurately reflect the character read paragraph
3 "Arpeggio". Keep all chord sounds, including bass ones, as long as possible, regardless of their
designated duration. Roughly it should look like this, as if every note to put the French League
( see p. 9 "French League"). Play smoothly, smoothly, without jerks. When playing, pay attention
to vyselenie melodies ( see section 4 "Polyphony").

54
 After analyzing the notes, you will see that some bars are 2-voice, and some consist of 3 voices, and
some meet together 2-and 3-voice, such as in the 17th. If you carefully read item 4 "Polyphony", you will
understand that it is connected, first of all, with simplicity of writing of the musical text and on sounding is
not reflected. Pay attention to the 15th bar, especially in terms of fingering accuracy. In the penultimate 29th
bar, the 4th finger of the left hand moves along the neck without stopping. To use or not to use glissando (see
Fig. p. 5 "Glissando") in this case deal your taste.

27. Let It Ве
Usually, some abbreviations and simplifications are used when arranging and adapting songs
into an instrumental performance: the melody of the verses and choruses are somewhat simplified, and
when repeated, they are simply repeated one to one. The same arrangement reflects the rhythmic and
melodic structure of the original as accurately as possible, in which the performer (Paul McCartney)
sings the same melody in different couplets with some variation. Therefore, in this arrangement, all the
verses are written "as is", reflecting all the small nuances and variations of each individual verse. Study
well the first verse (with 1 th on 8 th bar), and forth, on this basis of pay attention only on some
rhythmic and melodic changes in rest (with 25 th on 32 th bar), (with 33 th on 40 th bar). This will
allow you not only to facilitate the task of learning, but also to perform this work musically
competently and efficiently.
Repeat step 6 of the "Signs of reduction" and section 4 "voice leading" and the game of this
world hit will not only bring you pleasure, but your others.

28. The Last Supper

Just like Beatles songs, Andrew Lloyd Webber's works have an extraordinary beauty of
melody and harmony. It is not only a great repertoire for guitar, but also a great material to enhance
guitar mastery. In total, the course presents 4 works of Webber (3rd and 4th in 111 sections). This
work is the easiest and is intended primarily for beginners. In the 13th bar, be careful with the
fingering. Learn p. 3 "Arpeggio", p. 4 "Polyphony", p. 7 "Fingering", p. 6 "signs of reduction". Listen
to the original recording and recording of the guitar performance.

29. I Don't Кnow How То Love Him

This play is not as complicated as it seems at first glance. The complexity of this work is more in
learning than in performance. For those who are well versed in rhythmic patterns, this work will not
cause much difficulty. For others, it will be a great exercise. To begin, pay attention to the notation of the
tempo from the 1st and 13th bars. The tempo of the 1st bar -132 beats of the metronome per minute, the
2nd-80. Each fraction (beat) is equal to a quarter. Size 5/4 should be considered as (s + 2/4) i.e. count:
one, two, three, one, two. Join from the 1st to the 12th stroke play rhythmically. Arpeggios are
inappropriate in this case. And here is with 13 th measure the use of his needs.
The main theme of the work begins with the 15th bar. Highlight it relative to the rest of the votes.
Repeat p. 3 "Arpeggio", p. 4 "Polyphony", p. 7 "Fingering" and be sure to listen to the original recording
not only of this work, but the entire rock Opera "Jesus Christ-superstar" from which this number is
taken.

55
 30. Knockin' On The Heaven's Door
The oldest immortal work of the legendary singer / poet Bob Dylan. There is a very interesting
version of this work performed by the band "Guns'n'roses". Be sure to listen.
This arrangement has no special technical difficulties in the game. Because can be fulfilled
without much labor novice guitarists.
The melody begins with the 7th clock (when the score was volts not taken into account). Pay
special attention to voice (p. 4 "Polyphony"), dynamic shades and fingering of the right hand. Signs
of reduction of musical notation are obligatory for performance. In the last line, you can calm down
and completely calm down already at the second repetition.

31. Soldier Of Fortune

In the Intro from the 1st to the 4th bar on long notes, use vibrato. Study p. 5 "Glissando", which
occurs in this work in different versions. In the 1st and 2nd bars of the glissando is performed on the
principle of blow-slip-blow. From 21st to 23rd according to the principle strike-slip-poletucha when
you stop. In the 26th bar, the Outpost is performed by the glissando technique.
The 4th 32nd notes of the 3rd bar are played with a solid Legato, i.e. with one pinch of the
right hand, the rest with the left.
Repeat item 4 "Polyphony", item 6 "signs of reduction", item 7 "Ammikatura". These points
will facilitate the learning process. Pay special attention to the clear rhythmic performance of the 8th,
12th, 13th, 20th and 33rd bars.

32. Stairway То Heaven

This composition can be called a classic with confidence. It has a special place in this course.
When not coincides desire to with opportunity, when still lacks technology, but very want fulfill --
even favorite the, and if this Stairway the Heaven, then start with this version of art. It is specially
adapted for beginners. The full version can be found in section IV of the course. You can compare
these two options, and who knows, maybe even stop at the latter. When comparing, pay attention to
the rhythm of the melody from the 17th to the 24th and from the 29th to the 36th bars. In the first
version, the melody is set out in smooth 8 notes. This approach simplifies the melody a lot. In the
instrumental presentation, and even more so for beginners, this is permissible.
Pay attention to the accuracy of the fingering. Playing "at random" is unlikely quality
performance. Repeat step 3 'Arpeggio'.
Listen to the original recording and the guitar version. Sometimes the process of learning brings
no less pleasure than the performance itself.

33. She's Gone

This rock ballad by the very father of metal Ozzy Osbourne will teach you to navigate the high
positions when playing arpeggios. From the 2nd to the 4th bar parallel chords are rearranged by sliding
the left hand on the neck to avoid the slightest pauses between them. With 6 th measure and until the end
of code arpeggios (see too costly 3 "Arpeggios"). French leagues remind that the notes should sound as
long as possible, overlapping, each other. The simile sign means: so on, on the same principle.

56
 The main theme (melody) begins with the 22nd bar. Here will meet as 2- 's, 3 -' s voice, so and
mixed bars ( see too costly 4 "Polyphony"). Before you start learning, learn p. 7 "Fingering" and p. 10 "
Analysis and execution."
Pay special attention to voice, dynamic shades and fingering of the right hand. In the 13th bar,
the diagonal line indicates a glissando reception ( see item 5 "Glissando"). In the 24th, the rule of
paragraph 8 "Alternative entry" applies. Pay attention to the fingering options of the bars from the 43rd
to the 50th.
Listen to the original audio and version of the performance on the guitar. The level of complexity
of this composition can be called average.

34. Goodbye То Romance

The author of this work, like the previous one, is the legendary Ozzy Osbourne.
If you have mastered the previous song, then the execution of this will not be difficult. If you start
with this, then for starters study too costly 1 About " Debriefing and enforcement." Listen to the
original audio and version of the performance on the guitar.
Pay special attention to the correct conduct of voices in the 5th, 6th, 7th, 13th, 14th, 20th, 28th, 29th,
30th, 34th and other similar bars, where the accompanying notes are above the melodic and can
interfere with the melody ( see paragraph 4 "Polyphony"). According to the same point, remember
the bass line, the principle of which is additionally shown in the first 2 bars.
Analyze the 38th and 42nd so you in accordance with clause 8 of the "Alternative record". Leisurely
and carefully disassemble the fingering of the last 4 bars, referring to item 7 "Fingering".
Signs of reduction of musical notation in this work are obligatory for performance.

35. The Gunners Dream

Of course, it is difficult to imagine any composition of Pink Floyd with such an abundance of
voices, colors, sounds on a classical guitar. But believe me, it's real. The main thing lies not in the
technical, but in the musical plan, which can compensate for the missing capabilities of 6 strings. Of
course, for the correct performance is not enough to listen to the original recording and recording
performance on the guitar, it is important to love and feel this music.
The most significant for this work are p. 4 "Polyphony", p. 3 "Arpeggio" and p. 8 "Alternative
recording". Be sure to follow the signs of dynamics. Do not forget that the melody in the guitar
notes, in most cases, is recorded calmly up. This will allow not to get lost in the voices and wiselite
her.
As a rule, arpeggios (see paragraph 3 "Arpeggios") are built on the sounds of a chord, which
are layered on top of each other. But so same arpeggios can consumed with sounds, which are in
sekundovom soshenii ( see comment to #59 "The Sigh"). In this case, to obtain a spatial picture of
the sound, all the sounds that are possible, you need to perform on the principle of arpeggios. This
version of the game can also be compared with the French leagues (see. 9 "French leagues",
example No. 65 "The Dream"), only in this case such leagues are not put, since such a principle is
used everywhere (on all notes, where applicable). Analyze the 17th, 18th, 20th, 36th, 41st, 55th and
56th bars. In the 22nd bar, the diagonal line indicates a descending glissando. Performed by sliding
the finger of the left hand on the 6th string down. This glissando ends with the first bass note of the
next bar. In the 29th bar, "Cadenza" means the presence of a square of saxophone improvisation in
this place. In guitar exposition it is omitted. Consider the fingering of the right hand according to
paragraph 7 "Fingering".

57
 36. Is There Anybody Out There
This instrumental composition from the famous album "the Wall" by Pink Floyd can serve
as a model for the melody in the 2nd voice. In other words, the 2nd voice acquires the status of the
1st and has all its powers.
This piece can be successfully performed even by novice guitarists. Pay special attention to
the fingering of the right hand ( see paragraph 7 "Ashmikatura"). In the 24th cycle will use exactly
the same fingering as indicated in the notes. Work separately on this bar, as the glissando included
in this bar will sound properly when playing in tempo ( see paragraph 5 "Glissando"). In the same
way, work out the 27th and 28th bars ( see p. 9 "French leagues").
In the 35th bar there are two types of glissando, a detailed description of which you will find
in paragraph 5 "Glissando".

37. Tears In Heaven

Not a complete conversation about the modern guitar, if you do not remember Eric
Clapton.
In his work, this work occupies the most prominent place.
For starters study see too costly 4 "Polyphony" and you will learn, that this the consists of
2 - 's and 3 -' s voice bars. Along with this, there will be mixed beats.
The main theme (melody) starts from the 5th cycle ( when the score of cycles the off-beat
not ultimate ). Play the melody as expressively as possible, especially in the 8th, 10th, 12th,
14th and 16th bars.
In the 2nd, 18th and 20th bars, the forsch lags are performed on the principle of glissando
( see item 5 "Glissando"). In the 18th bar, do not miss the staccato (jerky) technique, indicated
by dots above the notes. Starting from the 23rd bar, modulation ( change of key) takes effect.
Carefully follow the implementation of all new key characters. Errors in this case are
unacceptable.
Learn p. 6 "signs of reduction" and p. 7 "Fingering", applicable in this work.

38. You're In The Army Now

The most likely problem that can arise in this work is a sharp change of position. For
example, from the 10th transition to the 11th bar, then from the 11th to the 12th, then to the 13th
and 14th. Therefore, the main way to overcome such problems is to perform precise fingering and
persistent technical development of such moments. This hard work will not go in vain, and in
other similar cases in the future you will be on top.
According to clause 3 of "Arpeggio" it is not advisable to layer the bass notes on top of each
other, especially at the change of harmony. When bass notes are mainly used otkrpymi, as in this
work, layering on each other they create the effect of hum, smearing. Continuing to sound, layered
on the next bars, which should be a different harmony. In connection with the above, starting from
the 16th bar, the bass notes must be silenced with the thumb of the right hand before taking the
next bass note. This technique is quite complex and it may take quite a lot of time and effort to
work it out, but, as they say, it will be rewarded handsomely. The possession of this technique are
distinguished by a high level guitarist.

58
 39. Love Of Му Life
The General character of the work is lyrical, transparent. Pace Andante (slowly) closer to slow.
From the 1st to the 7th bar-the introduction, in which you need to carefully deal with the fingering of the
right and left hands. The 20th and 22nd bars do not have fingering designations as they are identical to the
6th and 1st bars (see item 7 "Fingering"). Carefully follow the execution of key and counter signs of
alterations.
The main theme (melody) begins with the 8th bar. Follow the expressiveness of the melody ( see
paragraph 4 "Polyphony"). Interesting and exciting sound will be dostyp UTO, if the accompanying
voices play as quietly as possible, well, say PP.
In the 7th and 21st bars is the sign rit. (slowing down) along with the familiar crescendo (increasing).
In other words it can be characterized as expanding. In the penultimate 44th bar, emphasize the bass line.
Pause after the last chord is played.

40. Bohemian Rhapsody

This work has an abbreviated form, almost one verse. And this is not so much for beginners as
for the impatient, which was discussed in comment #32" Stairway To Heaven " by Led Zeppelin. The
full version of this work can be found in section IV of the course.
The difference between this option is that there is a full fingering of the right hand, the
importance of which you will learn from p. 7 "Fingering" and p. 10 "Analysis and execution".
Examine the clause 4 of "Polyphony", sorpasso which is not to be confused voices, especially in the
12th and 17th cycles. Wiselite bass and make sure it is logical and smooth movement. In the 12th bar,
the glissando moves along the 2nd string to about the 6th or 7th fret and comes to the 1st string by
hitting the ring finger of the right hand.

41. Wind Of Change

Unlike the previous number, this composition has a complete structure. This work is
considered to be one of the world's masterpieces of rock music. Stunning melody, in which
simplicity and genius are intertwined.
At its core, the musical notation of this work consists of 2 voices with a hidden bass (see
paragraph 4 "Polyphony"). Before parsing the introduction ( from the 1st to the 14th bar), repeat the
last paragraph of paragraph 4 "Polyphony" about the intersection of the durations of two different
voices.
The main theme (1st verse) continues from the 15th to the 23rd. Pay special attention to the
exact rhythmic performance.
In the beginning, do not play too loud, as in the future, according to the signs of dynamic
shades, with a constant increase in the sound, there may not be enough volume reserve of the
instrument.
From the 38th bar begins the 2nd verse, in which the bass of each bar sounds half the
duration, as indicated by the recording of the 38th and 39th bars. And so it goes on, (including the
chorus from the 48th bar) to which the sim sign indicates.
Pay attention to the accuracy of the analysis of the 70-th cycle. Leagues in melody are
performed on the principle of glissando ( see paragraph 5 "Glissando"). Fingering will help to
perform this beat easily and gracefully ( see item 7 "Fingering").

59
 From the 73rd bar begins the 3rd eats and chorus, similar to the preceding. The only difference
is that instead of a half bass, the figure sounds: a quarter with a point plus an eighth (see paragraph 4
"Polyphony").
In the middle part from the 95th to the 108th bar, the basis of learning is accurate fingering.
Signs of reduction are made taking into account the full original structure. When playing, you
can omit some of the repetition (recapitulation), with the exception of those in which different
endings (repeats).

42. Patience
The band Guns ' N Roses is one of the brightest luminaries of modern rock culture. The
entire first page is devoted to the introduction.
Try to clearly perform all the songs characteristic of this style of music. Not
forget that this piece is lyrical and should be performed softly and rhythmically. Listen to
the original recording and recording of the guitar performance.
The play is 3-voice, although written in 2 voices. Study item 4 "Polyphony" and you will
easily find the bass hiding in the notes, the evenness and clarity of which is an integral part
of rock music. According to the same point, make the melody expressive, especially with
the beginning of the main theme from the 25th bar.

43. Don't Cry

Don't Cry is the brightest rock ballad by Guns'n'roses. Unlike the previous issue, this song is
presented in its full version.
The basis of a cool sound, in addition to expressive melodies is bright and clear bass. The
first 1 about bars accession ( including zatakt) can be pattern movement bass for further game, but
options, to be sure, more, because study too costly 4 "Polyphony."
In this work, in those places where it is particularly necessary to emphasize the movement of
the bass, it stands out with accents (check marks above the notes). For example, in the 7th and 8th,
20th and 21st bars of the 3rd page. In other important cases, the bass is shown directly by the 3rd
voice, for example, in the first 10 bars. Note the movement of the bass from the 7th to the 19th bar
of the 4th page. The 2nd accompanying voice should be played as quietly as it would not interfere
with other voices.
The use of leagues is mandatory for this style of music.
If with hard are given individual bars, then repeat too costly 7 "Fingering", too costly 1
About "Debriefing and enforcement" and too costly 3 " Arpeggio."
Pay attention to the fingering options of the 19th, 20th and 21st bars of the 5th page. After
technical analysis of the work, view the dynamic shades throughout the work, which do not forget
during the game.

60
 Section III "From Pop and Rock to Jazz"

Preface
The continuation of the guitar traditions of F. Tarrega and A. Segovia in the 40s was the
greatest guitarist, arranger Laurindo Almeida. All his arrangements are original and elegant. He
showed that the guitar is perfect for playing jazz music, that it is capable of being a small
orchestra. His jazz arrangements for classical guitar are the reference.
Almeida performed the arrangements with the most popular jazz melodies of the first half1:
the twentieth century. With his transcriptions, he conveyed to all fans of the classical guitar a
popular and contemporary style for those times. He proved the relevance of this instrument and
thereby laid the spiritual foundation for the new life of the classical guitar, which structurally
remained in its original, almost unchanged form.
Continuing this, the course will help you feel the language of modern music, try to touch it
with your own hands through the same unshakable classical guitar.
This section is devoted to the share of jazz music on classical guitar. To some extent, this
will be enough to familiarize yourself with this style, but to some extent, not even at all. Of
course, jazz on the classical guitar is a bit more complicated in the performance of pop and rock
music, but who knows, maybe this will interest you. If so, your knowledge and oppa after
studying this course will be enough to turn to the arrangements of the greatest guitarist and
arranger Laurindo Almeida.
Laurindo Almeida "Contemporary Moods for Classical Guitar '' 1970. Robbins Music
Corporation.

Introduction
This section includes the best compositions of the world, regardless of their belonging to any
particular style. Begin the section with several songs of the Beatles group, which have always been
distinguished by special melody and recognition. If you comprehended much of the first 2 sections and
already have sufficient experience in the game, then try to play immediately with notes, without
resorting to comments and audio recordings. Then you can test yourself by contacting others. It may
well be that your option for fingering and performance will be more successful than the one given in
the course.
Learn works as a keepsake. As a rule, at first learning something happens with difficulty and
with oppy it becomes easier and moreover it is gaining more and more acceleration. So with learning
from memory, the more the easier.
Remember that sheet music is just a simplified recording of music, a hint about what kind of
melody and harmony, where to put one finger or the other, etc. You play, expounding the soul of
works that cannot be displayed in notes.
An important role in good performing skills is played by "Her Majesty" practice. Play on
holidays, at home, at concerts, friends and strangers. Definitely, in your hands these compositions will
sound much more spectacular than the original audio recording. Give it a try!

103
 Commentary

44. Yesterday
There is no corner in the world wherever this melody sounds, which can be called the melody
of the world. This ego arrangement was built in 2 voices. The 3rd bass voice is hidden in the letter.
Refer to p.4 "Polyphony" and the bass before you will no longer be hidden.
Before you start learning, read cn. 3 "Arpeggio", which is followed throughout the work.
Pay attention to fingering options of the 1st, 3rd and 6th steps. You can repeat from the first

character to the second character twice, and then from r go to the second r. Subject to accurate
fingering analysis (see paragraph 7, "Fingering"), this work will not be difficult to perform even for
beginner guitarists.

45. Because
Listen to the original audio recording of this composition and appreciate the beauty of the
melody and harmony. It may be difficult for you to imagine this song in a guitar sound. But the
goal is not in an absolute copy, the meaning is to convey feelings and moods.
To begin, rebuild the 6th string 1 tone below. It should sound an octave lower from the 4th
string. Study item 3 “Arpeggio”, item 7 “Fingering” and item 10 “Analysis and execution”. Entry
continues for the first 10 measures. From the 9th step to the end, the musical text is set out in 3
voices (see paragraph 4, "Polyphony").
The main theme (melody) comes from the 11th measure. Watch for the right voice. Work out
the 17th, 29th and 33rd measures separately, which should sound confident when playing. The
most difficult place, which also requires a separate training, is the combination of the 16th and 17th
bars, where the transition from the 1st to the 6th position should be inconspicuous, without
violating the tempo and rhythm of the work.
Pay attention to the fingering options of the 13th, 21st, 22nd, 23rd and 29th measures.
Repeat p.6 “Signs of abbreviation”, according to which remember that the double bar in the
24th bar does not intersect.

46. Неу, Jude

In general, this work is not complicated.
The introduction is the first 4 measures in which arpeggios are used, although the notes together
do not constitute classical chords (see paragraph 3 “Arpeggio”). Pay attention to the fingering of these
measures.
Study p. 4 “Polyphony” and you will easily find a squeaky spelling 3rd bass voice. Give him
more attention, especially from the 15th to the 25th measure.
If you encounter difficulties with performing a rhythmic pattern in the 9th, 14th and 19th
measures, then play them very slowly under the metronome or listen to the original recording by
comparing it with a musical notation.
Regarding the entire work, we can say that using the correct fingering, you simplify the game
process, and at the same time improve the sound quality.
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 47. In Му Life

The play does not have particularly difficult technical aspects, so you can spend more time
on softness and smooth performance. Play the ascending and descending leagues to a smooth and
rhythmic sound.
Study Section 4, Polyphony. Applying the rules of this paragraph, the guitar will sound like a
small ensemble.

48. Ob-la-di, Ob-la-da

An important moment of playing this composition is the movement of the bass. At the time of
the game, the listener should create the illusion of the presence of a separate instrument playing the
bass part. Ego is achieved by the right fingering of the right hand. Almost the entire bass melody is
played with the thumb, when removed, the sound takes on a more powerful color compared to the
sound of other fingers (see paragraph 4 "Polyphony").
Analyze the fingering of the 8th, 9th, 13th, 20th, 21st, 22nd and 29th measures according to
p. 7 “Ashikatura”.
In the 22nd measure, the chord must be pressed very carefully so as not to touch the licked
note of the 1st voice that sounds from the previous measure (1st open string).
Examine p.6 "Signs of abbreviation." Apply the knowledge you have gained in this work.
Play rhythmically, loudly and cheerfully.

49. Michelle
Of the Beatles' romantic ballads, this is probably the most significant, well, maybe after
Yesterday or after Girl. In any case, this is one of the Beatles classic.
To begin with, pay attention to the key signs of alteration; when learning, do not forget
about their performance. Attention should also be given to the opposite signs of alteration.
Remember that their effect applies to the whole beat. Signs in brackets are reminiscent of a
character.
In the introduction (the first 4 measures) the 2nd voice (note calm down) is played with the
thumb for contrast purposes. The main theme (melody) begins with the 5th measure. Play it
expressively (see paragraph 4, "Polyphony"). In the 23rd and 24th measures, try to make the
middle 2nd voice distinct, therefore in notes it is added by the 3rd additional voice.
Very interesting 27th measure. Here both the 1st and 2nd voices should expressively and
strictly rhythmically sound. Similarly to the 27th measure, perform the 32nd measure. The last
note in the melody (the first ripped string) is a measure to the 17th measure. Crossing a double
clock beak is not permissible. The execution of all abbreviations is mandatory (see clause 6
"Abbreviations").
When learning this work, refer to paragraph 7 "Fingering" and paragraph 10 "Analysis and
execution".

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 50. Girl
It is difficult to judge what place this song occupies in the Beatles, of course, it is good.
Having performed this work, you will not only replenish your repertoire of one of the most
beautiful melodies, but also raise your technical level of performing skills to a higher mark.
The main part of the melody takes place in a high position, so if you do not have the skill
to play in a high position, you will have to acquire it. The study of this composition will
help you in this.
To get started, study p.7 "Fingering" and p.10 "Analysis and execution". At the initial
analysis, only fingering of the right hand can be taken into account, and then proceed to the
study of fingering of the right hand. In the 8th measure (you should not take into account
the tact in taking into account the measures), a descending glissando of two sounds occurs
simultaneously (see p.5 “Glissando”), the lower of which does not have its end point.
In the 1st Oth beat, the arrows show the direction of impact of the index finger of the right
hand simultaneously on the 3rd strings, and the designation simile (In a similar way) means
that such arrows and fingering will be repeated further in similar measures.
From the 14th to the 19th measure, those chords above which there are dots (staccato) play
wistfully, above which there are checkmarks (accent), highlight.
Use accurate fingering that will make this piece light and expressive.
Examine p.6 "Signs of abbreviation." Follow all abbreviations according to this point.

51. When I'm Sixty Four

A simple, melodic and funny Beatles song goes well with any holidays. Play and not
only the Beatles will be appreciated, but also you.
Pay attention to the exact rhythmic performance. From the 28th to the 30th measure,
3 voices (see p. 4 “Polyphony”). Try to play the 2nd voice smoothly and connectedly, so
that it is noticeable against the background of other voices.
Practice the barre technique from 17th to 19th bar. All sounds when taking a barre
should sound clean and confident.
Study item 6 “Signs of abbreviation” and item 7 “Fingering”. Use the knowledge
gained in this work.
Pay attention to the accents present in the 38th and 39th measures (check marks
above the notes), which you need to play sharply, vividly and vividly with respect to other
notes.
If you have not heard, then listen to the original audio recording, and even better, the
entire Beatles album "Sergant Pepper's Lonely Hearts Club Band".

52. With А Little Help From Му Friends

Like the previous song, this one belongs to the same album. It is best to start learning by
listening.
The rhythmic pattern is based on the dotted line. If you have already played two previous
Beatles songs "Girl" and "When l'm Sixty Four", then the rhythmic performance of this
composition will not be difficult. If not, then when learning, pay attention to accurate rhythmic
performance.
106
 Repeat step 4 “Polyphony”, step 7 “Fingering” and step 10 “Analysis and execution”. Work on
confidently taking a chord in the 4th beat of the 17th measure, as well as a chord in the penultimate 28th
measure. In the 9th, 13th, 16th, from the 25th to the 27th measure when taking a barre, achieve the equally
clear sound of all notes.
The abbreviations for musical notation are in accordance with clause 6, “Abbreviations”, as well as
well-known rules for music theory. Perform this work to your friends and they will become a mirror reflecting
your game.

53. Memory
Section 11 "Rock music" presents two compositions by E. L. Webber from the rock opera "Jesus Christ is a
superstar." But the picture about the work of this remarkable composer would not be complete, if not to recall
his work in the musical field. In this and next issue you will get acquainted with the most striking
compositions of the musicals "Cats" and "Phantom of the Opera". At the same time, your fingers will become
much more flexible, which will open up new technical and musical possibilities for you.
Getting to the analysis of this work, carefully read paragraph 3 "Arpeggio", paragraph 4 "Polyphony",
paragraph 7 "Fingering" and paragraph 10 "Analysis and performance".
Work on a clean take of a barre in 1st and 2nd bars. Honor the 4th cycle with special attention. The main
thing is not the force of pressing, but the accuracy of the arrangement of the fingers of the left hand. Carefully
fingering, dedicate the last two lines.
In the 2nd step, the sign of dynamics (mf) takes effect upon repetition. Try to perform rhythmically clear
blocks in the 6th and 16th measures. From the 10th to the 13th measures, select a melody and achieve its
bright and expressive sound.
Having completed the technical development of the play, work on softness, elegance and mysterious sound.
When playing, monitor the clarity of all notes. Do not allow extraneous overtones that may arise from
insufficient and inaccurate pressing of strings to the bar with your left hand.
Compare your performance with the sound of the original, and if you like your performance more, then your
audience will inevitably.

54. The Phantom Of The Opera

The basis of this work is a rhythmically clear and tough game. Throughout the entire work,
the bass should sound even and monotonous. In the 2nd measure, the notes of each chord are
pressed on one fret, therefore they are pressed by simply taking a barre on the corresponding fret.
The 5th beat is similar to the 2nd, only chords move in upward motion.
The main theme (melody) begins with the 7th measure. Pay attention to the use of accents
(ticks over notes) in the 1st Oh, 11th and other similar measures. In measure 20, the small barre is
pressed with the 4th finger of the left hand. Separately, work out the 27th measure, which should
be performed clearly without the slightest rhythmic errors.
Pay special attention to the fact that from the 28th, 50th and 58th bars new tones
(modulation) appear. Closely monitor the execution of all key and counter signs of alteration. If
you have not repeated paragraph 7 “Fingering”, paragraph 1 About “Analysis and execution” and
paragraph 6 “Signs of reduction”, then talk, according to which continue learning.
For high-quality sound, follow the requirements of signs of dynamic shades throughout the
work. For self-control, make an audio recording of your performance. After listening, all errors
will become apparent.

107
 55. Strangers In The Night
In general, this work is not complicated and can be classified as "For beginners;
them." According to paragraph 4 "Polyphony", measures of a mixed nature (2 and 3 voices
in one measure). But this is by spelling. In real sound, this, of course, is 3 voices. In other
words, every first bass note is half in duration. Study item 3 "Arpeggio". Do not remove
the fingers of your left hand until the chord is fully played. Also, in the same chord, when a
note is changed, only the finger that presses this note changes, while all other fingers, if
possible, remain pressed. Only in this way will you achieve the highest arpeggiated game
characteristic of this work.
Repeat step 7 “Fingering” and paragraph 10 “Analysis and execution”, according to
which work out the 7th, 8th, 16th, from the 17th to the 24th measures.

56. Are You Lonesome Tonight

This work is one of the lyrical ballads of the legendary singer Elvis Presley.
Study point 7 “Fingering” and paragraph 10 “Analysis and execution”, according to which
proceed with the analysis and execution of this work. Pay special attention to working out from the
30th to the 32nd, from the 34th to the 37th measures (do not take into account the tact in the count of
measures). All chord sounds of these measures should sound clearly. Especially well in the chord
should be heard the first voice (melody).
Repeat step 4 "Polyphony", according to which the melody is played expressively. Do not
mix 2 different voices, especially in the 6th, 8th, 11th, 16th, 32nd, 35th and 36th measures. In the
27th measure, the chords are parallel and change by moving the left hand, without looking up from
the neck.
Play smoothly and lyrically. Approximately the sound should correspond to a slow
melancholy waltz. Do not rush to simply copy the sound of the original, try to express your feelings.

57. Feelings
The title of this work contains the character and style of performance. The note text is
set out in 3 voices (see paragraph 4, "Polyphony"). It is not difficult to draw a bass line, an
important component of this play, as it is written in a separate voice (calm down notes).
The melody comes in from the 3rd measure. Be sure to use the descending league in
the 2nd, 4th and similar bars, which will give transparency and ease of sound.
Study clause 7 “Fingering” and clause 10 “Analysis and execution”. Use accurate
fingering, especially on 27th, 28th, 32nd, 43rd and 44th measures.
If desired, the execution of the repetition sign can be ignored. Work out the 43rd
and 44th measures separately so that during the game there are no errors.
The last 8 measures are marked with repetition (reprise) brackets. It is better to start
to calm down and completely calm down at the second or third repetition.
Listen to an audio recording of a guitar performance, but best of all try to play this
piece in your own way, how you feel. Such a game would be the best.

108
 58. La Peregrinacion
If you have mastered at least a small part of the course, then analysis and execution of this
work will not be difficult. Use this piece to read from a sheet or if you have just picked up a
guitar.
Clause 3 "Arpeggio" and Clause 4 "Polyphony" - these are points that should be followed
when learning this work.

59. The Sigh

Ego composition will serve as an example of playing an unfamiliar piece of music. After
parsing and performing, compare the result with the version of the performance on the audio
recordings.
Before starting to learn this work, study p.3 "Arpeggio", p.4 "Polyphony", p. 7 "Fingering"
and p.9 "French leagues". Arpeggio is the main technique used in this work. It should be present
not only in the compilation of chord configurations, but also used on notes that are in a second
relation to each other. This is comparable to the use of the French leagues, only in this case they
are not set, since almost all the notes1 that are possible sound according to this principle (overlap
each other).
Analyze the fingering from the 7th to the 11th and from the 18th to the 24th measures,
and you will see that the fingering affects not only the convenience of the game, but also the
sound, which in this case resembles the sound of a harp. Playing another possible option for
fingering, you will not achieve what is necessary for the true sound of this work.
Try to understand this technique of the game as thoroughly as possible, since it is
applicable to many guitar compositions, especially classical ones and not always in notes there is
detailed fingering or designation of the French leagues. In this case, the decryption obligations
will fall on you.
This method makes the sound very spectacular and bright. Try to play from the 7th to the
13th measures with the usual fingering in the first position, not paying attention to what is put
down. Then sprite exactly according to the fingering, which allows you to impose the maximum
number of sounds on each other. Feel the difference between the two choices. For such control,
you can make an audio recording of these two options and then listen to them.

60.Axel F
The technique of performing this composition is directly opposite to the previous one. All notes
should sound according to their designated durations and nothing more. Play rhythmically, sharply
observing the duration of pauses.
For successful development, observe the correct fingering, especially the right hand (see
paragraph 7 "Fingering"). This will not only make the game easy and confident, but also create the
necessary conditions for the correct melodic voice guidance.
From the 29th to 36th beat, try to play the melody smoothly and seamlessly with a light
vibrato, imitating the siren of a police car.
Abbreviations are used according to paragraph 6 "Abbreviations." In addition to this, it is worth

saying that when repeating from the % segno bypassing r, the 3rd coda is executed, then when

repeating from the r sign, go to another sign r, located before the last measure and end with the 4th
coda.
109
 61. Saving All Му Love For
This work is intended primarily for guitarists who have sufficient playing experience and are
familiar not only with musical notation, but the arrangement of notes on the entire fretboard.
Before learning, carefully read paragraph 7 "Fingering" and paragraph 10 "Analysis and
execution." The information in these paragraphs will help you in analyzing and playing chords in
high positions (beyond 5th fret).
Pay attention to the exact execution of key and counter signs of alteration, especially from
the 21st to the 23rd measure. Perform the 11th, 13th, 15th, 16th, 23rd, 24th and similar measures
in strict accordance with the rhythmic pattern.
From the 25th measure, the second, similar to the first (from the 5th measure), starts the
theme, therefore there is no fingering. But if you are careful, you will notice that there is still a
difference and it lies in the last two eighth notes.
Study item 4 “Polyphony”, item 6 “Signs of abbreviation”. Listen to the original audio
recording and recording of the performance on the guitar.

62. Hotel California

Before starting to learn this work, repeat all the theoretical points of the entire course, since
any of them is reflected in this work to one degree or another.
French leagues are marked in the 1st and 2nd bars. Please note that in the last two quarter
notes of the 2nd measure, such leagues are absent, since in such places the sound of the French
leagues is impossible. These two measures are an example (pattern) of the performance of all the
others according to the same principle.
In the 1st Oth, 26th, 42nd, 58th and 92nd measures, the league indicates the need for a note
to be played until the end of the measure (see p. 8 “Alternative Record”). According to the same
point, analyze the 7th, 8th, 23rd and 24th measures. From the 17th to 32th beat, the 3rd voice (see
paragraph 4 "Polyphony"). Try not to lose the first voice (melody) during the game. According to
the same point, follow the movement of the bass (the 3rd voice hidden in the spelling), starting
from the 33rd measure, in which the main theme (verse) enters.
In the 71st and 72nd measures, the accents (check marks above the notes) indicate the need
for better percussion and proper bass. Use abbreviations according to clause 6 "Abbreviations." In
general, the work does not have particularly difficult places. If you accurately relate to the
requirements of paragraph 10 "Analysis and execution", then this composition will be affordable
even for beginners.

63. Unchained Melody

Points, the study of which is necessary for the correct and beautiful performance of this
work: p.3 "Arpeggio", p.4 "Polyphony", p.7 "Fingering", p.6 "Signs of reduction".
Since the main component of this piece is arpeggio, try to play the chord in the 2nd
and 6th measures, without taking the 4th finger of your left hand from the bass note. This finger
should hold the note until the last eighth, on which it is rearranged. In the 6th, 15th, 16th, 32nd
and 33rd measures, click on the melody that is closely surrounded by the accompanying note1.
Work out the 29th measure separately. Closely monitor the execution of key and counter signs of
alteration. In the 1st measure, the sign (f) means that it takes effect when repeated from the
segno s .

110
 64. Му Heart Will Go On
In the introduction from the 1st to the 8th beat (not counting the beat), the melody is
rich in grace notes, leagues and g. Lissando, the correct performance of which makes it
look like the sound of bagpipes. Make a very accurate fingering analysis of these measures
according to paragraph 7 "Fingering" and paragraph 1 O "Analysis and execution". To give
the sound softness and depth, pinch the strings with your right hand closer to the fretboard.
Try to perform grace notes (decoration, see any literature on the theory of music)
gracefully, without violating the general rhythm.
The main theme (melody) begins with the 9th measure, where you must apply the
knowledge gained in Section 3, “Fingering” and Section 4, “Polyphony”. From the 16th
measure, a 3rd bass voice is added. In the 16th and 49th measures, pay attention to the
second accompaniment voice, which, for the sake of convenience, is written calmly up
with the third beat of the measure. If you carefully examine these measures, you will find
the presence of French leagues, the designations of which are replaced by fingering in this
case (see section 9 “French leagues”).
Do not forget to fulfill the requirements of signs of dynamic shades and reduction
of musical writing. Listen to the original audio recording and recording of the performance
on the guitar. It will be good if, in addition to this, you watch the movie "Titanic" and then
you are sure to be able to demonstrate not only the possession of the instrument, but also
convey the greatness of the human soul on six strings.
65. The Dream
This unfamiliar work will fill your soul, like a new read book. At the same time, it
will become an exercise in playing with notes of unfamiliar works. You can also put into
practice the knowledge gained in clause 9 “French leagues. This work cannot be attributed
to any particular style of music. Let this definition remain with you. Unlike other
compositions where French leagues are predominantly indicated by a certain fingering (for
example, in the upcoming No. 64 “Mu Heart Will Go On”), in this composition such
leagues correct all those notes that should sound according to this principle. According to
the technique of performance, French leagues are similar to arpeggios, therefore repeat step
3 of “Arpeggio” .
If you disassemble this work without looking at the fingering, you will notice that
you can use many different fingerings and each of them will make the work sound in its
own way. In such cases, where the fingering game can be understood in two ways, or for
the embodiment of the musical intention of the author, fingering is set in great detail. Pay
attention to the execution of key and counter signs of alteration. This will help you in
mastering the jazz style on the classical guitar, the features of which will be discussed in
the next four numbers.

66. Take Five

The main difference between jazz and other areas of modern music is, first of all, a
more complex rhythmic and harmonic structure. Try for five. The 5/4 size should be
considered as (3/4 + 2/4), i.e., consider the measure: one, two, three, one, two. A tempo
designation means that the quarter beats should sound 160 beats per minute according to
the metronome. The word Swing, together with the tempo designation, means that although
the whole work is written in even eighth notes, it should be played with a dotted line, that
is, the eighth with a dot plus sixteenth (the rhythm characteristic of jazz). In the 6th, 7th
and similar measures, the 4th sixteenth notes are performed in a continuous legato (one
pinch with the right hand).
111
 This composition is one of the few where the reception of the arpeggio game is not
appropriate. Therefore, all notes must sound according to their designated durations and
nothing more.
Use accurate fingering, observe voice control, pay attention to accents
encountered. This work is more suitable for those who are already confident in the
technique of playing the guitar. 67. In The Mood

Like the previous work, the rhythm of this is characterized as Swing (see comment No. 66
"Take Five") When analyzing, pay special attention to performing accents (check marks
above notes), staccato (dots above notes) and French leagues (see section 9 " French
League "). All these elements will give the sound a special flavor characteristic of jazz
music. Before learning, carefully read paragraph 1 About "Analysis and execution" and
paragraph 4 "Polyphony". Almost the entire work consists of two voices of the 1st and 3rd
(melody and bass). Accompaniment notes are found only in the 10th, 12th, 14th, 16th and
other similar measures, in which accents, staccato and French leagues are mainly used. The
main theme (melody) comes from the 9th measure. The bass should sound even, cohesive
and, preferably, not overlap.
Study p. 7 “Ashmikatura”, without knowledge of which performance will be
problematic. Pay attention to the correct execution of key and counter signs of alteration.

68. Тhе Man I Love

This jazz ballad belongs to the pen of one of the world famous jazz composers, who
introduced elements of jazz into classical music. It's about George Gershwin. His music
was popular at the beginning of the century, but today it has not lost its charm. This work is
from his musical "Lady Be Good."
Unlike previous works, this Swing is displayed directly in the rhythmic notes. In
other words, you need to play exactly in accordance with the indicated durations. Before
learning, carefully read paragraph 7 "Fingering" and paragraph 10 "Analysis and
execution." Observe the correct fingering, which will not only facilitate the game, but will
also contribute to the expressive sound of the work.
Pay attention to 5 sonorous chords in the 33rd, 34th and 35th measures. You can
play them in two ways: extract all five chord sounds with 5 fingers of your right hand (the
little finger is turned on) or hit the lower two chord sounds with the thumb of your right
hand, the rest as usual (without the little finger). The main theme comes from the 17th
measure. Try to make long notes of the 2nd voice sound according to their durations,
creating a sound background. The work is replete with counter signs of alteration, so
carefully monitor their performance. The play is quite complicated and is intended
primarily for high-level guitarists.
69. Smoke Gets In Your Eyes
From the previous three jazz tracks, you learned about two different recording options.
Swing. In this jazz ballad, swing is present only in certain beats. For example, from the 7th to the
10th, 13th, 14th and 18th. Another characteristic feature of jazz music is improvisation, therefore,
the observance of the exact rhythm is not necessary. Playing repetition (reprise), you can move
away from the basic rhythmic pattern. For example, play rhythm in the melody: 1 G or use along
the whole Swing piece. All this associated with personal taste and opp. Repeat step 7 before
learning this work. "Fingering" and paragraph 10 on "Analysis and execution".

112
 Section IV " Final"

Preface
There is an opinion that the world development of history moves in a spiral, with
each turn of which it rises a step higher in development. But if you look at such a
spiral from the top, you can see that the turns with each new circle meet, as if
returning to the previous stage of development, and capturing from it the best for
the construction of new links, creating a strong structure. And the more turns in a
spiral, the each new step becomes vshie, and the more strongly each turn, the
more strongly all design. In this way, history filters the truly important, and
weeds out the weak links, consisting of various rubbish and products of the life
of history. This spiral comes from the universe itself, the creation of the world.
From the very beginning, from which humanity began counting and that
managed to keep as a priceless gift of his being.
The same pattern can be observed in the historical development of various
branches of science and art. But it's about music. With each new turn, it returns
to the previous circle, from which it draws the best and acquires a new quality. It
is not difficult to guess that most of this spiral is occupied by classical music,
which, being the basis, feeds all modern musical trends.
In this course, there is no place for classical music, as this topic is vast and
beyond the scope of this book. In addition, at every stage of the development of
this music, many schools and manuals have been written by the most talented
musicians and teachers, and to which there is nothing to add. For example,
Fernando SOR, Matteo Carcassi, Emillio Pujol and many others. And if after
studying this course you turn to the classics, masterpieces of world guitar music,
the mission of this course will be successful. And so be it!
See the series of notes "with Their hands-Classics of guitar music" www.lute.ru
Introduction
This section includes five compositions, which were found in section I of
the course in an abbreviated and simplified version. Now you can test yourself.
If you do not have problems in the analysis and execution, then your level is
quite high. If insurmountable difficulties arise, it is worth some more time to
work, which includes not only hard work, but also time, which is one of the
main teachers in music lessons and which can not be overtaken. What you can
learn in a month, can not fit in a day. The received information should be fixed,
polished not only by fingers, but also by time. Consolidation of the acquired
knowledge occurs even when you are not engaged. Combine classes with
otd1h. om. The most effective classes occur when they are fun, so do not pick
up the guitar when you do not want to.

Р. S.
In parallel with the study of this course, study other different music
publications, schools of play by different authors and manuals on music
theory. Learn the rudiments of music. Use the world music experience. Play
and love any music. Experiment. Do not stop there. Good luck!

159
 Commentary

70. I Just Called То Say I Love You

This is the full version of the work presented in section I of the course. It also differs in that the
melody is written rhythmically more accurately, according to the original, performed by Stevie
wonder. Of course, technically it is more difficult to perform this composition, and if you find the
work irresistible, then first refer to the first version.
Before learning, repeat p. 4 "Polyphony", p. 7 "Fingering" and p. 1 About "Analysis and execution".
Carefully follow the evenness of the sound of the 3rd bass voice. Expressiveness and evenness of it is
achieved by the use of precise fingering. Pay attention to the fact that the bass in the whole work is
pinched only by the thumb of the right hand. Avoid overlapping bass notes.
Pay special attention to the fingering options of the 13th, 14th, 17th, 18th and 21st bars, which will
not just facilitate the game, but will make the guitar sound like a small orchestra.
Execution of signs of reduction is obligatory.

71. J е Т' attendrai

If you have already played this work in the Lite version in section I of the course, and if you
liked it, then you can expand your knowledge, and at the same time the technique of owning a
guitar. Pay attention to the material set forth in paragraph 4 "Polyphony", as the rules of this
paragraph are very important in achieving an impeccable performance of this play.
You have already noticed that compared to the previous composition, the accompaniment is
different. It looks like a smoothly moving pulsating monotonously flowing background. Set out in
16 notes. Try to separate it from the General sound and in any case do not mix it with the melody,
especially in the 4th, 6th, 12th and 17th bars (when counting bars, do not take into account the
zatact).
In 2nd and 30th bars use glissando ( see item 5 "Glissando"). In the 13th bar, the small Barre
indicated by the bracket can be pressed only two strings or you can press the full Barre in this place.
The 19th bar begins with Barre taking only the first two strings . In the 27th bar, the bass note " E
"sounds according to clause 8 "Alternative recording".
Starting from the 29th bar, the melody is repeated in a new key. Do not forget about the exact
execution of the key and counter x signs of alterations. In the last chord, all six strings should sound
clean.

72. Sailing
Surely you have already mastered the Lite version of this work from section II of the course,
because here your task will consist of a simple improvement of the technique of the game.
In the introduction, which occupies the first 4 bars, arpeggios are used on the principle of
French leagues ( see p. 3 "Arpeggios" and p. 9 "French leagues"). A similar technique is used in
the last two bars.

160
 Repeat p. 7 "Fingering" and p. 10 "Analysis and execution", knowledge of which will help
you to convey all the expressive possibilities of the work. Work on the technique of execution from
the 1st to the 4th, 11th, 19th, 21st, 27th, 29th and 30th bars, in which the problem can be a very wide
arrangement of the fingers of the left hand.
When playing, do not forget about the performance of the signs of dynamic shades.
The repetition from the sign.,s should be played before fading approximately one holding of
the theme (7-8 bars). Listening to the original audio will help you to convey many nuances of the
work, which can not be reflected in the notes.

73. Bohemian Rhapsody

But most importantly, this work was a synthesis of Opera and rock music, which gave great
creative inspiration to a large number of musicians and composers.
Section II of the course presents an abridged version of this work, almost one main theme
(verse). It has a detailed fingering of the right hand, which is very convenient when learning,
especially at the initial stage of training. In this version, there is no such fingering in the hope that
in the process of studying the works of the course, your right hand has folded and the correct
pinching of the strings occurs, you can say automatically. For this reason in most guitar literature
fingering right-wing hands touted only in individual cases or not touted at all.
This full version of Bohemian Rhapsody is intended for guitarists with a high level of
training, because detailed comments do not make sense. It is only necessary to recall the strict
observance of the key and counter signs of alterations. Do not forget that counter signs are valid
until the end of the clock and are canceled by the clock line. Listen again to the audio recording of
the original and the performance on the guitar.

74. Stairway То Heaven

Like the previous work, this is a classic of hard rock. Written and sounded in 1971, it has not
lost its relevance today. For high-quality performance, the guitarist requires a rather high skill in
playing the classical guitar.
The version presented here has not only a complete structure, but also to the maximum extent
reflects the rhythmic and melodic basis of the original. If you have not sufficiently mastered the
technique of playing the guitar and are impatient, then refer to the simpler and shorter version,
which is located in section II of the course and which is equipped with detailed fingering of the
right hand. Here, such fingering is found only in difficult or controversial places. You will see the
same picture in most guitar notes. This is due to the calculation of oppnosti performer.
Before learning, repeat all the theoretical points of the course. In the 41st, 45th and similar
measures, the arrows indicate the direction of strokes of the index finger of the right hand on the
indicated strings. Work out the guitar solo carefully and carefully from the 92nd to the 111th beat.
After successfully learning, and most importantly good performance, you can congratulate yourself
on achieving a fairly high level of performing skills on the guitar.

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 Site library www.Iute.ru

Classical guitar section (pdf)

This section of the library contains almost all published notes for classical guitar for the last
three centuries, arrangements for guitar works written for lute and baroque guitar, transcription of works
by famous composers, works of flamenco guitarists.
In total, the library contains about 11,000 pages. You don’t have to download any piece for
classical guitar all over the Internet and download one file at a time, just select the section you need, read
the contents and download everything in one file.

Section "Notes for a seven-stringed guitar" (pdf)

This section of the site page is about Russian seven-stringed guitar. There you will find over 30
music collections for Russian seven-stringed guitar, free to download, published in Russia since the 50s.

Section "Works for the Lute"(Fronimo + pdf, midi, tab)

The section includes about 4000 pieces for the lute of more than 200 composers. All files in this
section are presented in ft2 format and are duplicated in pdf, midi, tab. The size of all these files is not
large, which allows you to open them on-line. In the same section you can download the FRONIMO
program. Also in this archive there is a file search.

Section "Lute books" (Django)

Using this section you will find a lot of lute books and collections with more than 3,000 works
in jtb format of the Django program (sorting: country-book-its contents). Django allows you to
conveniently browse books like Adobe Acrobat Reader (bookmarked configuration) and listen.

Section "Lute books" (pdf)

This section contains lute books in PDF format from Adobe Acrobat Reader. This format is
suitable for any computer platform and allows you to display covers and the most exotic fonts.

Section "Manuscripts" (graph. Images, books in pdf)

MANUSCRIPT (from the Italian manus - hand and scribo - I write), the term applied to
ancient manuscript books regardless of their size and shape (in the form of separate sheets, scrolls or
codex). In a number of European languages, the term "manuscript" is still synonymous with the term
"manuscript" (including typewritten).
Library Address: http://www.lute.ru/library/

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