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    Ellis PDF

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    kavalsky

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    © All Rights Reserved
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    Containing ncomplete Diagram of os the Fingerboard Kuliments of Music Major and Minor Scales © Chores Uhustrated by \ 4 ___ Desrang Tapeh or ber with Exercises for Special Sites a E E : } the Right and Left E necessary to feerlitale Hand ; = the acguirement Lee Dj yes a tee _-~ ofa perfect Anowledge fF Uspiing. nag of the instrument The Whole, Whiten and Arranged HERBERT J. ELLIS. Price 36 het Copyright LONDON, JOHN ALVEY TURNER 159 Oxford Street, W TURNER'S HI nl Wy OnNnni H OGHOOL Uni UU UUL STUDIES MANDOLINE HERBERT JETS: ole — Copyric + Price 2fn ONDON, poe Auer TURNER. Scales and exercises inthe Positions | Achoice selection ‘ Containing Complete Diagram of the Fingerboard : of pieces ‘Duets for two a Guitars | Chords sMestrated by \e 5 _ Desrans fogelber wif = ae Spewia! Studies Hands 5 wecessary to facilitate é . pype the acquirement The Different Styles oe Pan fect Anowledy Tia CORE veil ih a Tae fronts col The Whole, Whitten and Arrang d ev HERBERT d. ELLIs. Price 3/6 net LONDON, HUPFELD’s FILIAAL. Direc 4 JOHN ALVEY TURNER tease | " 139 Oxford Street, W. '$-GRa VENHAGE ‘Teletoon No. 27, Sopyright: PREFACE. ‘The compiling and propnration of this work for publication has given me the jgreat- ost pleasure, for, if there ts one instrament to which Cam attached, it is the Cuituz, with Its Soft, refined and sympathetic tone. The Guilur must not be considered as belonging to the “novelty” class as Ie takes its place tu he category of stundard instrunients. As évidenee of 118 posiiion dl may be mentioned that Beethoven, Bach, Mozart, Haydn, Lully, Paganini wot dutierly Berio: In the following pages my object hav brew lv place before the Student a book of instruction, and not a so-called “Tutor? which ty generally an album of pioces with a fow scales ut the commencement. T have eudenveured to put everything before the be- gimer ihut is neeossary tor study and practise, and for thie reason have reluctantly had 2 recogiised ts morits and played upon it, to omit many solos. Sones so owing to No attempt has been made to render thy instrnetion elaboreite or seieatitic. my iden His been to embraoo the most necessary matter and arrange it correctly and complete.at the same time agreeable and pleasing. ad 1 hope that the whole work will be found bet- der adapted to the requirements of beginners than any other now before the public; one Abul shoulel be entitled to the favorable regard of the teacher, pupil, and every admirer of this beantiful Instramint. LONDON. HERBERT J. ELLIS. nar theti se “A detailed list of Guitar Song Albums, separate songs for Guitay, and Journals containingy solos, di eta Cr will be sent by the publisher of this work — post frre om applieution. FELLAS yore sonal fe th Sn wi Pata by HANA AAS, CONTENTS. Complete Diagram of the Fingerboard ‘The Rudiments of music... ‘Dictionary of Musical Terms ‘The Guitar = ¥ Stringing 4 a ‘Toning - A Manner of Bolling . The Len Hand . . The Right ent - Manner of Playing... The Burre Positions: Fingering signs . Uxorcises on the, open stzings E Nature] Seale Exercise for learning the notes ‘The Seale. Its formation &e. Seales and Chords with diagrams awl exarti- ‘ees in the different Keys. é Chromativ Sate Exercises for the Right Hand Baercises in The Varios The Different. Styles of Playing. ‘The Slur . ‘The Slide or Glisse te we "The Appogiatura. ‘The Turn fans ‘The Trill or Shake | es The Vibrate 4s Sons Erouffé Harmonics . oe oo . Syncopation . é The Drom, Nails and Dash . 2 ‘The Capotasto ‘The Positions ales Intervals Fuge 12 13 rr is 5 Selection of Pieces. Galop Andante ar Waltz My Lady. Valse. 2. Andante. - , Harwonte Waltz... Last Rose of Summer. ny Schoftisebe Fairy Donee Emmeline Sehuttische Birthday: Polka Rose Sehottiscie Servian Gatop _ ie Penseo Fugitive, Rustic Dance. : Arn. ‘ 7 Valeo in F Merch from “Nerma” Six Sindies Different Tunings . ‘The Flat Keys ac © Gc Arpomi ‘Tho Spanish Retrent. Duets for Two Guitars. Carnival of Venice Princess Valse. Bride Waltz Sunpy South Waltz Di Peseatore Tiencbte Home, Sweet Home. gi ELLIS": eorough scoot for ine Gitar Page 46 46 16 ay ar ar 49 49. ay 50 at 32 a a8 60 Bez 66 6r 69 COMPLETE FINGERBOARD. ee qs i {Il me SHARPS. te 4 i if ot =e A = a EF Lk (i ne FLATS ue hg bh ELLIS’ Mherough schol) tie Cuter ELLIS’ THOROUGH SCHOOL FOR THE GUITAR. THE RUDIMENTS OF MUSIC. THE STAVE, CLEFS AND NOTES. ‘Musival sounds are written by characters termed Notes on and between five lines called a Stave, ‘The notes are named after the first soven lettors of the Alphabet A. B.C. D.E. F.G ‘Namies of the notes on and between the Ines of the stave, * Eos DF SPN GF © Notes extending above or helow the stave are written on short lines termed Ledger linus. Zoo e ees ast sor = @aae see ‘The sign placed at the commencement of the stave and termed a Clef serves to determine the pitch of the notes. Of clefs there are several but only one is used for Guitar music_the Tre- ble or G Clef, so called hocause the curl or tuil falls upon the second line, G The Treble or G Clef with its notes, throughout the usual compass of the Guitar. Ef GAS COEF CAR CDES $ pf i = See Tses27 a tet ’ SB CDEF GA Rotes us val in various forms to indicate the different duration of sounds: emibreve. Minin. Crotchet. Quavor. Semiquaver. Demisemiquaver. Ss SS eo Their relative value 1s explained by tho following table: A Semibreve Ty equal in length to ‘Two Minims, or Four Crotehets. or Right Quavers, or Sixteen Semiquavers, oS ‘Thirty-two Demisenquavers. ELLIS treme gt wehodt forthe Gulu A dot placed after a Note extends its length one half, for example: A dotted Semibreve is equal to 3 Minims FASEA=J or 0 Crotehets ge. Hests are choracters which indicate silence. Tho duration of each rest is eqnal to the Note ‘of the game name. Senilbreve rest, Minim rest. Crotchot rest. Quever rest. Semiquaver rest. Demisemiquaver rest ee Muste is divided into small partions of equal duration cafled Burs by Jines drawn perpen. dieatarly across the Stave. OF time there are three kinds viz: Common, Triple, and Compound, these are expressed by ‘tho following, sioens- Commin tine ee contains 4 Crotchets in a bar or their equivalents, Triple + 4i= - 8 3 Quavers + » ” ” » 6» wow é ‘ * 8 oe Rb . . hath a oe oo aa Witenes) es uate at OSes $a were ts as _teaasoran 124302" 122050 gna tea craves Oerepieniecet tree $e i a oe. : : SHARPS, FLATS and NATURALS. A Sharp (8) placed before o note raises It half o tone. a milf fone being the distance from one fret to another. A Flat(b) placed before a note lowers it hull a tone. A Natural (4) serves to restore notes affected by sharps or flats to their original sound. Sharps or Flats placed ot the commencement of a piree affect all notes of the sane name throughout. Example: A sharp placed thos Pa fuudiewtes tut all the F2 are to be pluyed sharp A flat placed this ZE indicates that all the BE are to be playod flat. Sharps or Huts placed bu- fore notes inthe course of a picec, and not marked at the boginningare termed Accidentals and only affect notes of the seume name in the bar in which they oceur. A Double Sharp ( raises a note two halftones, and a double Flat (b)) lowers « note two halftones. The double Bar indicates the end of a strain or piece Dots placed hefore a double bar, denote that the part imnodiatelf’ preceding is to he repented The Pause (A) placed over notes or rests, iudicwtes that the performer may rest at pleasure. ELUS' chorus sowel for tn ar “a ‘The Triplet. Notes writfen thns CHE oe and termed a Triplet indicate that thoy ure to be played in the time of (wo of their kind The Tie. When two or more notes on the same degree of the stave are connected by a tie (only the first is to be played and its sound prolonged sufficiently to include the time of the one, or several tied nates whieh follow. They are as one note having thelr values combined. < Arpeggio Chords. Chords preceded ty a waved ine are termed Arpes being played rapidly from the lowest upwards instead of together. Written eH Played The Appogiatura, the Turn and the Shake. ‘These are Grace notes intro- duced by way of embellishment &c. and for which see pages 3S and 80. , the notes DICTIONARY or MUSICAL TERMS. Accelorando. Aeceleritiog the movemeat Fine. ‘ae cnt Adlugio. A very slow venient Forte or fi Loud. Ad libitum or Ad Hib. at discretion. Fortissimo or ff Yery loud. ‘Affettuoso. Attenionstey. tender Impernoso, Tiapetwnty Agituto, Anituted, aaxiouly. Larghetto. slow and measures Allegretto, Cheer, bot vor so quiskas Allegro. Lago. Very slow and solemn Allegretto. Playful, visaeions Leguto. Smoothly Allegro. Quick ively. A mpidand vivactos worenent, — | Legasioro, Wil lene AL Segno or $8 tuicates that he performer must return | LC. To be played a written to a war sien io the pire: Maestoso. aie Andante. Stow wid swat , Mareato. Murked emphutieally Andantino. Semewit siower shan Andente, Moderato. Moderwtely quok Auuiinito.. With snimation Morendo. Gradwally diss shing, dying away. A Tempo. tu the proper Obbligato. An indigprnsable pact ofa pees Barearolle.Aiv‘of th Yeuetian Gondotiers Passionato.. Impassioned Brillante, stewy aut spuckling fhetique. Pwibets, Cadenza. A taveifsl eubellishuesnt at tke eni ofa movement, | Pianissimo or pp. Very sof Calando. Dieinishng intone ual speed Piano o p- Sot. Cantabile. tna @racefil and siping style. Poco. A little. Goda, tew burs wed to frm a insh to piece Prestissimo. ewooitngly quick. Con dolore. Somrtlly Presto. Very quiok Con spirito. quick. with sprit. | Rallentando. Gredusl simtuation of speed Crescendo, Crese. or ——= inereusing the sound, | Sostenuto, Sustained. Dia Capo or D.C, From the begiuning Staceato. Distiwot ant deinched Diminuendo, Dine. or =~ drereasiau tie sound Trunguillo. Composed. Bole. sutt aud aveety ‘Tremolo. ‘he reioraion of m wot with reat rapidity Doloroso. Soft and pathetic. Vigoroso. Boldly. Espressive ur Con espressione. Wi expression, Vivace. Animated Finale. The last wovement of a piere, Volii Subita or V. 5. ‘Twrn over quickly. LISS thoveugn esha fo the Gtr «6 THE GUITAR. ‘This beautiful Instrament-assoclated as it is with Poetry and Romance, is the reputed ine vention of the Spaniards, and derived the name they gave if, Guitarra, from Cithwra, the La- tin namo for «most every instrument of the Lute kind. It was Introduced fnto England wt the beginning of the present century hy Ferdinand Sur, a-most gifled porformor and composer, who fled {0 this country with the refugees at the fine of the Peniusula war, The people of Spain as well as other nations of Southern Climes, are naturally musical,and are especially fond of the Guitar. It is with this instrament the Spanish Gentleman passes his lei- sure hours and serenades his tudy-lovo, and with it also the peasaust classes, ia the vineyards and, on their way te and from work derive comfort and solace from ity enchanting strains. THE DIFFERENT PARTS OF THE GUITAR. A. Sounding Board, E. ‘The Nul, over whieh the strings B. ridge with pegs to hold strings pas. Cc. ind hole. F. The Head, with machine for tight- D. Handle or neck supporting Fingerhourd, weross ening the strings. Sometimes the which lite metallic burs are inserted called Prets.} howd Is fied will pegs instead STRINGING. ‘The Guitar is strung with three gut strings and three sill: strings covered with thin wire, commonly called silver strings. They are toned in fonrths and thirds (hus: SiLVER STRINGS] GUT sTAINGS fp 4 "as SSsee Gee ei ‘The strings are mmbered from (he rit hand side of the instrament, the thin E.gut string being the first. and the thiek E silver string the sixth. Care should be exercised that the strings are arranged tn tleir proper sizes ns follows: — ‘The first string E should be a violin first, The second string B thicker than the first and the third string G thicker than the second, The fourth a thin silver string, the fifth a-silver strinss thicker than the fourth and the sixth a silver string thicker than the fifth LLIB craraupe sence fer the Gyan ‘ 10 TUNING. All the notes of the Guitar sount one octave lower than represented by its written muste, ad the tones of the six open strings should correspond with the notes of the piano as given be- tow, to which each string should be tuned separately. Guitar. Piano. Subjoined is a method of tualug the Guitar by the frets: — Tune the fifth string to A by # Plano. Pitchptpe or Tuning-fork. ‘Then stop it at the fifth fret, which will give the note D and tune tho fourth string in unison. ‘Then stop the fourth string at the fifth fret In like manner and tune the third striag G in unison. ‘Then stop the third string at the fourth fret aud tune the second string B in unison, Then stop the socond string at the fifth fret and tno the first string E in unison. The sixth string E must be tuned an octave lower than the fourth striag stopped al the second fret RESULT. Fifth string] ‘Third. | Second. _[Wirst\|Fourth. | Sixih. ) i = = (38S eee ata atch. ON = = Sasa fopen, DOME] open Stet open, BEM] open. gett open F i i ‘m Tn some pieces It is necessary to tune the sixth string down to D or © ay required and sometimes up to F so as to give fullness to the fundamental chord, and for certain pieces ‘the Guitar is tuned in different keys thus: E Major. G Major. =F © Major. & as = s * > Guitars with clght and ten strings ure made use of by some professors, and some fine compositions are written for iustruments strung in that manner, The strings ure placed on the bass side and carry the compass of the instrument down as many notes as there are adiitional strings. They are played open and may be tuned sharp or flat as the key requires it LLG thesis for the Ct. “ " MANNER OF HOLDING. ‘The Performer should be seated with the left foot upon a stool about eight inches in height so as to elevate the knee, The left leg should be in its natural position nearly ia front of the body, while the right foot should be placed off to the right and slightly drawn back. Place the Guitar transversely across the left thigh, with the broud purt of ity body resting botween the knees; then elevate the neek xs shown in the Frontispiece. ‘The upper side should incline a Little towards aud agaiust the body of the performer. This position Is preferable to all others by reason of the support It gives to the instrument, and the entire relief of both hands, THE LEFT HAND. ‘The left hand should lightly hold the neck or handle between the thumb and first finger. The hund aud wrist should be held in a curyed manner and entirely free from the neck of the Instrument, exeept the thumb which should rest against the baek between the smut and the first fret, ‘The fingers should be separated from euch other and held over the finser- board so as to stop tho strings firmly between the frets. The nails must be shovt, ther. wise the vibration of other strings will be interfered with THE RIGHT HAND AND ARM. The right fore-urm should rest on the edge of the instrument opposite the end of the bridge. The hund and wrist should be held in an easy manner, (not resting on the sound board) so that the fingers ean touch the gut strings ghont three inches from the bridge. ‘The thumb should be extended and held over the silver strings iy advance of the fingers and always ontside of and In front of them. Some few performers recommend the resting of the Ute finger on the instrument to steady the hand, but the greater number of eminent writers und performers condemn Ht ns being unnecessary, even as a support, obstructive to velocity of execution, and to fulluess and purity of tone. MANNER OF PLAYING. The silver strings are played by the thumb, and the three gut strings generally by the first, second and third fingers; this Is mostly so in chords und arpeggios. In playing me lodies Ao. the first and second fingers would be used, and sometimes the thumb extends its operations to the third aud second strings. In some passages it becomes necessary to use the first and second fingers on the silver strings. oc ry a2 To produce a full and mellow tone, the strings should be struck with considerable force, with the round tips of the fingers. Keep the nails short so that they may in no caso inter fore with the strings. Care must be taken not Co lift or pull the strings ap, the motion of the thomb and fingers being parallel to the sound board, the fingers striking towards, the performer, and tho thumb in the opposite direction ontside the fingers. THE BARRE. The Barré ts made by placing the first finger of the left hand across two or more strings purallel with and immedintely before the fret required. There are two kinds of Barré, the Small and the Great. When two or more strings are pressed ut ouce, it is called the Small Barré. the Great Barré is when the finger presses four, five or six strings. THE POSITIONS ON THE FINGERBOARD. Each fret on the fingerboard of tho Guitar is a Position, and the fet at which the first finger is pluced, determines the position of the left hand for the time. ‘Thas,when the first finger is at the first fret the hand is then said to be in the first position: and so om throughout the extent of the fingerboard. SIGNS FOR FINGERING. ‘The following signs and fgures are used by most writers to indicate the fingering of the Guitar. ‘Tho signs are for the Tight hand, and the figures for the left hand. Left Hand. Right Hand. First finger. Thumb ee Secoud fuger First finger... wm Third finger Second finger. Fourth finger 4. |" Third finger ih Open string is indicated by 6 ELLIS thers sche rth Guar ro EXERCISES. ON THE OPEN STRINGS. Sixth string. Fifth string. Fourth string/Third string. ‘Second string, First string. | > on ea 4 Right hand * ‘The foregoing exercises should be well practised as they show the way of using the right hand; after which the Student should proceed to the study of the Following Scale in tho first position. FLLIS' thou Seno forthe Guitar, THE NATURAL SCALE IN THE FIRST POSITION. “Sixth string. Fifth string Fourth string. Thind string, Second string First string. eS Se oe = of Otte os = rrr oe: @#f 9 *F geb EF A & Pog. A P Sixth string. | I ELLIS" thorough soto fo Ye Guta 6 THE SCALE. ITS FORMATION AND TRANSPOSITION. Tho Scale is a series of eight notes composed of tones and half-tones. ‘There are two modes of arranging these, one is termed the Major Mode, and the o- ther the Minor Mode. Rath the Major and Minor Scales consist of the same number of {ones and half-tones via: five whole tones and two half-tones, but the difference is in the order of placing them. Halt ‘Wome! “one! “tone! ‘Powe! Powe MINOR. SCALE OF A. = = | Toe my eh stone! Hous! tone! ‘Tome! toe! evel Reus tone! one! ‘ue! ‘eur! ‘Tone! Wau’ toe Nha A ‘tome? ‘tome! “ene! Tow vf Se! In the foregoing majur scale, C, is taken as the basis or fandamential note upon which the seale is constructed, and consequently gives its name as the Key Noto. A seale may be formed upon any note, thus, if @ be taken as the first or foundation. ani the proper order of tones and half tones be observed, the scale would than bo in the key of G. This applies to both Major and Minor Methods, The Minor keys are related to the Major, both being indicated by the same signature; the keynote of the Minor being a third lower than that of the Major (See Table). Tt will be no. ticed that the Minor scale differs in descending. excepting the model minor scale as given by eminent theorists, thus: Table of Major and Minor Keys with their Signatures. MAJOR KBYS. C Majer, G Majer DMajer. A Major. B Major, |, B Major CF Major, Ft Major Fi Minor. CH Minox. |, G4 Minor. A Minor, “MAJOR. FMajor Bb Major a MINOR. ) Dior. 6 Minor. = — ELLIS's tharaugh someon he Guan SCALES, CHORDS AND EXERCISES. KEY OF ¢ MAJOR. “Fifth! ting tring string. | sing. Subdominant. Dominant Seventh, ee EXERCISES. Tonic. Subdominga Tomi uninant Seventh ny. iat 4 ‘oaie Subdoninape ea . gad oy 5 zs - as 4 = # 3 figesesttintlane ReDim = tle Doasinust Seventh = 3! = Tonic Subdorinant Dowinant Seventh. Tonic: ELLIS thorsgh schoo! fo the, Guitar i a a a as KEY OF G MAJOR. Sixth | Fith | Fourth [Second | First stri “Fourth | Fifth [Sixth] stein) string, | tring. fine Sings sg a go | stving. | string. | string. | string. (string : 5 oes oe eee # Tonie. Subdominant. Dominant Seventh. EXERCISES. Subdominant. Tani ‘Tonic... Subdominant Dominant Seventh Tonic. Tonic... is Subdominant Towle. Dominant Seventh.. z hero schosl forthe Qatar, as ae WALTZ. + t L \ pasa r F Fine. (SS For the relative minor E son page 23, ELLIS thorough schon! forthe Oalbar KEY OF D MAJOR. ["Rourth Third) Second.| First. | Second! Third Eilat ed rh.’ Fifth Sixth. | Fifth, |Rourth! ote o4 cre olf ovo 4, so ato ste ois = Second Position ———— a = Tonic Subdominant Dominant Seventh e f = z EXERCISES. ‘Subdorninignt Dominant Seventh. Tonic. — poten For-the relative minure B see page 26 + ELLISY thorcwgh schoo! for the Guitar 6 EY ON & MAJOR. EXERCISES. Tonio... Sublowingat Dominant Seveath Tonie a oj SPANISH MARCH. (et iegee ee Pee if Por 47D , ¢ oF 1 4 a! 4 the relative minor Ff nen page x ENDO bs ate ot is ule™ “ KEY OF E MAJOR. F sign” Tpit. Toes rina | Sec ae | Pana] weal WALT Ea, | of 4 1 ons GRR So gee a gn xo 3s * Subdominant. Dominant Seventh. EXERCISES. Tonic Subdominant.._ Dominant Seventh... ‘Tonie.. iss otk 2 es For the relative minor €f ser page 28, ELLIS knorough ol forthe Ota “ 28 KEY OF F MAJOR. Seoond| “First. | Second.) ‘Third. | Fourth.| Fifth, | Sixth.’ ako at Subdominant. Dominant Seventh. ss EXERCISES. Subdomingnt....__ Dominant Seventh___ 1 l Tonic canon For the relative minor D eee pase 29. FLLIS's ensign sec! othe Guitar oe 24 KEY OF A MINOR (RELATIVE OF C MAJOR) Peart. | Thind.| Second) Fipst Figst Second. | Third. | Fourth. | Filth, | LudSphpdo sto 2 9 ey 5 Tonite. Subdyminant, Dominant Seventh, Atte Ao raBere| = EXERCISES. Tunic —- Subdowingnt—. Dominant Seventh Toni’ ee 2 == = ay = # = = + a} a 5 219% taste sabe Por he Guitar as EY OF E MINOR (RELATIVE OF G MAJOR) Sixth | Futh, | Fourth, ‘Third, F ‘Second. (Third! Fourth. | Fifth, , é Soe, 38 o Ei EXERCISES. Tonic Sabdominant Dominant Sevemth..__ Tonic ELLIS: ty 6 KEY OF B MINOR (RELATIVE OF D MAJOR.) Fourth. | Third, | Second. | First. | Sevond, | Third. | Fourth. | Fifth Ko: ay o8 a $0 20 2, a0 Subdominant. Dominant Seventh. ? ? EXERCISES. ‘Tonic. sabe. ‘Subdominant ai Peale Seventh Tonic. eee = 1 1 PRELUDE. ELLIS'S troroayh sone fa he Oar “ KEY OF F! MINOR (RELATIVE OF A MAJOR.) T pink, | Fourth. |Third| Second.| First. | a 1 8 yo a.) Fourth. | Firm. | 2% h ing. Bo ‘Tonic. Subdominant, Dominant Seventh. Heres EXERCISES. LS Subdominant Dominant Seventh 2 Tonio ELLIS's thorough echocl for the: cst. ry eh 4 ‘Yonte, Fourth. | “a KEY OF C! MINOR (RELATIVE OF E MAJOR) ‘third. | Second. | First. i & 3% osha = 2 T second, a2 o Subdominant. Dominant Seventh. eee rat ioe EXERCISES. Tonio een - Subdomingnt...._Dorninant_ Seventh =e al - a # 3 PRELUDE. ELLIS thareugh schoo! for 9 Gal KEY OF D MINOR (RELATIVE OF F MAJOR) FRourth string | ‘Third. | Secomt, | First. "Second. | Third. | Fuurth. oa so Bo #8 5 ‘Tonic. ‘Subdominant. Dominant Seventh, EXERCISES. Tonie Subdomingnt Dominant Seventh... Tonle. Opa WALTZ. HERBERT J. ELLIS \ ad ere rT ELLIS thurwugh ashon! for thw Guar 6 dé “III ir “aH 4H 4 WwW s ao When the Seale is written so as to make a regular succession of half tones, it is termed Chromatic. é Apis ; . ql Sul! “First. Second, | Third. Fowth, [ETH do 'jpaipto Bio i abe to) ase “10 fiestas | £ + brs theg Wiles EXERCISES FOR THE RIGHT HAND. These exercises which should be carefully practised, are essential to the Student for acquiring purity of tone, velocity of execution, as well as a strong and uniform touch, Thumb and first finger Thumb and first and second finger. | In chords of four notes use the thomb and three fingers. Pt tPF ELLIS thorough schoo! forthe Guitar. « ELLIS's thorough schoet for the Guitar 6 On the second string. Pere te ELLIS'e thorzan® sohee! for the Guta a Written. me #4 == = ie ai ae Chords of five and six notes are one a the thumb passing rally over the bass, notes, thus: Written, i: 4 = ae S| SS SS iB = ert ELLIS thorouh ex! fer the Goa ” aa C Major. A Minor. G Major: # D E Minor. D Major. { oi B Minor, ae — A Major. FA Minor, E Major. 3 CH Minor. 4 F Major. 7 a D Minor. oe ELLIS's thorough achoc! for the Ceti on a5 THE VARIOUS INTERVALS. Double notes in Thirds, Sixths, Octaves and Tenths are met with at every step. Their execution may be facilitated by gliding the fingers ax mach as possible, in passing from one fret to another. SCALE IN SIXTHS. 43 oy Bisa s , 3 + SCALE IN OCTAVES. 13.2223 ii ites SCALE IN TENTHS. wee tgan SOS4 DN Vial ies geen, ges fa os dded Se og) FG Ait Prt ELLIS: thonouah seal Fer the. Guitar a THE DIFFERENT STYLES OF PLAYING. THE SLUR. The Slur ix indicated by the sign —~ placed over or under two or more notes, as- vending. or descending. In ascending, the first note Is struck with the right hand, and the succceding note or notes by the fingers of the loft hand falling like hammers on the strings. If tho action is onergetio, it will imerease or strengthen the vibrations and give amplo force 0 the slurred notes. ‘The finger stopping the first note must not be raised until a fingcr falls on the succeeding note. In descending, the necessary fingers should be placed on the notes before striking; then strike the first note and pull off the fingers one after the other. Slury of two notes ascending. Slurs of two notes descending. Se SS o : == a Slurs of three notes ascending. " 2 o 8 8 o 8 8 a4 Sa 4 = =RS SeSe fy AES ia 2 ia wee Sluts of three notes descending. tat a SLUR WALTZ. 508 Sm not “hen Stay sien SF Bae Sar ar Str ELLIS #hareagh school for the Guar os 7 VIBRATION SLURS. Whon slurrod notes doseonding are to be made on different strings, the first only is played by the right hand; the second being produced by allowing a finger of the loft hand to fall foreibly. on the note roquired and so causo it to vibrate. THE SLIDE or GLIS The Slide or Glissé is a very pretty effect and is frequently met with in Guitar music. It is produced between two notes on the same string und is indicated by the sign ro In performing the Slide, strike the first note by a finger of the right hand, and then slide the left hand finger over the frets to the place of the seeand note, Stop- ping exactly and abruptly, without lessening the pressure om the string, by a clear and distinct tone is obtained. The Slide can be excouted cither in single or double notes. ‘ich means. EXAMPLES. Single Notes. liga nia ee ile “Written” Hfiect 7" “Widen Elfed Double Notes. i lisse alisge Hig ts psec flies é = 2 Herbert J. Ellis. =H i EF ewe ee ~~. ss r E ELLIS's thonmigh acheel for she. Guitar ‘Bt i THE APPOGIATUR The Appogiatura is a Grace Note introduced into music by way of embellishment ec. It is written smaller than the ordinary note and is of two kinds viz: long and short. ‘The Long Appogiatura borrows half the value of the principal note, thus: Written, Played. Written. Plage d, o ‘The Short Appogiatura has no fixed value and is played very quickly so as not to de- tract from the time of the prineipal mote. The short appogiatura is distinguished from the long by a stroke drawn through its stem thus: Appogiaturas must be struck with the bass notes and afterwards slurred to the principal note, EXERCISE. THE TURN. The Turn consists of the principal note, the note above, and the semitone below. When it commences on the note above the principal it is called Direct. When it begins on the somitonv below, it is Inverted. When introduced on a dotted note, the principal note is struck first, and the turn played on the dot. Krequently the turn is written out in full. 8 Written, Inverted (Turns. Played, [¢ . Written. Played, ELLIS thotcuge asheat fo the Guitar “ THE TRILL on SHAKE. = The Trill or Shake is the most brilliant, but most difficult embellishment, and of frequent introduction in music, though it is not often written for the Guitar. It is generally marked %, and consists of two contiguous notes, vis: the principal note and the tone or semitone next above it, These two tones are played in rapid alternate reiteration, and with perfect equality as to time, as long as the value of the principal note. On the Guitar the Trill may be made in two ways. First, by striking the’ first note and star ting the remainder, and secondly by taking ot onee the two notes on two difforent strings, ‘with the left hand, and playing them with two fingers, (or thumb and finger), of the right hand. NO 1. NOR, i —— Written. = = = = os Dy slug ieee - e Played. THE VIBRATO. Tho Vibrato (~~) is a pretty effect obtained upon a stopped note by a tremulous movement of the fingers of the left hand during tho vibration of the string, To perform the vibrato, place the finger upon the note and curcfully preserve the pressure during the full time of the note, Pull the string and immediately commence an oseillutory movement of the hand which has the effect of alternately tightening and lessoning tho tension of the string, This will eause the mote to issue in waves or pulsations. The Vibrato may be executed on single or double notes. Asma bids One saat i ST eat : = : i = SONS ETOUFFE. ‘ Sons Btouffé, (Damped or Suppressed sounds), indicates that the notes or chords should be stifled immediately by stopping the vibrations of the strings. This is performed by the same fingers with which they are struck, or by placing the hand flat on the strings. Sons Btousfé, EXAMPLE. eg cA td ia PP | & Written. ELLIS'S thinaph aoe = he Bile 40 ARMONIC SOUNDS. These are boll-like tones termed Harmonic, and are found at certain frets on the fin- gerboard, viz: the 12th oth 7th 5th 4th and gra, They are produced by placing a finger of the left hand exactly over the fret, ex- cepting those at the third fret which must be fingered about two eighths of an” inch towards the fourth fret. ‘The left hand finger must not press the strings down on the fingerboard, but only touch the strings with sufficient force to prevent them sounding open. The strings should be struck energetically near the bridge to bring out the tone, raising the left hand finger immediately after so as to allow the string to vibrate. ‘As has been stated (page 10) all notes of the Guitar sound an octave lower than writ- ten, but in the following table the Harmonic tones are written exactly as they sound. It will be noticed that the Harmonics at the fourth fret, are also obtained at the ninth, TABLE OF THE HARMONIC SOUNDS. jath Fret. 7thFret. 5th Fret. 4thrrat. othrret. 3d Fret. 2 4st String. 2d String. 3d String. & ae ath String. 5 sth String = eth String. ELLIS’: thorough echosl for the: Gulia as a EXERCISES IN HARMONICS. JEANIE MAZURKA. (Turners Guitar Journal N92) Herbert J. Ellis, 5 #4 Tarte Har: 12, Lowa 1 nari, MH [oa i: F Har? 12, SYNCOPATION. The torm Syncopation is used in music to express peculiarly accented passages; that fs, when the accent falls upon thoso parts which are usually unaccentod, as in the following examples. Single Notes. Chords. ELLIS's thorough sonool for the Guitar 6 THE DRUM. The Yrum is very effective us an imitation, and is performed by raising tho hand six Inches or more above the soundboard and striking vcross the strings forcibly near the bridge with the side of the thomb. The thumb must full wilh * decided spring from the wrist, raising it immodiately, so as to clear the strings, THE NAILS. The Nails or Raseando, is —liko tho Drum= a Spunish style of playing and is performed by nearly closing the fingers of the right hand and then throwing them open in such a manner as to strike (he strings with the nails in rapid succession, beginning with the lowest note. THE DASH. The Dash, so ealled because a dash is drawn throngh the chords, is perfor: med by drawing the thimb across the strings away from the player. The action of tho first finger is just the reverse. striking back again. The Thomb chords are written this, —~ and finger chords ~. EXAMPLES. Written, Played. Written. Played. ‘Thumb ond First Pinger alternately. 2 ee ew FLLI% thorouet school for the uit, « THE CAPOTASTO. ‘The Capotasto Is a very convenient arrangement by which the Performer Is enabled to make any fret serve him as tho nui, This is effected by fitting a small appa- ratas of wood or metal across the fingerboard, and just at tho back of the desired fret. The Capotasto is a transposer and by lis use one can play a piece of music several notes highor than written,ob. tatning more force and brilliancy, without changing the writ- ing or the fingering, When the Cupotasto is used, the fret at which it is placed Docomes the nut, and the next the first fret, the others in suecession the second, third ete; the fingering being the same in all respects as if the Capotastowere mot used TABLE SHOWING TRANSPOSITION. Capotasto on First Fret. Capotasto on Third Fret. # + Tramsposed to, | Tronsposed to, 5 | San ‘Transposed to Transposed to Transposed to ‘Transposed to 3 = == i $ 3 a oe ‘Transposed to ‘Transposed to i — ie 7 = - # : FLLIS%e thoneegh schoe! far the Guitar, o at THE POSITIONS. Fach fret on the fingerboard is called « Position (see page 12) ‘There are twelve positions, and among these there are five which wre called principal positions, as they ure most in use, and a knowledge of them is sufficient to get acquain ted with the others. ‘The principal positions ure the 1%, 4%, 5%, 74 and pth. For the scale in the First Position see page 1. FOURTH POSITION FIFTH POSITION. Sixth String Filth.) Fourth, Third.) “Second, | First. | ee Serine a dates r SE ae bogs ELLIS's thorough school for tha Guita a6 as SEVENTH POSITION, (Sih Shing] Win] eae A 14 4 a EXERCISE. 2 att Third.) Second. | “First, ia 6 Le a: a1 4 ae NINTH POSITION. YSisth String. | Firth our | Third, 7 "Second. 7 Firsts 7 cma’ * 4g 1a fut at 4 & EXERCISE. So itaa: PRR E EK seein, (t= priest safttite a Pere atts io Ate ay rae aan = ata : e | AG A CHOICE SELECTION OF PIECES. ARRANGED PROGRESSIVELY GALOP. Guitar. e Guitar. é I SLUR WALTZ. er Pres Z rF ter. rer rr ELLIS thorowgr schoe! for the Guitar, rr MY LADY. VALSE, #preawee ey aes HARMONIC WALTZ. Har. 12... a8. THE LAST ROSE OF SUMMER. IVY SCHOTTISCHE. Great Barns Guitar. a zx Guitar. 5 ELLISE thorough schoo! ‘or the Guitar “ ay EMMELINE SCHOTTISCHE. 5 | pe tF HERBERT J. ELLIS. Guitar. Z a oe * Seaaieaa er? f Guitar. ¢ ELLISY thore.£* school fer the Gi ter SERVIAN GALOP. (ns 7 oe PENSEE FUGITIVE. HERBEAT J. ELLIS. Andante. Guitar. 3 we ELLIS's thoccosh aches! for the Gu itd, o 7 ¥ ? Miap ETP a es Allegretto. i Guitar. gt ARIA. Larghetto. 2 a“ Guitar. VALSE IN F. ‘Tune oth string up to F (see page 10) ELLIS’ Uorough school for the Gurtan, Ps GRAND MARCH FROM NORMA. Guitar. gis 4 eS s or Sa SIX STUDIES. The following six studies should be carefully and persevoringly practised. CARULL. oe Srpemneabtntiem ata rT tt T i 55 CARULLI fac. CARULLI. med S33 > Z == ELLIG' thor gh aahoo! forthe iter CARULLI. Andante -!, 86 not rs ae ‘to = CF re a at —=a rate Jas es at Bast | a3, 58 7 CARULLI. Allegretto. ELLIS thonnach achort for the Gul 3 Poco Allegretto. CARULLI. 60 DIFFERENT TUNINGS. Varions methods of tuning the Guitar have been introduced by different writers and performers, (see page 10), and many have found much favor with the E major tuning, for which a large number of solos have been written, generally brilliant and of fine effect when well executed. The E Major Tuning. HERBERT J. ELLIS, aicElLls. FLLIS's thanough Ger00} for the Guitar 61 a Bit” Pouth. Tied") Seoond. 7 Scale. = —__ pe =] S42 fue © t ze3 7 This tuning is effectively used in Marches, Fandangos \e. SPANISH FANDANGO. OL tret oth wm x = Sa = * = Other tunings are used for picees requiring them, notably among these being that in the key of C. Third. Second, First. < - ‘The Scale has not been written for this tuning, as only the bass strings areultered and these are played as open notes. ‘i Ss It has been thought advisable to insert the Spanish Retreat in this work, which is in this tuning. (see page 64.) ELUS's Uorough schoo! for Yow Guluar. 4 . THE FLAT KEYS. The Flot Keys are little used on the Gullar owing to their difficulty, but if the Student has Well mastered the Great Barré they will be found tolerably easy; but generally the Capotas- to is used to transpose accompaniments etc, into easier keys, B? MAJOR. a saul 1 Scale. ae ra Gr Barve Gr Berd, C. MINOR. ie bere 5 pee ee BPoe.GrBawé BMP oe oP A’ MAJOR. Scale. ELLIS’ thoreuch for tre Buiter a 63 F. MINOR. Scale. gees ARPEGGIOS. ‘The Arpeggio Chord proper is explained on page 8.but the term Arpeggio is also applied to chords spread out in Harp-like fashion, as in the following exercises, They are given for exer - cising the right hand, and their introduction has been delayed to this point that the Student might be hotter prepared to derive advantage from their practise, ped eed aude ELLIS's thormugh for the éuiter aw 6a THE SPANISH RETREAT. ‘This piece fs intented as an imitation of the advance and retreat of a military band. . The harmonics imitate Bugles, When a single note occurs, play it on the 44 string; when two, 4! sand 6'2:- the figures at the Har: indicate the frets. At this mark 4 the thamb : At this mark“(” the first sweeps the 1,204 and 3% strings. and 5tH-three, 4% sweeps the strings from the Tune the Guitar thus: Sixth string] Fifth, | Fourth. | Third, | Second. pues @ poco titand 24! Rupes N 5 A a jy py Sg Ppa fe ds cert tort erese.” \porco a poco ELLIS% thorough seed Forte ker 0 SIX DUETS FOR TWO GUITARS. THE CARNIVAL OF VENICE. ranged by Hi Cupotasto 3! fret for solo Gultar only. LSE ISI Ste s 4 GUITAR. eS rere rT 218 GUITAR. = PPP? FR PR PP Pe r PRINCESS VALSE. Seeond Gullar raise 6! string to F. CARULL! 42 GUITAR. 2

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