MEL BAY PRESENTS ys GUITAR A054: By John Griggs & Carlos Barbosa-LimaAbout the Authors ‘The Brazilian classical guitarist Carlos Barbosa-Lima is acclaimed as one of the leading. guitarists in the world. Since his first U.S, tour in 1967, he has had international attention, performing as guest soloist and in recital with orchestras and music festivals throughout the world. Bom December 17, 1944 in Sao Paulo, Brazil, he began studying the guitar at the age of seven A chance encounter in a guitar store with Luiz, Bonfa, Brazil's top guitarist at thattime, brought good advice; to study with Isaias Savio, the father figure of the modern Brazilian guitar movement. In later years, Bonfa would remember, “The youngster was fingering a guitar, trying to discover its secrets. 1 stopped to listen, and his playing gave meno doubt that he would one day become a great interpreter of this magnificent instrument.” Carlos Barbosa-Lima did study with Savio during his formative years, and by the time he was twelve, he had recorded an album, appeared regularly on Brazilian television, and made his concert debut in Sao Paulo, Small wonder he was considered a child prodigy. In 1968, he had the rare opportunity to study with the great Andres Segovia. Today, Carlosiis on the faculty of the Manhattan School of Music and conducts master classes around the world, continuing the legacy of his teachers, After a successful performance at Alice Tully Hall in New York City in 1972, he toured the Americas and Europe. He moved to the United States and, with the east coast as his base, travels the world Although his approach to the music is classical, he eschews musical barriers, and his playing integrates many styles—classical, Brazilian, popular and jazz. He explains, “Perhaps it was because of my own development in Brazil, where we do not have this air-tight division between classical and popular. Talways felt a great affinity for the popular style treated in a classical way.”” This musical philosophy makes him perfect for the Concord Concerto label which records with a classical approach to contemporary music and a contemporary approach to classical music. To date he has recorded ten albums for Concord. ‘The ease with which Carols Barbosa-Lima moves from one style of music to another enables him to do incredible transcriptions for the guitar. He has transcribed compositions by Scarlatti, Bach, Handel and even Scott Joplin and successfully arranged works by Gershwin, Sondheim, Cole Porter and many Brazilian composers. Many contemporary composers, including Ginastera, have written and dedicated works to him. Mark Holston wrote in an article for Guitar International: “Brazilian virtuoso Carlos Barbosa- Lima has used his extraordinary talents to reshape the boundaries of the classical guitar’ repertoire.” John Griggs founded the Griggs School of Music in 1957. Since that time, he has taught ‘thousands of pupils to play jazz guitar and classical guitar. Many of his pupils have become teachers and performers, Also, John established the first guitar department at the college level in the state of Virginia. Since then, guitar departments have blossomed statewide. Currently, John teaches guitar for Old Dominion University, Virginia Wesleyan College, and Tidewater Community College, in addition to his own private teaching, Besides teaching, John performs with The John Griggs Trio. They have performed in concert with such notables as Charlie Byrd and Carlos Barbosa-Lima, For years, John sponsored the Griggs School of Music Concert Series, the most prestigious concert series yet tobe presentédiin the Norfolk/ Virginia Beach area of Virginia. The series presented the world’s greatest artists in concert, ie., Andres Segovia, Isaac Stern, Beverly Sills, Van Cliburn, Victor Borge, Roberta Peters, Carlos Montoya, Dave Brubeck, Alicia DeLarrocha, Peter Neto, The Houston Ballet, Jose Greco, Roger Williams, The Duke Ellington Orchestra, John Williams, and Julian Bream, to name but a few. John also finds time to transcribe, arrange, and compose works for the guitar. He has been published by Belwin-Mills and Columbia Music Company. His music has been recorded on Bird Records, Unart Records, and United Artists Records. John was a pupil of Sophocles Papas.Foreword ‘The most beneficial practice of scales will be accomplished by playing them slowly at first (J =80 approx.), in quarters J; then in eighth notes >) with the accent on the first note of each two notes; then in triplet eighth notes [77 with the accent on the first note of each three notes; then in ixteenth notes FT-F 7 with the accent on the first note of each four notes. After becoming comfortable practicing sixteenth notes, syncopated accents may be tried. Ex {T) Thor AT) Tho AT) There Practice the scales “apoyando” (rest stroke) and then “tirando” (free stroke). After being comfortable with both styles, then practice starting the scale “tirando” and at some point (perhaps the 3rd string) changing to “apoyando” and then back to “tirando”—this will greatly help to increase the dynamic effect of starting “piano,” then crescendo until “forte,” and then decrescendo back to “piano.” No matter what style, the dynamics should always be stressed and results achieved. Always aim to produce a clear tone with a precise attack, vigorous when practicing slowly and lighter in faster tempos. This is another Way of practicing: “forte” first, then “piano”; always trying to achieve a dynamic effect. MEMORIZE EACH SCALE. For reference, the respective positions on the fingerboard should be kept in mind and their movements, Ex: C major: pos. II - V - II (within two octaves), G major pos. I- VII - XII - VIT-II (within three octaves), Crescendo- forte,” etc Each scale has been fingered in one of the many ways possible. Intentionally, a constant finger pattern has been avoided, which has been a cause of difficulties with most aspiring guitarists in finding ways out when struck by memory lapse or failure of concentration. Important Practice: Transpose all scales which do not have open-string notestoakey abalfstep higher and then to a key « half step lower; then to a key a whole step higher and then a whole step lower; and then transpose to all other keys using the same finger pattern. Transpose mentally, preferably by memory. Vary the right-hand fingering from scale to scale, as suggested, to gain good independence of the fingers, Other right hand finger patterns which should be learned include amir, pipi, pmpm, papa, pimi, pama, pima and pami ‘The guitar fingerboard is very complex. The options for fingering each scale are numerous. Definitely, one must hearthe sound of the harmony over which the scale is played. Then the phrasing impulse of the scale will define a certain fingering choice. At that moment of commanding the fingerboard, the guitarist will be able ta choose his/herchoice. In the developing stage, itisimportant to experiment with different pattems as a good mental exercise to help the mind gain command of the fingers, Keep in mind that singing each scale will be of great help. Itis recommended that singing the scale before playing will achieve the best results. Combine scale practice with practicing scale passages that occur in musical works, Remember—technique has to serve the musical needs. Finally, for those aspiring toacareer asa professional guitarist, itis absolutely essential that this entire book be memorized and mastered at the earliest possible time—with continued practice “ad infinitum,”Diatonic Scales-both Major and Minor -MEMORIZE- by: John Griges Practice apoyando (rest stroke) and then tirando (free stroke), Play each scale in quarter notes, Carlos Batboss-Lima ccighth notes, triplet eighth notes and sixteenth notes. p= Thumb (BMD) i= Index Finger liddie Finger snular (Ring finger) E Minor (Harmonie)4 jinor (Melodie) 143 4, E Minor (Melodic) oa4g bebte 248.3 bao, B Minor (Harmonic) B Minor (Melodic)Fé Minor (Harmonic 44¢i mam Fe Minor (Melodic)C# Minor (Melodic) — so wip wit? M6 tet 1816- 41211 T —— ren M4 42 se — cog tonne an Bee — = 2 G4 Minor (Harmonic) pone tue dis = — = ga 8a = wi 866 5 |G# Minor (Melodic) Fé Major Pg oman D# Minor (Harmonic) (eee ES esi? iS — = Dé Minor (Melodic)Gb Major 6 vitae ya53s see's © 0.00. @O_Bb Minor (Harmonic) 1 imam a 7 OO. ®@ 0 __ 1@—_@—__@. oO” SE elt elat gla EL EELEEL EE EEL EL ne Bb Minor (Melodic) su lis Cee = ere o. ___.©30@__.0___ 9 1 0_0¢ 7 ————— — 10-12 ee = oe O65, 08 6 ee ea, F Minor (Harmonic) 2teite : 2 abbresiedus 10F Minor (Melodic) repel PP o 22h © te eg gra gg a ie: Eb Major ie | ——— aoe FE : =e =| 8 — SS SEES C Minor (Harmonic)17 18-4745-13-14-10 G Minor (Harmonic) G Minor (Melodic) a@mam 134) 12D Minor (Harmonic) D Minor (Melodic) C Whole tone 1 1 Pp * he 3s 24 6 Eee 13Chord Scales From the Root “E” Play and memorize each scale. Sing each scale while playing only the bass part, Transpose to all keys. by: John Griggs Carlos Barbosa-Lima MI) Major Modes E Ionian) (pie Sia eS =a = (E Lydian) en(E Mixolydian) Harmonic Minor Modes (E Aeolian) 15Spa (comers n f eo) T ae B— —(E Lydian) Melodic Minor Modes (E Aeolian) a toe Oe (E Ionian) 7(E Dorian) E Whole toneScale Addendum - Other Fingerings - A Minor (Melodic) 4214 16-17-45-19.1210 se eS "4912 10-865 ae eS — 16-14 12-09, tices cad © OOOO OO ORS Oe 19Slured rhythmic seale Eb Minor (Harmonic) (ones ied) a o * Cross string “a la harp” scale. (Mixing harmonic sounds and regular sounds with a rhythmic pulse.) Start playing at the sound hole then move “al tasto.” 20