~g~\Wr

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&U!~AB
JJ!B!BOD
Edtied by Brian Jeffery
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 &U!TA!I~
K!I~BOD
E dtied by Brian Jeffery
Tramlated by Loutie Bigwood
 ACKNOWLEDGEMENTS

Thanks are due to the many who helped in the preparation of this book, especially to
Gabriel Oller, Matanya Ophee, Vladimir Bobri and Martha Nelson, Paul Cox, Rodney
Nowakowski, H.E. Huttig III, V. Gerald Scordan, James Bogle, the courteous staff of
many libraries, and the many subscribers who made this book possible.

Copyright © 1981 and 2004 by Brian Jeffery and Tecla Editions.

Design by the Philidor Press, Boston.

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First published by Tecla Editions in 1981. Second printing 2004.

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www. tecla.com
 Page

List of subscribers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vu

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1X

Aguado's preface to the 1843 edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

PA~T OM!J~
T:h~~~~-~!~~l ~~i :P~~~t!.~~!
Chapter I. Concept of the guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Chapter II. Nature of the guitar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chapter ill. Names of some parts of the guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Chapter N. The Tripod or Aguado Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Chapter V. Conditions for playing the guitar well . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Chapter VI. Conditions required in a good guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Chapter VII. Conditions for the player and where he plays . . . . . . . . . . . . . . . . . . . . . . . . . 9

Chapter vm. Meaning of some words and abbreviations; how to tune the guitar;
and how to choose strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

PART TWO~
P:ractioel

Chapter I.
Lesson 1. Mounting the tripod; position of guitar and player . . . . . . . . . . . . . . . . . . . . . 13
Lesson 2. Plucking with the right thumb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Lesson 3. Stopping the strings with the fingers ofthe left hand . . . . . . . . . . . . . . . . . . . 16
Lesson 4. Semitones and tones with all the fingers of the left hand. . . . . . . . . . . . . . . . . 17
Lesson 5. The left hand contributes to producing full and rounded notes . . . . . . . . . . . . 18
 Lesson 6.
Practice of the same technique (continued) . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Lesson 7.
Plucking with thumb and forefinger in tum . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Lesson 8.
The same (continued) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Lesson 9.
How to play chords of three notes at once, i.e., simultaneous chords.
Use of the thumb, forefinger and middle finger of the right hand . . . . . . . . . 22
Lesson 10. Reading and playing two,part music. How the parts are written . . . . . . . . . . 22
Lesson 11. The same (continued) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
»
Lesson 12. 24
»
Lesson 13. 24
»
Lesson 14. 25
Lesson 15. " ......... .. .............................. . 26
Lesson 16. Knowing and using the equivalent sounds .......................... . 26
Lesson 17. The left hand begins to move along the neck of the guitar . . . . . . . . . . . . . . . . 28
Lesson 18. The fingers of the left hand become accustomed to being well spread ...... . 29
Lesson 19. Beginning to use the middle finger of the right hand in conjunction
with the forefinger, practically without moving the left hand . . . . . ..... . 30
Lesson 20. The same exercise moving the left hand slightly more .................. . 31
Lesson 21. Continuation of the same ....................................... . 33
Lesson 22. Playing three parts at a time; the fingers of the right hand begin to move more 33
Lesson 23. The same exercise moving both hands more ......................... . 34
Lesson 24. Both hands move more. Practising equivalent sounds .................. . 34
Lesson 25. Slurs. Slurring two notes, ascending and descending .................. . 35
Lesson 26. The same exercise ............................................ . 36
Lesson 27. Playing the simple ascending appoggiatura .......................... . 37
Lesson 28. Simple descending appoggiatura .................. . ............... . 37
Lesson 29. Double ascending and descending appoggiatura ...................... . 38
Lesson 30. Another double appoggiatura .................................... . 39
Lesson 31. Simple mordent and barre ....................................... . 39
Lesson 32. Continuing the same exercise .................................... . 40
Lesson 33. Double mordent .............................................. . 41
Lesson 34. Anticipatory use of the barre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Lesson 35. Arrastre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Lesson 36. Ascending and descending arrastre on one and two strings. . . . . . . . . . . . . . . 44
Lesson 37. Trills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Lesson 38. Holding the notes of one part while the notes of the other move . . . . . . . . . . 45
Lesson 39. The same exercise with more movement in each part................... 45
Lesson 40. Continuing the same exercise..................................... 46
Lesson 41. Practising intervals on the guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Lesson 42. Reading several chords one after another. . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Chapter II. The Wealth of the Guitar

Lesson 43. Harmonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Lesson 44. Prolonging the sound, held by the left hand. Vibrato . . . . . . . . . . . . . . . . . . . 53
 Lesson 45. Sounds produced by the left hand alone......................... .... 54
Lesson 46. Silenced sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Lesson 4 7. Similar effect to that produced by the violin, viola and bass together . . . . . . . 55
Lesson 48. Different qualities of the same sound on a single string . . . . . . . . . . . . . . . . . . 56
Lesson 49. Campanelas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Lesson 50. Particular method of plucking with the right thumb and forefinger . . . . . . . . . 58

Chapter ill. Imitations: Drum, Trumpet, Harp 59

Chapter I. Exercises for the right hand- for the thumb, forefmger and middle finger 67
For the thumb, forefinger, middle and ring fingers. . . . . . . . . . . . . . . . . . . . . . . . 73

Chapter II. Exercises for the left hand

Ascending diatonic scale ofF major played on one string . . . . . . . . . . . . . . . . . . 79
Scales on one string . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Two~octave scale played on the six strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Two~octave scale played on the second and first strings. . . . . . . . . . . . . . . . . . . 82
Two~string exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Chromatic exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Exercises in thirds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Exercises in thirds on all the strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Exercises in sixths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Sixths on the third and first strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Sixths on the fourth and second strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Sixths on the fifth and sixth strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Sixths on the fifth and third strings . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . 100
Exercises in octaves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Exercises in tenths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Exercises to practise every day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Exercises on the frets beyond the neck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Using the barre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Preludes or indications of the key in which a piece is to be played . . . . . . . . . . . 110

s~ ~~ H Stubi-~~....... .. ....................... 113

Section 8F'ouz H L9xpz~ion

General considerations on how to give feeling to the music. . . . . . . . . . . . . . . . . 143
Section SF~ve H gjbea~ oa fa t+tifi/~1>iltt t·ui·t~ the
note-z-~H--9fe· op tfte gt-Ltit~~
Chapter I. Intervals and their inversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Chapter II. The perfect chord and its different positions on the guitar
Article 1. The perfect chord and its inversions . . . . . . . . . . . . . . . . . . . . . . . . . 149
Article 2. Positions of each key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Article 3. Different forms of practising the perfect chord on the guitar . . . . . . . 151

Chapter III. How to form the most common discords on the guitar
Article 1. Chord of the dominant seventh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Article 2. Problems which the pupil can set himself in order to master
the perfect chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

The Appendix of 1849/50. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

 LIST OF SlTBSCRIBERS

Michael Albertson Mijndert Jape Roland and Janet Stearns

Miguel Alcazar John Gregory Jaworsky Charles E. Struppa
Malcolm 0. and Carla Anderson Paul Kegel Jun Sugawara
Neil Anderson R.L. Kenyon Jeffrey Swerdlow
Kerry Arlt Frank Koonce Josee Tellier
Alice Artzt Barna Kovats Michel Thiolat
Richard Baker Roger W . Landes Edward J. Thomas
Alessandra A. Belter Anne Lauzon Tommy D. Thompson
Christopher B. Berg David Lehman Andre F. de Ia Torre
John Blazich Howard W. Lehman Jean-Louis Tremblay
Brent Block Dr Nels Leonard, Jr. Robert S. Trent
John V. Boehm Michael Lorimer Donald E. Turner
Christopher Boydston Robert J. Ludwig Randy M . Ullom
Clare Callahan Leslie J. Lyon Jeffrey Van
Glenn Caluda FrankL. Maclerran John Ver Haagh
Philip Candelaria Manley T . Mallard II George Vick
Yu-Hwa Cheng Mark Manoff Eugene Ward
George R. Conyers Jose R. Matta John L. Weeber
Lynn E. Cooklock The University of Miami Thomas Griffin Wins low
Federico A. Cordero Margaret W. Mistak Merrill H . Zobrist
Paul W. Cox Thomas A. Morganelli
Peter Danner Jo Motta
Michael Decker Terry Muska
Richard A. Deer Martha Nelson
Damian Dlugolecki Robert Neveu
Henri Dorigny Raymond Niemi
Daniel Dubuc California State University, Northridge
Jean Durcak Mordehai Oliver
Classical Guitar Society of Edmonton Gabriel Oller
Richard Estes Matanya Ophee
Linda Falzone Christopher Parkening
Michael Fink Neil D. Pennington
Paul-Andre Gagnon Raul G. Perez
Randall W. Gildersleeve Hibbard A. Perry
George Gilmore Ronald R. Pettit
Anthony LeRoy Glise Ronald Charles Purcell
Roland 0 . Glover Roger Quin
Thomas E. Greene Robert C . Reberger
Richard P. Grendahl Recorder Workshop
Melva Grogan Wayn A. Resta
Ronald L. Grosswiler Alan Rosenkoetter
Greg Hamilton Alain Roy
Neal Craig Harris Richard Sagala Vaillant
Manfred Harter Peter E. Segal
MichaelS. Hatfield Norman Sholin
Bernard Hebb James M. Skewes, Jr.
Juan Helguera Carol Slonetsky
Kathryn Howard Douglas W. Smith
Roger J . Hunthausen Wynn Smith
Frank lgou Frank Sommers
Carlo Iorio Michael J. Soukup
Ako Ito Robert S. Squires

Vll
 I

Dionisio Aguado's New Guitar Method, first published in Spanish as the Nuevo Metoda para
Guitarra in Madrid in 1843, is an epoch-making work in the history of the guitar. Here are set out
and discussed all the technical issues which concern modern players: correct hand-positions, angles
of the fingers, ornamentation, special effects-always with an insistence on the one factor which
more than anything else has enchanted today's audiences: the magical sound of the guitar, its very
special tone-quality and how to produce it. It is the most detailed and thorough of the early nine-
teenth century methods for guitar; and more than that, in it and in its earlier versions Aguado set
out and codified for the first time the guitar technique which we use today. Because of the book's
continued relevance, as well as because of its fundamental position in the history of guitar tech-
nique, it has seemed desirable to make it available in English.
The text from which it has been translated is Aguado's genuine and complete original text. The
point is worth emphasizing. For although generations of guitarists have known that Aguado's
method for guitar was famous, and although Andres Segovia has frequently recommended it to
students, there have been several utterly different books on the market all claiming to be "Aguado's
method for guitar". It was impossible to know which of the modern editions (if any) was authentic.
The early editions themselves were confusing because of the many versions, editions, issues and
translations which were published in the author's own lifetime and which had not been distin-
guished by bibliographical work. Because we did not know which version was written at what
date, it was impossible to assess accurately Aguado's achievement or his place in history, and cer-
tainly impossible to use his evidence accurately in any historical discussion of the guitar. Nor were
reliable editions of his pedagogical pieces possible, because their sources were not properly
distinguished. Now the bibliographical research has been done, and is presented in this introduction
for the first time in print.' The text in this book is that of Aguado's own final edition and represents
his fullest and final reflections on the subject of guitar technique, without the interference of any
later editors or players.
Dionisio Aguado was born in Madrid in 1784, and died there in 1849.2 He devoted his entire life
to the guitar. Unlike his older Spanish contemporaries Sor and Moretti, he is not known to have
composed any music whatsoever that was not for solo guitar; no choral music or piano music or

' A shorter version of this introduction was published in advance of this book as "I metodi per chitarra di Dionisio Aguado" in II
Fronimo, Milan, 1980.
2 The information about Aguado given here is of necessity based on my own research, since no serious research on him has yet

been published. The reader should be warned that a large number of statements about his life given in encyclopedias and music his-
tories are false, either slightly or glaringly. Editions also are unreliable . Thus, one edition called Aguado-Sinopoli: Gran M etodo
Comp!eto para Guitarra (Buenos Aires, Ricordi, n.d . [c. 1947?] is a mere compilation by Sinopoli based only vaguely on Aguado, with
pieces by a variety of composers. Another, called A guado: M etodo de Guitarra, nueva edici6n revisada por R. Sainz de !a Maza (Madrid ,
Union Musical Espanola, 1943; slightly revised reprint, 1977) contains nearly all music and little text and has no value to anyone
interested in Aguado's ideas on technique or pedagogy, for those ideas are nearly all omitted or seriously altered. Only one edition in
Spanish, published by Ricordi in Buenos Aires under the title of Aguado: M etodo Comp!eto de Guitarra (plate number BA 6231) is
somewhat close to Aguado's own 1843 edition, though with many small changes - but there is no way for the reader to know that that
is the case, for the edition does not tell us so.

lX
ballet scores like Sor, no songs or chamber music like Moretti, not even any guitar duets. Nor did he
take any active part in the tremendous political events of his day: whereas Sor and Moretti were
both commissioned officers in the Spanish forces and fought in the battles against the invading ar~
rnies of Napoleon, Aguado merely retired with his mother to his property in Fuenlabrada, a village
outside Madrid, and devoted himself to the study of the guitar. 3
The result is a certain lack of breadth of vision, but on the other hand an intense concentration on
detail. No writer before him (or indeed, it is probably true to say, after him), in any country or at
any period, studied and analysed guitar technique to such an extent. And there is no doubt of his
success: the technique which he set out is, in all its essentials, identical with that which has been
generally adopted today.
The "Escuela de Guitarra" (Madrid, 1825)
The essence of his teaching is already present in his first method for guitar, the Escuela de
Guitarra, which he wrote in Spain in the early years of the nineteenth century and which was
published in Madrid in 1825. Three copies of it are known to survive. The full title is as follows:
Escuela de Guitarra, por Don Dionisio Aguado. Propiedad del autor. Precio 120 R[eale]s. Con
Licencia: Madrid. En la irnprenta que fue de Fuentenebro. Aiio 1825. Grabado y estampado por B.
Wirmbs. Se vende en la Guitarreria de Mufioa, calle angosta de Majaderitos. 4
This early work is already a full and complete method for the guitar and represents an entirely
new approach to the instrument. Aguado well understood this when he wrote in its "Pr6logo" that
the style of guitar playing had greatly changed in the recent past and that a treatise to deal with the
modem style was needed. Also, of course, the instrument itself had recently changed, from the
baroque guitar of the late eighteenth century with five double courses to the basically modem early
nineteenth century guitar with six single courses. Aguado's Escuela is the first comprehensive
method for the modem type of guitar. Not only that, it is the first method for the instrument which
is recognizably modem in its approach. It addresses issues which are still with us today, such as the
differences in sonority between a note on one string and the same note on other strings at different
frets (which he calls the "equisonos"), whether to play with nails or not, the angles of the left and
right hands, and so on. Clearly it reflects new ways of thinking and a new methodology of teaching.
To judge from the layout of the book, pedagogical ideas from outside Spain must have reached and
influenced its author. Nevertheless it does stay in a number of respects within a native Spanish
tradition-for example, in that as well as technique, it teaches the elements of music as applied to
the guitar, something which Ferandiere had done only a few years earlier, in 1799, when Aguado
was fifteen years old. 5
' Baltasar Saldoni, Diccionario de Efemerides de Mt1sicos Espaiioles, II (Madrid, 1880), pp. 251-4, article "Aguado." Saldoni's article
is based, often word for word, on the corresponding article in the Diccionario de la Mt1sica of Jose Parada y Barreto (Madrid, 1868),
which in its turn is based on an article on Aguado published in the short-lived Gaceta Musical, I (Madrid, 1855). See also (with
reservations) M . Soriano Fuertes, Histdria de la Mt1sica Espaiiola, IV (Madrid and Barcelona, 1859), pp. 212-3.
• Copies are in London, British Library; Madrid, Biblioteca Nacional; and Chicago, Newberry Library. The title above is taken
from the Madrid copy. The date on all three copies is 1825. Yet in the preface to his 1843 method, Aguado wrote that he had
published the Escuela in 1820. (This is doubtless the source ofR. Sainz de Ia Maza's statement, in his edition listed in footnote 2, that
Aguado's method was first published in 1820). Until now, however, no copy has been found with a date earlier than 1825. Domingo
Prat, in his Diccionarto...de Guitarras ... {Buenos Aires, 1933), p. 130, states that he is writing with a copy of the 1820 Paris edition
before him; but this is demonstrably incorrect, since the first Paris edition certainly does not date from before 1825 or 1826 (see
below), so perhaps Prat's whole reference is wrong. Certainly no copy has yet been found with the date 1820, and unless and until one
is found, the existence of an 1820 edition of the Escuela must remain hypothetical.
' See Fernando Ferandiere, Arte de tocar Ia Guitarra Espaiiola por Mt1sica (Madrid, 1799) (facsimile edition: London, Tecla
Editions, 1977).

X
 The Escuela de Guitarra has 6 + 29 + 111 pages and 441 paragraphs of text. There are 131
lessons, each usually with both text and music (the musical pieces are at first short and then longer
as the book goes on). Altogether there is a great deal of explanatory text. There are also fourteen
exercises for the agility of both hands, and thirty studies. Sixteen of the thirty studies also appear in
the 1843 method and have been published in modern editions; but the other fourteen do not, and as
far as I know have not been published in modern times. Noteworthy pieces among these fourteen
unpublished studies include no. 7 inC minor, and the very long and developed no. 29, in D.
The book, however, is far more than a collection of music: it is essentially a text which deals at
length with all aspects of guitar technique. Its writing is clear, its music plentiful. It occupies a highly
important place in the history of the guitar and must be studied by anyone in the future who at,
tempts to write any kind of history of the instrument at that period or who is interested in historical
performance practice. No modern edition of it has yet been published.
The Escuela de Guitarra, according to its "Prologo", was preceded by a collection of studies, com,
posed in 1819 and apparently published in that year or shortly after, perhaps in 1820. Aguado
writes:"Su falta [the lack of a method] me movi6 a escribir en el ano de 1819 una Colecci6n de
estudios, cuya edici6n se ha concluido hace algun tiempo; pero al publicarlos no tuve presente que
seria dificultosa la inteligencia de los mismos en razon de carecer de un metodo elemental:' ("The lack
of a method caused me to compose in 1819 a collection of studies, which has been out of print for
some time now; but when I published them, I did not realise that they would be difficult to under,
stand for lack of a method.") No copy of this collection of studies is known to survive. But from the
description of it, it is clear that it contained only music and little or no text; and Aguado goes on to
say that most of the studies contained in it were later also published in the Escuela. So now we
know that some of Aguado's famous studies for guitar (until a copy of the collection of studies is
found, we do not know precisely which ones) apparently were composed specifically in Spain in
1819.
But a collection of studies is not a method. The two things are completely different, and Aguado
in the passage quoted above made the distinction perfectly clear. A tendency among modern
editors, therefore, to regard Aguado's studies as constituting in themselves the essence of his
method, must be firmly discounted: there is no question at all but that a method, according to
Aguado himself (and, it may be said, according to any sensible teacher) is a text which discusses the
technique of playing an instrument. Thus, when we speak of Aguado's method for guitar, we must
mean one of those versions of his method (there are three of them, as we shall see) which consist of
an extensive text, with music that illustrates and complements it.
The Escuela de Guitarra might have had small influence on the world, had not its author travelled
to Paris in 1826, after the death of his mother in 1824. There he met Fernando Sor once more (they
had met in Spain many years earlier, in 1813 or before)6 , certainly benefited from wider musical
horizons, and made himself and his Escuela known to a wider circle. He composed many new pieces,
and played in a number of concerts. He was to spend some eleven years there. In Paris in 1826
there was published a second edition of the Escuela de Guitarra, with the same title and still in
Spanish, and with practically no changes in Aguado's text.' Also in Paris, ill 1826, there appeared a

• Fernando Sor, Methode pour !a Guitare (Paris, 1830), p. 22.

' Copies are 'in Barcelona, Orfe6 Catala, and in the New York Public Library.

Xl
French translation of the Escuela, under the title Methode Complete pour la Guitare. 8 The translation
was done by Aguado's friend, lover of the guitar and military man Fran<;ois de Fossa, lieutenant,
colonel in the 23rd French Regiment of Line. 9 Again there are practically no changes in Aguado's
text. However, Fossa had contributed to the 1825 edition an appendix on the art of modulating on
the guitar, and this appendix was enlarged -in the second edition and translated into French in its
enlarged form. We may guess that this French translation of the Escuela was the book which made
Aguado best known at this time: French methods for the guitar were highly popular, and this
translation would certainly have reached many of the guitar aficionados abundant in Paris in those
days.

'The "Nouvelle Methode de Guitare", op. 6 (Paris, 1834 or shortly before)

The next method for guitar by Aguado is a completely different book. It is called the Nouvelle
Methode de Guitare, op. 6, and it was first published in Paris by Aguado himself, in French. It is not
dated, but there is evidence that it first appeared in 1834 or shortly before. The full title is as
follows: Nouvelle Methode de Guitare par D. Aguado. Op. 6. Prix 15 flrancs]. Propriete de
l'Auteur. [Picture of a tripodison, with the legend:] "Tripodison, invente par Aguado". A Paris,
Chez l'Auteur, Place des Italiens, No. 5, et chez les principeaux [sic] Editeurs de Musique. 10
This book is shorter than the Escuela de Guitarra and has a different aim. The Escuela had been a
large,scale undertaking, aiming to teach the whole of guitar technique as it existed at that time and
as Aguado himself had developed it; it also taught the elements of music and provided much music
for technical development. The new work has quite a different purpose: to enable the amateur to
play agreeable pieces in a short time. This is set out clearly in the second paragraph:' En ecrivant cet

' Published by Aguado himself from the Hotel Favart, and distributed by Meissonier, C-hanel, and Richault (four copies in Paris,
Bibliotheque Nationale, and one in London, British Library). A later issue is known, published by Richault alone (copies: Copenhagen,
Royal Library; Washington, Library of Congress; St. Louis, Missouri Historical Society; and my own collection). The date 1826 for
the first issue is established by a note in Aguado's own hand on one of the Bibliotheque Nationale copies (shelf-mark L 17003 ): "Je
certifie le present exemplaire de consigne conforme a !'edition entiere qui en a ete faite . Paris 14 Septre 1826. [Signed:] D
Aguado."- This note also gives us, incidentally, a more precise date than was hitherto possible for the arrival of Fernando Sor in Paris
from Russia . In my book Fernando Sor, Composer and Guitarist (London, Tecla Editions, 1977), p. 86, I stated that Sor left Russia for
Paris in late 1826 or early 1827. But the French translation of Aguado's Escuela, published as we now know no later than September
1826, has a note on page 4: "Ceux qui ont entendu Mr Sor se souviendront que ...". This strongly suggests that Aguado had himself
heard Sor play (it is most improbable that he is referring to their meeting long ago in Spain in 1813 or before), and therefore that by
14 September 1826 Sor had already returned to Paris from Russia.
-While this book was in proof, two entries in the Bibliographie de la France came to light, which show that both the Paris editions
were planned by June 1826, and that the French translation was made by de Fossa in direct consultation with ("sous les yeux de")
Aguado. The first, on 21 June 1826, reads : "Souscription a une methode complete de guitare, publiee en espagnol par don Dionisio
Aguado, traduite en fran~ais par M. de Fossa, sous les yeux et suivant !'intention de !'auteur, sur le manuscrit corrige et augmente
pour servir ala deuxieme edition espagnole. In-4 o d'une demi-feuille. Impr. de Gaulthier-Laguionie, a Paris. - A Paris, chez Meissonier
a!ne, boulevart Montmartre, n.25; chez Schlesinger, chez Pacini. Cette methode comprendra environ 150 planches. Elle paraltra dans
les deux langues. Le prix marque, soit en espagnol, soit en fran~ais, est de 30-0. Les souscripteurs ne paieront leur exemplaire que
12-0". The other, on 27 September 1826, announces the actual publication of at least the French edition: "Methode complete de
guitare, par Aguado. Prix 30-0. A Paris, chez Aguado, hotel Favart, place des Italiens".
9 His rank is specified in the dedication to him of Aguado's Trois Rondo [sic] Brillants, op. 2 (Paris, Meissonnier) (copies in

Barcelona, Orfe6 Catala, and Washington, Library of Congress).

'° Copies in Paris, Bibliotheque Nationale (one of them incomplete), and Washington, Library of Congress. With a lithograph by
Hippolyte Adam showing Aguado using his newly invented tripodison. That it was published in 1834 is suggested by an inscription
on one of the Bibliotheque Nationale copies: "Depose a Ia Direction Xbre [December] 1834"; and the book was also listed in the
Bibliographie de la France on 24 January 1835. However, since the Bibliographie de la France listed on that date not only op. 6 but also a
whole series of works by Aguado from op. 6 to op. 14 inclusive, this dating is not entirely reliable as an indication of recent publication
and it remains possible that op. 6 was in fact published somewhat earlier.

Xll
ouvrage je me suis propose d'offrir a ceux qui aiment la Guitare les moyens de jouer en peu de temps
des morceaux agreables~'(Italics original.) ("In writing this work, I have set out to offer to those who
love the guitar the possibility of playing agreeable pieces within a short time".) And he says that us-
ing this book, satisfactory results can be obtained in as little as six months.
The book has 64 pages, and 172 paragraphs. It begins with a preface mostly devoted to recom-
mending the use of the tripod. Then come 28 lessons, each devoted to a particular technical subject,
and 34 exercises, which from lesson 15 onwards may be played along with the lessons. Of the 34
exercises, 12 are for the left hand, 12 for the right hand, and 10 for both hands. Nothing is said at
the beginning about whether the book is intended for self-teaching or for use with a teacher; but in
paragraph 96, a decision is specifically left to "le maitre", and so it seems that Aguado had a teacher
in mind. It is specifically a simple method. There are instructions clearly set out, short pieces de-
signed to give practice in technique, and commentaries on each piece. Altogether, the Nouvelle
Methode de Guitare, op. 6, is a good simplified method; it has interest for anyone studying Aguado
or the history of the guitar, but it is not a major work as was the Escuela de Guitarra. None of the
music, as far as I have been able to ascertain, is the same as any in the Escuela.
The Nouvelle Methode de Guitare, op. 6, was published in a closely corresponding Spanish transla-
tion, called Nuevo Metoda de Guitarra, op. 6, by Campo in Madrid in about 1840. 11 And then the
same Spanish version was published in a new edition (not a reissue, but a new edition, with text
and music completely reset), entitled this time simply Metoda de Guitarra, Obra 6, by
Schonenberger in Paris in about 1844/45. 12
So the second of Aguado's methods for guitar exists in three editions:
The Nouvelle Methode de Guitare, op. 6 (Paris, Aguado, 1834 or shortly before), in French;
A Spanish translation of the same book, called Nuevo Metoda de Guitarra, op. 6 (Madrid,
Campo, c. 1840); and
Another edition of the same Spanish version, under the title Metoda de Guitarra, Obra 6
(Paris, Schonenberger, c. 1844/45) (plate number S.1334).
As a kind of addition to it, there appeared in about 1837 Aguado's Valses caracteristiques, servant
de complement a la Nouvelle Methode (copy: Paris, Bibliotheque Nationale). This consists of a
preface and 38 simple waltzes. Also in about 1837 there appeared another simple pedagogical work:
La Guitare Enseignee par une Methode Simple ou Traite des principes e1ementaires, Pour jouer de cet in-
strument d'une maniere agreable en peu de terns par D. Aguado (copy: Paris, Bibliotheque Nationale).
After an introduction, there are 22 lessons, each consisting of a waltz occupying one page, with
discussions of various techniques on the facing pages; and six exercises. The musical quality is not
high.
The "Nuevo Metoda para Guitarra" (Madrid, 1843)
Now we come to the only version of Aguado's method for guitar which is at all familiar to modem
players: the 1843 Nuevo Metoda para Guitarra, which we have translated into English for the pres-
11 Copies in the New York Public Library and in the collection of Mr Rodney Nowakowski. The edition was probably published
after Aguado returned to Madrid from Paris in about 1837, and certainly before his death in 1849, because the New York Public
Library copy bears his signature. It includes the lithograph of Aguado by Adam. (The New York Public Library copy has been re-
cently rebound, and the modern spine bears the date "1825"; but this dating is certainly erroneous, doubtless through confusion with
the Escuela de Guitarra of 1825).
12 Copy also in the New York Public Library. The plate number is S.1334; not to be confused with the Schonenberger edition of

the 1843 version, whose plate number is S.1320 and on which, as well as on the dating, see note 16 below.

Xlll
ent edition. In about 1837 Aguado returned from Paris to Madrid, and it was there that six years
later he published this third version of his method: an entirely new book, even though it does incor~
porate some elements from the two earlier ones. When he wrote it, he was 59 years old, and had
spent a lifetime devoted to the guitar and above all to its technique. Whereas the Escuela de
Guitarra some twenty years before had broken completely new ground, and whereas the Nouvelle
Methode de Guitare had been designed for beginners, the Nuevo Metoda para Guitarra of 1843 is a
synthesis of past experience, a long and mature work written after years of teaching and playing. In
it we find Aguado's teaching set out in its fullest form . It gives us the latest thoughts of someone
who had devoted his life to the study of the guitar, thoroughly discussed and set in order for anyone
to learn to play and make best use of the instrument. It is a different work from either the Escuela de
Guitarra or the Nouvelle Methode de Guitare. The full title is: Nuevo Metoda para Guitarra por D.
Dionisio Aguado. [Picture of a guitar mounted on a tripodison, with a paragraph of related text] .
Grabado y estampado por Lodre. Impreso por Aguado, 1843. Se hallara de venta en Madrid en las
guitarrerias de Gonzalez y de Campo, calle Angosta de Majaderitos, y en el almacen de Musica de
Lodre, Carrera de San Geronimo, hoy calle de Zayas. Precio 90 r[eale]s [de] v[ell6]n. 13
The printing history of the Nuevo Metoda is somewhat complex. Although the book is a unity
from a musical and didactic point of view, typographically it falls into two parts. The first part is
paginated 1~56 and the musical examples are in a very strange~looking musical type. In his preface
(q.v., in this edition) Aguado explains that the printer of the book, who was also named Aguado,
possessed a fount of music type which he had never used and that the printer's son Eusebito, a pupil
of the composer, put the music in this first part of the book together. The second part of the Nuevo
Metoda has music of a much more conventional appearance, a completely different type face for the
text, and new pagination (1~87) . This second part has the plate number "B.C.1", from which one
may suppose that it was engraved by or for the publisher of the book, Benito Campo. On the title~
page of the earliest known issues are the words "Grabado y estampado por Lodre": this can be inter~
preted as meaning either that it was Lodre who created the music type of the first part which was
put together by Eusebito Aguado, or alternatively that it was he who engraved the second part for
the publisher Benito Campo and added the plate number "B.C.1" for his employer.
The title~pages of the earliest known issues indicate that the book was sold "en las guitarrerias de
Gonzalez y de Campo ... y en el almacen de Musica de Lodre". A later issue omits the words
"Grabado y estampado por Lodre" and "lmpreso por Aguado" and is for sale only at Campo's shop.
In a later edition published by Faustino y Asenjo, Madrid, the first part was completely reset and
re~engraved, doubtless because of the eccentric appearance of the music in that part of the original
edition, but the second part was reprinted from the same plates as the first edition. Curiously,
Faustino y Asenjo nevertheless did not delete Aguado's words about the strange appearance of the
music, even though that note was completely irrelevant now that they had re~engraved the music in
question. - Subsequently, the method (and its Appendix, on which see below) went through
various new editions and issues published in Madrid by Faustino Fuentes (successor of Fuentes y
Asenjo) and by Jose Campo y Castro. 14
" The earliest known copies appear to be those in the collection of Mr Vladimir Bobri and in the library of Texas Tech
University, Lubbock, Texas. The evidence for the early date is the address of Campo, given in those copies as "calle Angosta de
Majaderitos". The title above is taken from the Lubbock copy . In copies in the Orfe6 Catala, Barcelona, and in my own collection,
Campo's address is given as "calle de Cadiz (antes angosta de majaderitos) No. 16", which indicates that those copies are from a later
issue . A lithograph portrait of Aguado is included . This and the lithograph by Adam in op. 6 are the only known portraits of Aguado.
14 A copy of the Faustino y Asenjo edition is in Barcelona, Orfe6 Catala; and of the Faustino Fuentes issue in Barcelona, Biblio-

teca de Catalunya.

XlV
 To the Nuevo Metoda para Guitarra should be added the sixteen-page Appendix to it, which ac-
cording to a note printed in the Appendix itself was in the press at the time of Aguado's death in
December 1849. It contains some further thoughts and reflections and is included in the present edi-
tion. The full title is: Apendice al Nuevo Metoda para Guitarra que en 1843 publico Don Dionisio
Aguado. Madrid. Por Aguado, Impresor de Camara de S[u] M[ajestad] y de su Real Casa. 1849. 15
Despite the date 1849, the note referred to above shows that it was in fact printed early in 1850. It
is found bound with the Nuevo Metoda in some copies.
A Paris edition of the Nuevo Metoda para Guitarra, still in Spanish and with the same title, ap-
peared in about 1844. The publisher was Schonenberger. 16 The plate number (S. 1320) shows that
it appeared shortly before the Schonenberger edition of op. 6, which was discussed above, whose
plate number was S.1334, and whose title was simply Metoda de Guitarra, doubtless to distinguish
it from the present edition. Perhaps Schonenberger decided first of all to print the 1843 text, and
then sales may have encouraged him also to publish very shortly afterwards his edition of the
Spanish version of the simpler op. 6.
Schonenberger's edition of the Nuevo Metoda para Guitarra was reissued in about the 1880s,
under the title Metoda para Guitarra, by the Paris publisher Lemoine, with a new title-page but
using the same plates. 17
So the final version of Aguado's method for guitar exists in two editions:
The Nuevo Metoda para Guitarra (Madrid, 1843 and later editions and issues); and
- The Nuevo Metoda para Guitarra (Paris, Schonenberger, c. 1844) (plate number S.1320) and
its reissue from the same plates as Metoda para Guitarra (Paris, Lemoine, c. 188-).
In addition, there is the Apendice of 1849/50, to be added to the 1843 method and in fact in
some copies bound in with it.
Aguado's New Guitar Method is one of several famous methods of the early nineteenth cen-
tury, the principal others being those by Carulli, Carcassi, and Sor. Giuliani wrote no method.
Full bibliographical research remains to be done on Carulli and Carcassi, but it appears that their
methods first appeared in 1810 and 1836 respectively. Carcassi's is fairly long, contains some at-
" The title above is taken from a copy in my own collection.
16 Copies in Washington, Library of Congress, and Boston, collection of Matanya Ophee. -The Schonenberger edition of the

Nuevo Metoda has its price in Spanish currency ("5 Duros"), and in the copy of Matanya Ophee there is a long list of musical works
published by Schonenberger and "Traducidos a! Espaii.ol", with prices in both Spanish and French currency ("reales de vell6n" and
francs and centimes). The Schonenberger edition of op. 6 also has its price in Spanish currency ("60 Realles"). Since the market for
musical works in the Spanish language must have been small in Paris, it seems very likely that the works in this list were intended not
primarily for distribution in Paris, but rather for export, to be shipped to Spain and (doubtless) Spanish America and sold there . In the
case of the two Aguado methods published by Schonenberger (the Nuevo Metoda and op. 6), since the texts are identical with those of
the Spanish editions published by Campo, there is a strong suspicion that Schonenberger simply pirated the Campo editions and
shipped his own pirated books out to Spain, where, of course, they would be competing directly with Campo . This throws interesting
light on the music trade in Spain at this date. -In the absence of published research on Schonenberger plate numbers, we must rely on
other evidence for dating these editions. Such evidence is provided by a plate in the Ophee copy of the Schon en berger edition of the
Nuevo Metoda, showing a lady playing the guitar, headed "Colocation [sic] de Ia guitarra sin Ia tripode", and labelled at the bottom
"Paris, chez Schonenberger, Boul. Poissonniere 28, Ancien 10". There is no corresponding plate in the Campo edition . The words
"Ancien 10" refer to the fact that Schonenberger moved from no. 10 Bd. Poissonniere (where he was in 1833, according to Cecil
Hopkinson, A Dictionary of Parisian Music Publishers, London, 1954) to no. 28 (where, according to Hopkinson, he was established by
1843). The reference to his old address must mean that the plate, and therefore the edition, was produced not long after the move;
otherwise it would have no sense. Since we know that the Campo edition of the Nuevo Metoda in 1843 is definitely the first edition,
because Aguado tells us about its genesis in his preface, the Schonenberger edition must be posterior to it . It follows, therefore, that
the Schonenberger edition was published no earlier than 1843 and very little later: perhaps in 1844. And as the Schonenberger edition
of op. 6 has a plate number which is very close to that of his edition of the Nuevo Metoda (S .1334 and S. l320 respectively), we may
again guess that the Schonenberger edition of op. 6 was published in about 1844 or 1845.
17 Copies in Washington, Library of Congress, and Boston, collection of Matanya Ophee.

XV
tractive music, and is simply written, which is doubtless why it has been reprinted and trans~
lated so often; it has nowhere near the intensity of Aguado's. Sor's Methode pour la Guitare was
first published in French in Paris in 1830 and is a fascinating and highly intelligent work which
deserves study by anyone interested in the instrument. But Carulli's is the only one of the three
which predated Aguado's Escuela of 1825, and though it is clear from the Escuela that Aguado
knew Carulli's music, there is no evidence that he was influenced by Carulli's method. It seems
that Aguado was above all a product of the Spanish tradition. He knew the music of baroque
Spain, was taught by the Spanish Cistercian monk and court favourite Miguel Garda (otherwise
known as Padre Basilio), and must have known the music of Moretti and the early guitar music
(such as the sonata now known as Grand Solo) ofSor. His prose style shows him to have been an
educated man, with the intellectual curiosity of the nineteenth century, and there is no doubt
that that education and intellectual curiosity were acquired in Spain. It follows, then, that the
honour of establishing the foundation of the guitar technique which we still use today belongs
firmly to Spain.
Where exactly does the value of the N.ew Guitar Method lie? Firstly, in its extraordinarily
detailed coverage of almost all aspects of the technique of playing the guitar: anyone who studies
the book and successfully works his way through it will probably have received the most solid
grounding in technique that any book can give him. It may seem surprising to some, but it is true,
that all the essentials of today's guitar technique are already in Aguado. No major changes have
taken place since his day. Hand~positions, angle of the fingers, type of stroke, use of the nails,
arpeggio technique, special effects- all are there in terms which are directly relevant to the modem
player. Apoyando, for example, is discussed: see Lesson 50, in which Aguado insists that the right
hand finger, after striking two strings, shall come to rest on the third. 18 In some respects, Aguado is
even in advance of us: thus, in Study no. 8, bar 3, his fingering indicates inexorably the use of the lit~
tle finger of the right hand (see also §370, 2). The theory, which is sometimes heard, that guitar
technique was fundamentally revised and altered at the end of the nineteenth century by Tarrega
and others, is now shown not to be true.
The N.ew Guitar Method is important historically, because from it and from its two earlier ver~
sions we can date so many aspects of guitar technique. But above all and perhaps unexpectedly,
it is important because it emphasizes the very aspect of the guitar which today, through concerts
and records, and especially through the playing of Andres Segovia, has caught the imagination of
millions of people: the beauty of sound of the guitar and how tha~ sound should be achieved. "I
decided that I should concentrate principally on the best method of producing full, rounded, pure
and agreeable sounds", writes Aguado; and again: "the guitar has its own particular nature: it is
sweet, harmonious, melancholy ... its sounds are susceptible to modifications and combinations
which make it mysterious, and very appropriate for melody and expression". Throughout the
book it is clear that the quality of sound is a primary concern of his. He himself, it appears, pro~
duced a very beautiful sound. Here is the historian Baltasar Saldoni describing his playing:' I was
awakened by music that seemed celestial; and I wondered what instrument it could be that
charmed me so, such were the sweetness and softness of its sounds and harmonies, produced by
the manner in which its strings were struck ... " 19
11 This subject was treated by Matanya Ophee in a paper delivered at the conference of the Guitar Division of the American

String Teachers' Association at Lubbock, Texas, in October 1979, and to be published in Guitar Review, no. 49.
19 The whole of Saldoni's charming description of this meeting with Aguado at the Hotel Favart in Paris is reprinted in my book

Fernando Sor, Composer and Guitarist, pp. 107-8.

xvi
 Aguado does not merely recommend full, beautiful, and varied sounds on the guitar: he tells you
how to achieve them. And above all they are achieved by a certain kind of right hand finger stroke,
at a certain angle, with a certain degree of strength, with a certain position of the knuckles, and
with a certain very exactly described combination of the nail and the flesh of the fingers of the right
hand. Certain modern writers have got this wrong. They say that whereas Sor played with the
flesh of the fingertips, Aguado used the nails-as though Aguado played only with the nails and
not with the fingertips at all. 20 This is incorrect. If we look at what Aguado actually wrote, we
find that he specifically says that the string should not be struck with the nails alone, "because
then the sound would certainly not be very agreeable". His way of achieving a beautiful sound
on the guitar is to strike the string first with the flesh of the fingertip and then immediately with
the nail:"The string is first played with the fingertip .. . and then the string is immediately slid
along the nail."(§37) Now this is not a point of small interest: it is of the greatest importance to
the history of the guitar, because the quality of the sound produced by the instrument, through
its appeal to concert audiences, is largely responsible for the guitar's present great success.
Andres Segovia, who has enchanted so many people with the beauty of his sound, uses just such
a combination of nail and flesh and has refined and developed it for his own use. 21 We can now
show that the original idea of using a combination stroke for the sake of beauty of tone, the root
from which today's sonority has grown, is not an invention of this century: we find it already in
Aguado, a Spaniard who developed his ideas in Madrid before he ever left Spain, and so it is true
beyond a shadow of a doubt to say that the magical sound of the classical guitar today has its
roots deep in the history of Spain.
There is one respect in which Aguado's ideas did not catch on. That is in the use of a special
device which he invented, the tripod (he originally called it the tripodison, but later abandoned
that name). This was a three~legged wooden stand placed in front of the player, with a metal
section attached to it in which the guitar was firmly held. It offered two advantages. One was
that the player did not have to support the guitar, so that his fingers and arms were completely
freed for the tasks of stopping and plucking the strings; and the other was that the guitar could
produce the fullest and richest sound of which it was capable, because it was freed from
anything touching it which might deaden any of its vibrations. Aguado's tripod should be seen in
the context of the many nineteenth century devices and changes in instruments- vast numbers
of them-some of which succeeded and are still with us today, and some of which did not.
Aguado's invention, even though it seems that it may well have worked, died with him. Today
some people are experimenting with it once again, with new ideas and with notable success; but
meanwhile the reader, if he wishes, may ignore the references to the tripod in this book. Aguado
specifically says that everything in the New Method is perfectly valid whether one uses the tripod or
not.
It appears that Aguado was also involved with another physical aspect of the guitar: a new
type of bridge. Today we almost universally use this type of bridge into which is inserted a piece
of material to serve as a kind of nut, rather than the older types of bridge prevalent in the nine~
teenth century and earlier. In §27 of the 'N,ew Method Aguado says that he believes that it was
he who invented the modern type of bridge, in 1824 (that is to say, while he was still in
20Grunfeld, 'fhe Art and 'Times of the Guitar, pp . 187-90.
21See Vladimir Bobri, 'fhe Segovia 'Technique (New York, Macmillan, n.d. [1972?]) and Charles Duncan, "The Segovia Sound:
What is it?'', Guitar Review, 42, 1977, pp. 25-31.

XVll
 Madrid) . Research has still to determine whether or not this claim is true. In the Escuela of 1825,
p. 25, he says simply that this type ofbridge is "de invenci6n moderna". Whether or not Aguado
was the inventor, this at least establishes that by 1825 the modern type of bridge was in ex.-
istence.
The New Guitar Method throws interesting light on early nineteenth century performance
practice. In §295, Aguado discusses the ways in which music can be varied on the guitar, and he
takes as an example a bar from Sor's Fantasia, op. 7. Today, few players would think of varying a
note of so complex and formal a work. Yet we know that in the early nineteenth century, the art
of varying complex compositions was far from dead, and Aguado's examples show us some ways
in which that varying might be done-and by inference, apparently was done at the time. Players
may wish to start from §295 and explore the application of some of Aguado's ideas to other early
nineteenth century guitar works. - Another aspect of performance practice, a surprising one, is
the appearance in §§280.-81 of 22 preludes which, says Aguado in his Preface, "can be performed
before beginning a piece of music". This tradition of playing a short quasi.-improvisatory piece
before a more formal one is of course very old, going back to the Renaissance and beyond, and its
appearance here in a book published in 1843 is of the greatest interest. Again, readers may care
to explore the use of these preludes in the way in which they were intended.
In this edition, we have kept closely to the original1843 text, using the copy in my own collec·
tion. That copy has a list of errata; we have incorporated these and have also silently correctec
some dozen other errata which were discovered in the course of translation. Our printer ha~
taken over and used some of the actual designs and ornaments which appeared in the origina
1843 edition. The music has been completely reset. The footnotes are Aguado's own, except
those in square brackets which are ours. Spanish words have been kept where they are interna·
tionally known today as the normal terms for the techniques or sounds in question, such as ar·
rastre or campanelas; and in some other cases the Spanish words have been translated but are
also given in parentheses where it is of interest to know the original term used, such as "silenced
sounds [sonidos apagados]". In the music, the original1843 text has been respected. Nothing has
been added, nothing taken away. All fingering, phrasing, dynamics, metronome mar~ings, and
other indications, are Aguado's own. Conventions of notation have been modernised, and obvious
errors are corrected without note; otherwise we have changed nothing and added nothing.
Aguado's interesting fingering follows a different principle from that used today. Modern
editors of guitar music use fingering principally as an aid to sight.-reading: to tell the player what
fingering to use without his having to look ahead. Aguado, on the contrary, gives the reader
credit for sight.-reading ability, and restricts his fingering to places where there is a choice, where
he wishes to recommend one particular fingering rather than another which might have been
possible. In some places, his fingering will surprise the modern player, and indeed some modern
editors of his music have changed it, on the assumption that the original fingering was false or ir.-
rational. However, a close examination of Aguado's fingering shows that he always has a very
good reason for what he does, and his fingering should not be rejected without very careful con.-
sideration. For example, in the first bar of Lesson 17, he indicates that two successive notes
should both be played with the index finger of the right hand; he insists on this same point also in
bars 2 and 5 of the same Lesson, and also in Lesson 24; and this is certainly in order to obtain a
particular sonority and particular placing of the musical accent.

xvm
 To sum up: the picture that emerges from Aguado's various methods for guitar is that of a man
who dedicated himself for many years to the technique and pedagogy of the instrument. Begin,
ning his study in Spain during the political turmoil of the first years of the nineteenth century, he
continued it during the calmer years that followed there, and later in Paris and back in Madrid.
It was a collection of studies, initially, that preceded and gave rise to his first large,scale method,
the Escuela de Guitarra. A simpler method followed in Paris, the Nouvelle Methode de Guitare,
op. 6. And finally, a few years before he died, he produced a synthesis of both of these methods
and of his long experience, in the N,uevo Metodo para Guitarra of 1843. There is no doubt that
the three versions of Aguado's method, along with Sor's Methode pour la Guitare of 1830, are the
central texts for the history of the guitar and its technique in the classical period. But not only
that: this great classical method has much to say to us still. It has influenced guitarists ever since
it was first published, and there is no doubt that it will continue to do so. The present English
translation of it will help to make this possible.

BRIAN JEFFERY

xix
PLATE 1, Dionisio Aguado (from the 1843 Nuevo Metoda)
 AGUADO'S PREFACE
TO T _H E 1843 EDITION

When I wrote the Escuela de Guitarra ("School for the Guitar") which I published in 1820, *I was
sincerely convinced that I was doing a service to those learning to play the guitar. I was pleased
with the ideas, the manner of expressing them and the order of classifying them, and considered
that I had achieved the object of the title I had given my work. The experience of 22 years,
however, has made me aware that the guitar is an instrument of more worth than even I had
thought, and one which should be studied with care. This new idea has forced me to change my
opinions on some points, and I have decided that I should concentrate principally on the best
method of producing full, rounded, pure and agreeable sounds. The study which I had to make of this
was of little use until I had the felicitous idea of fastening the guitar on the tripod (see Part One,
Chapter IV). It was then that I became aware that I could use the strength of both hands in produc~
ing the sound that I had previously employed in holding the guitar. The result was that I was able
to dominate all my faculties and could apply them unrestrictedly to playing music.
My original intention when I planned the present work was to use the same plan as in the
Escuela, but two considerations have led me to change my ideas, and reduce the theory and expand
the practical aspects. 1. Anyone who devotes himself to an instrument with a view to making pro~
gress must first have learned sol~fa, and for this reason I am omitting the section on the elements of
music as applied to the guitar which constituted the beginning of my Escuela. 2. If the player wishes
to make the most of harmony on the guitar, he requires to learn it separately, and acquaintance with
the rules indicated in the appendix to the Escuela was not enough; for this reason I have omitted not
only that appendix but also the treatise on chords which formed Section Two in the Escuela, and
replaced it with Section Five.
The present work is thus made up of two parts, one theoretical and practical and the other purely
practical. The latter contains five sections. In the first section, I have established the rules I consider
desirable for the production of the sound and the successful control of the fingers of both hands.
The second section contains a large number of exercises for mastering the practice of the theory
established; at the end of this section I have included some short preludes which can be performed
before beginning a piece of music. Section Three contains the studies, among which I have included
some new ones which were not in the Escuela. In Section Four I have dealt with expression, and ex~
pound some considerations on how to give feeling to the music played. Lastly, in Section Five I have
described the different ways of playing the perfect chord on the guitar; on the basis of this it will
perhaps be possible some day to compose a harmony treatise for the guitar.
• [The true date of the Escuela de Guitarra is discussed in the Introduction above. ]

1
 I do not flatter myself that I have found the best method of playing the guitar, but I do believe
that the method proposed in this work is clear and simple. As a result of the great advantage ofhav,
ing the guitar held firmly on the tripod, and if the pupil follows exactly.the rules I have described, he
will be able to play well in less time than he imagines. One continually hears that the guitar is very
difficult; in my opinion, the true difficulty lies in giving the necessary attention to observing the
rules. The pupil who consigns them to memory from the first lessons, and does not go on from one
lesson to the next before mastering it, will, if he continues to apply himself, be recompensed with in,
terest for the inconveniences which the practice of the basic principles of all instruments involves.
I must add a word about the present edition. t It is well known that engraved music is superior in
appearance to printed music, but that on the other hand engraved letters for the text do not have
the regularity of normal typography. The printer who attempts to set music has to use small pieces
similar to those of normal type in order to form the notes and the staves, and it is a very difficult
process. The first part of this book contains passages of instruction alternating with musical ex,
amples; and since it is most convenient for the beginner to have both text and music on the same
page, it is necessary either to engrave everything to the detriment of the text, or to typeset
everything to the detriment of the music. A happy chance enabled me to make use of a fount of
music type which the printer Aguado possessed but had never used, and his son Eusebito, a valued
pupil of mine, combined the typographical and musical knowledge necessary to set the music in the
first part of this book. I am very pleased to express here my gratitude to him for his efforts, and to
praise him for his success.

t [The above paragraph by Aguado refers only to the music typography of the original 1843 edition and not, of course, to
the present edition, in which the music has been completely reset. ]

2
 PART OME~
Th~D:!&t!~n~l A!!.i r~aotioal

CHAPTER I
Concept of the guitar

1. The guitar is an instrument which is not as yet well known. Who would think that of all
those used today it is perhaps the most suitable for producing the effect of an orchestra in miniature?
It seems inconceivable at a first glance, but experience leaves no doubt. Thanks to the felicitous idea
of fixing it in position, it is easy to practise it and examine its nature in order to seek unusual effects.
As it is full of resources for expressing musical ideas, the guitar is suitable for improvisation, or as we
might say, playing as the fancy takes us. The best evidence of this is that despite my advanced age
and weak physical constitution, I have succeeded in producing the effects described, and would
add, if I may be allowed, that I have succeeded in flattering my amour propre to the point of being
satisfied with how I play. Much may be expected of the guitar in the young strong hands of persons
of delicate sensitivity and fertile imagination. Its defect-if what I am about to describe can be so
called-is that because of the length of the strings, and the way in which they are plucked, the
sounds seem less loud than those of the piano and the harp, and yet, if one knows how to produce
them, they are louder than one might think. Weak but well~trained hands can so use the strings as
to produce pleasant and agreeable effects, but strong well~trained hands may well cause admiration,
surprise and enthusiasm for the novelty and vigour of the effects.

2. In order for the guitar to produce brilliant sounds, it is essential not only for the strings to
vibrate, but for the guitar itself to vibrate. All that interferes with this must be counterproductive,
and in fact this has been the case in the methods of holding the guitar used until now, since it had to
be supported on the thigh or the chair, and against the player's body and arm, thus preventing the
vibrations of the different parts of the soundbox, and using energy to steady the instrument which
should be occupied entirely by the fingers of both hands to produce the desired effects.

3. My first ideas of steadying the guitar in a fixed position came to me eight years ago and I
made several attempts at it. I recently perfected the device I invented, and I have used it continu~
ally, because in addition to being simple, easy and aesthetic in appearance, it gives the guitar,
whatever its form and build, all the angles at which the player may desire to hold it; it will be
understood that I am referring to the Tripod or Aguado Device [7'ri'pode 6 Mdquina de Aguado] (see
Plate 2, figure 1). 1
' I have found it desirable to change the name of the device and abandon the first name I used-trip6dison - which has given rise to
some mistaken ideas. I am therefore using either of the two names appearing in the text, and in referring to this useful and profitable
mechanism, I shall call it indiscriminately tripod or device [tripode 6 mdquina] instead of trip6dison.

3
 '
aiMDL

PLATE 2
 4. These favourable circumstances and the good service which this device gives both the in,
strument and the player allow me to hope that its use will become generalized and that inclination
for the guitar will increase as soon as it is seen that it can be played with greater perfection with the
help of this device, since the will is obeyed exactly, and the inner self, in direct contact with the
body of the instrument, is in a position to express the most refined sentiments.

5. Despite the advantages of using the tripod, the principles I shall establish for training the
two hands are equally applicable to learning the guitar held in any of the ways which have been
used up to now.

CHAPTER II
Nature of the guitar
6. An instrument suited for improvisation is one which offers the imagination many means of
expressing ideas of different kinds. The guitar is one such, owing to the variety of quality and
volume in the sound of its strings, and the combinations which can be made with them, in addition
to the guitar's own virtues. I shall give my reasons for this opinion.

7. 1st. Each guitar string is different in nature according to its thickness. Play the first string
(see § 18) stopped (§40) at the first fret(§ 16); then play the second string stopped at the sixth fret,
then the third string stopped at the tenth fret, and lastly play the fourth string stopped at the fif,
teenth fret; the sound produced at these four points is the same in terms of the guitar scale, but each
is of a different quality owing to the different thicknesses of the strings and the materials they are
made of.

8. 2nd. The same sound allows of infinite modifications of volume, from pianissimo to for,
tissimo, dependir.g on the strength the right hand uses to pluck it (§40) without moving from one spot;
and this operation can be varied as often as the hand can change position over five or six lines in the
portion of the string between the bridge (§14) and the sound,hole (§14).

9. 3rd. In this same portion of the string, there is variety in the quality of the sound of each
string, depending on how the fingers of the right hand pluck it; the variety is greater if the nails are
used (§§36 and 37). By plucking the same string with the thumb and then with one of the fmgers, a
notable difference can be observed in the quality of the sounds.

10. 4th. The meeting of the sounds of the gut strings with those of the bass strings leads to a
larger number of combinations which produce their own effects.

11. 5th. The sounds can be sustained, prolonged, and cut short when desired, thus giving an ex,
act and intelligible representation of harmony.

12. These means can be used to give the music genuine expression, conferring on it the colour
desired or required.

5
 CHAPTER ill
'.Names of some parts of the guitar
13. The main parts of the guitar at a first glance are a hollow body with a sound,hole in one sur,
face and a solid shaft joined to the body (Plate 2, figures 2 and 3).

14. The body is made up of: 1. the flat soundboard with a hole known as the sound,hole or
rose; 2 2. the bridge-a piece of wood to which the strings are attached; 3. the sides of the body
which form three curves, two convex and one concave; 4. the bac~-the flat part opposite the
soundboard.

15. In the shaft are to be observed: 1. the head which forms an angle with the rest of the
shaft, and has six holes; 2. the pegs which are pieces of wood placed in the holes in the head; 3. the
nee/{, or rest of the shaft extending from the head to the body; this is flat in front and convex behind;
4. the nut, a small piece of wood with six notches over which the strings pass and upon which they
are supported.

16. From the nut to the sound,hole there is a series of seventeen or more spaces divided by an
equal number of parallel strips of metal or some other hard material, known as frets .* That next to
the nut is the first fret, followed by the second fret and so on to the end. 3

17. This series of frets, the space and distance between which becomes proportionately shorter
between the nut and the sound,hole, is called the note,range [diapason] and the wood surface on
which the frets are placed is the fingerboard.

18. Six strings stretch from the bridge to the pegs, and rest on the notches of the nut; they are
known as the first, second, third, fourth, fifth and sixth strings, counting from the right when the
guitar is looked at from the front; the fourth, fifth and sixth strings are also known as the bass strings
[bordones].

19. Each of the strings forms a course, which is why guitars are said to have six, seven, or five
courses depending on the number of strings. A guitar is known as single [sencilla] when there is a
single string in each course, which is certainly to be preferred and what is actually used today, but if
there are two strings in each course, the guitar is said to be double [doble] even when the first string
is single.

CHAPTER IV
'The 'Tripod or Aguado Device
20. Description. The tripod is a device intended to maintain the guitar in a fixed position for
easy playing, and for increasing its volume as far as possible. It has two main parts (see Plate 2,
• [In the original Spanish, Aguado uses the word traste to mean the space between the frets : the frets themselves he calls the divi-
siones de los trastes.]
' Some French guitars have an oval hole, as may be seen in Plate 2, figure 3, but it is more usually circular.
' Each fret shortens the vibrating string by an eighteenth.

6
figure 1): an upper part entirely of metal, and a lower part, which provides a base for the other, and
which because of its three legs suggested the adoption of the Greek name I gave it to begin with.
The lower part consists of a small cylinder of wood on three folding legs. 4 The upper or metal part of
the device has a spike or base which fits into a deep hole drilled in the top end of the cylinder. A is a
peg with a screw which keeps the metal section fixed at the height at which it has been set; B is a
spike which is inserted in the hole to be found in the lower part of nearly all guitars, which normally
has a wood or ivory plug; C is another spike which is inserted in a hole of the appropriate size made
in the base or foot of the shaft on the left side as the guitar is placed, which must follow the direc~
tion of the spike and in such a way that the long arm of the device does not touch the guitar either
behind or above; Dis a screw which tightens the device once the guitar (placed on it) has been
given the desired angle in relation to the body; E is another screw to hold the device firmly once the
neck is at the desired height; f, i, and 0 are small screws which lengthen the device so that it fits all
types of guitars; V is another screw which changes the direction of the long arm in order to bring
the upper spike to the hole; S is the bracket in which the curved lower part of the guitar is placed; R
is a small metal disc so made that its three arms fit exactly over the three open legs so that they can~
not close.

21. Advantages of using the tripod. The following are of course obvious: 1. The guitar is as
isolated as possible, since it is supported only on the two spikes which fit into the only two solid
parts of the instrument; the result is that the entire instrument can vibrate freely. 5 2. The player
has complete control of the physical faculties of both hands, with the result that the guitar will give
all the sound of which it is capable, thus producing in all cases a considerable increase in volume
compared with that produced when the instrument is otherwise positioned. Now nothing can pre~
vent a guitar~lover from making free use of the resources which the nature of the instrument offers,
guided by his taste and intelligence. 3. The position of the guitar player is natural and graceful, and
most suitable and elegant for ladies. There is perhaps no other instrument in respect of which ladies
are so much at an advantage. It is also suitable because there are people who do not play this irtstru~
ment for fear of damaging the chest; this fear is dispelled if the device is used. 4. For the spectator,
the greatest difficulties may be made to seem easy. 6 5. If anyone who has learned to play the guitar
with the tripod ever plays without it, he may note the advantage of placing his hands correctly as
he learned using the device. It is not true that once accustomed to playing with the tripod one is
unable to play in any other position; the fact is that in this case one misses the advantages obtained
from its use. 6. Singers who accompany themselves on the guitar maintain a posture suitable for
voice~production. 7. Harmonics (Lesson 43) can be played easily and sound clearer. 8. It is easy to
use the frets on the fingerboard beyond the neck. 7
• These three legs and the entire device when taken apart can be folded up and put in the same case as the guitar. To do this, the
arm of the metal section is folded up and that section placed in the bottom of the case beneath the neck of the guitar, with wooden clips
to hold it down. The lower part goes beside it with the three legs folded up. The only requirement is to make the case slightly broader
than usual.
' When I perfected the device, the famous Sor accepted its use, and often said that he regretted that it had not been invented
when he first began to play the guitar so as always to have used it .
6 I consider that it is extremely difficult to perform fast passages brilliantly and rapidly without using the tripod. But, once the

guitar is fixed in position, the well-trained fingers of the left hand run confidently over the strings which are always in the same place,
like the piano keyboard, while the fingers of the right hand do the same in their own domain.
' Once the advantages of the fixed position of the guitar are known, especially that of making the strings produce all the sound of
which they are capable, and once the means of so doing has been learned-this being a basic part of this method-attention will be
given to the best way of constructing a guitar.

7
 CHAPTER V
Conditions for playing the guitar well
22. The guitarist must set himself the task of mastering the sound aspect: that is, he must
master the strings; and he will do so when the following conditions are observed:
In the right hand, correct plucking of the strings with vigour, using the tips of the fingers and with
the support only of the wrist without any pronounced intervention by the arm, and also sufficient
sureness so that the fmgers of this hand do not miss a movement although the hand constantly
changes position.
Smoothness in the left ·arm and free play in the fingers of the left hand, which should become ac--
customed to be parallel to the neck in its movements from the body to the nut, while the fingers
must move completely independently of each other without putting more pressure than is desirable
on the strings.

23. Once the hands have been well taught according to the rules to be established, perfection
consists in both hands working completely independently of each other, each in its own context, as
if they belonged to two different wills, and in obtaining such balance in their simultaneous action,
that however intense the sound, and however rapid and difficult the piece played, the guitar may be
observed not to move, but to appear firmly held.

CHAPTER VI
Conditions required in a good guitar
24. It is a mistake to believe that a guitarist can excel with a bad or mediocre guitar: the better
the instrument, the more he will excel. Nowadays, much is demanded of this instrument, and for
this reason it should be a good one.

25. In addition to being well constructed and precisely fretted, the guitar must be resonant, that
is, the vibrations of the strings played should last. The guitar must have equality of tone: I mean that
the sounds made by the upper strings played over their whole length should correspond in volume
to those of the bass strings. I have made many efforts to modify the form and internal construction
of the instrument, and indeed they have not been in vain. I possess a guitar which has all the requi--
sites I think should obtain in a good guitar.

26. With regard to the breadth of the sides, I think that if the capacity of the guitar is to favour
low notes as much as high notes, the sides should be slightly over three inches* wide at the main
curve, and proportionately wide in the upper part towards the neck.

27. The bridge I find most advantageous consists of a back and a front part divided by a deep
slit running longways; the strings are attached to the back part and rest on the front part. It is this
bridge, which I believe I invented in Madrid in 1824, which has been adopted for good guitars; it is
• [In 1867 the Castilian pulgada was defined as .9132 of an inch O.H. Alexander, Universal Dictionary of Weights and Measures
Ancient and Modern, New York, 1867, p. 90. I am indebted to Matanya Ophee for this information. In paragraph 27, the pound
weight referred to is not necessarily the same as today.)

8
preferable to those which have little plugs in holes through the soundboard of the instrument; the
former have a more solid base which is attached to the soundboard, and this improvement is much
more useful, because the bridge thus better supports the enormous tension of the six strings when
tuned to the pitch of the tuning;fork, 8 which is not less than 80 or 90 pounds.

28. Account should also be taken of the angle formed by the strings when attached to the
bridge and when passing over the nut which forms part of the bridge, since in my opinion it is ex;
tremely important for the resonance of the instrument. If the angle is too obtuse, the string will have
weak support from the nut on the bridge and will not vibrate freely, so that the sound will not be
clear and the vibrations of the string will not have much effect on the soundbox; the opposite ex;
treme-an acute angle-must, however, also be avoided.

29. The first and sixth strings should be placed well over on the fingerboard so that in no cir;
cumstances can the finger playing them push them off the neck, which gives a bad effect.

30. It is also a good idea for the pegs to be screwpegs. *In addition to their being easier to tum,
the advantage is that a string which goes out of tune while a piece is being performed can be ad;
justed using only the left hand, whereas with the other kind of peg, both hands must be used.

CHAPTER VII
Conditions for the player and where he plays
31. Suitable places to play. In addition to the guitar being good, the place where it is played must
be resonant. The length of the strings, their lack of tension and the way in which they are plucked
make this a delicate instrument, and the least of its voices must not be lost. For this reason, I con;
sider that it will never be heard to advantage in a theatre, however skilled the performer. 9 A rec;
tangular room of medium size, neither high; nor low;ceilinged, and with little furniture, is perhaps
more suitable. The player should so place himself that there is some distance between him and the
first listeners, in order to have a clear space around him.

32. 'The guitarist must be master of the strings. In addition to a good guitar and suitable surround;
ings, the good performance of the guitarist depends on whether he is master of how to graduate the
strength he puts out. He should therefore choose a guitar the strings of which are of proportional
thickness, 10 and tuned so that the tension is in proportion to the strength which he may choose to
use. 11 Guitars tuned to the pitch of the tuning;fork are usually easily plucked. It is also necessary
that the strings should not be too far from the plane of the fingerboard; when this happens the guitar
is described as hard, because the fingers of the left hand have to use a great deal of strength to stop
• [Aguado is referring to the now almost universal type of pegs with a machine head, as opposed to the older type which had been
normal in the 18th century, in which the pegs were simply inserted into holes in the manner of the violin. He refers to the older type in
paragraph 44 below.]
8 Steel instrument in the form of a two-pronged fork, which when made to vibrate gives the orchestra A. [Ed.: The tuning-fork

was evidently not yet in widespread use in Spain in 1843, which is why Aguado finds it necessary to describe it.]
9 To be heard to advantage, the slightest of the delicate sounds produced must be clearly audible.

10 Experience has taught me that the thickness of the first string should be slightly greater than one might think. So that it does

not appear to be too thick, the second string can be slightly thinner than usual.
11 For this reason, no set rule can be given as to the absolute thickness ofall the strings, only their relative thickness.

9
the strings. The merit of the maker lies in making the distance between the strings and the first frets
so small that the strings seem nearly to touch the first fret, but without making a noise; the sound
must be clear. •

33. Position of the guitar for practice. It is a good idea for the neck of the guitar to be as horizontal
as is compatible with being able to play. The left hand must then be turned towards the body of the
instrument, while the fingers come naturally into position parallel to the frets and the left arm turns
so that the elbow touches the body. It is very useful to practise in this position, because the left
hand later plays more easily as the neck is raised to the angle which the player finds suits him,
which is usually 20 to 25 degrees.

34. It is useful to have two guitars. During the period of study, it is desirable to practise with a
guitar which offers more resistance to the action of plucking than does the instrument on which you
show yourself to best advantage. In this case you must also be familiar with the plucking power of
the instrument used for performance in order to graduate the strength required, and also so that the
hands become well acquainted with the distances to be covered.

35. Pluc~ing with the fingertips and with the nails. The right hand can pluck the strings with the
tips of the fingers only, or fust with the fingertips and then with that part of the nail which pro~
trudes beyond the fingertip. These two forms of plucking require different uses of the fingers of the
right hand. Without the nails, the fingers must be bent so as to grip the strings; with the nails, the
fingers are less bent so that the string will slide along the nail. I had always used the nails of all the
fingers I used to pluck, including the thumb, but after listening to my friend Sor I decided not to use
the nail on the thumb, and I am very pleased to have done this because plucking with the flesh of
the thumb when not parallel to the string (see Plate 2, figure 5), produces pleasing energetic sounds,
appropriate for the bass part usually played on the lower strings. On my other fingers, I have kept
the nails. As it is a point of the greatest interest, I hope that my long experience will allow me to
give my frank opinion.

36. Advantages of playing with the tips and nails of the fingers of the right hand. I consider it
preferable to play with the nails in order to produce from the strings of the guitar a sound which is
unlike that of any other instrument. To my way of thinking, the guitar has its own particular nature:
it is sweet, harmonious, melancholy; sometimes it can even be majestic, although it does not allow of
the grandiosity of the harp or the piano. But it does offer very delicate effects, however, and its
sounds are susceptible to modifications and combinations which make it mysterious, and very ap~
propriate for melody and expression.

37. In order better to produce these effects-, I prefer to play with the nails, because if they are
properly used, the resulting sound is clean, metallic, and sweet; but it must be understood that the
strings are not plucked only with the nails, because then the sound would certainly not be very
agreeable. The string is first played with the fingertip using the part nearest the thumb, the finger
slightly extended (not bent as for plucking with the fingertip only), and then the string is imme~
• [This noise is today often described as "bu:z;:z;ing". -An addition to this paragraph is in the Appendix, paragraph 391 below.]

10
diately slid along the nail. The nails should not be very hard, and should be cut in an oval shape so
as to protrude slightly beyond the tip of the finger, since if they are very long they hamper nimble
movement because the string takes a long time to pass under the nail, and there is also the disadvan,
tage that plucking is less sure. If the nails are used, runs can be performed very rapidly and clearly.
There is an important exception, however. Persons with very long fingers should not play with the
nails, because this gives each finger more leverage on the strings and thus diminishes the force used.

38. Some rest the little finger of the right hand on the soundboard so as to give sureness to the
hand when plucking. This may have been useful for some people while the guitar was not in a fixed
position, but now that it is played on the tripod I do not consider this support necessary because the
fingers of the right hand depend on the support given by the forearm and wrist. Two more disad,
vantages are avoided in this way-the weight this finger lays on the soundboard which is a real im,
pediment to its vibration, and the danger of staining it with the contact of the finger. Another ad,
vantage of this position is that the hand is more nimble and able to perform all the movements
desired.

39. Preference for the middle over the ring finger of the right hand. In order to obtain from the
strings all the tone they can give, I generally prefer to use the middle finger of the right hand rather
than the ring finger since it is stronger. The plucking fingers should be vigorous so that with practice
they will acquire simultaneous energy and smoothness, thus lending themselves to all the modifica,
tions and graduations which may be appropriately made in the sound.

CHAPTER Vlli
Meaning of some words and abbreviations; how to tune the guitar;
and how to choose strings
40. To stop [pisar] is the action of the left hand in pressing the strings down onto the finger,
board. 'To pluc~ [pulsar] is the action of the right hand in producing sound from the strings. Fingering
[dedeo] is the order or arrangement of the fingers of both hands; it applies more particularly to the
left hand. 12 Moving up is the movement of the left hand towards the bridge. Moving down is the
contrary. Higher is towards the bridge. Lower, towards the nut. Forwards, towards the bridge.
Bac~wards, towards the nut. - All these six expressions refer to the sounds and not to the actual
position of the guitar.

41. The front part of the fingerboard is that which lies towards the sound,hole; the back part,
that which lies towards the nut.

42. RH, right hand; LH, left hand; p, thumb; i, forefinger; m, middle finger.

43. The guitar must be tuned in order for the pupil to practise. I shall explain one method of do,
ing this.
A string is given a certain amount of tension, so that its sound can be used as a comparative point
12 [Aguado writes in a footnote that the word dedeo is not Spanish but that he has adopted it to correspond to the French doigter.]

11
of reference for tuning the rest. I use the sixth string for this purpose; this string, attached to its peg,
should be loosened until it does not sound and then tightened very slowly until it gives a clear sound,
but ensuring that the peg (if it is of wood) has been given slightly more than a half turn. If the string
is then stopped at the fifth fret it will give the sound corresponding to the open fifth string, which
should be brought into unison with it. Once the fifth string is tuned, the other strings are tuned
successively according to the following table:
- The 6th string stopped at the 5th fret gives the sound corresponding to the open 5th string.
- The 5th string stopped at the 5th fret gives the sound corresponding to the open 4th string.
- The 4th string stopped at the 5th fret gives the sound corresponding to the open 3rd string.
- The 3rd string stopped at the 4th fret gives the sound corresponding to the open 2nd string.
- The 2nd string stopped at the 5th fret gives the sound corresponding to the open 1st string.

44. In order to t~ghten the pegs of guitars which have no special mechanism for so doing, the
right hand is placed on the nut and acts as a support for the left. With the metal device fitted t(
each peg they are easily turned with the left hand alone. In this case the head of the guitar has the
form seen in the two figures of Plate 2.

45. Once the guitar has been tuned, another operation should be carried out to find out
whether it is in tune or not. Octaves are used here. First, the third string is stopped at the second
fret and the resulting sound is used to tune the open fifth string (an octave lower); then the fifth
string is stopped at the second fret and used to tune the open second string (an octave higher); the
third fret on the second string gives the open fourth (an octave lower); the second fret on the fourth
string will give the open first (an octave higher). The sixth is tuned to the second fret of the fourth
string.

46. In order to tune the guitar to a standard key it is a good idea to use the tuning,fork (see
§27); when struck lightly against any object which is not soft it vibrates, giving a clear sound to
which the open fifth string is tuned.
47. Before putting a gut string on the guitar, the musician may wish to know whether it is a
good one or not. The following observation is fairly reliable. Take between the finger and thumb of
both hands a long enough section of the string to be used on the guitar; look at it against the light
keeping it well stretched, and without releasing it pluck it with the middle finger of the right hand
and let it vibrate. If it is observed to be diaphanous over the entire length of the vibrations it can
usually be considered a good string, but if thin lines appear, altering the diaphanous appearance, it is
certainly relatively poor. In this case take similar lengths of the remaining part of the string and make
it vibrate periodically as indicated in order to repeat the test.
48. Once it is in place on the guitar, the twelfth fret should be played to see if it gives the upper
octave in tune. If it is a little flat, take the string off and put it on the other way round, i.e., changing
the ends round, and then this octave will usually be in tune. If from the start it is sharper than it
should be, it usually cannot be used even when turned round.
Before attaching the gut strings to the bridge, they should be cleaned of the oil they are usually
covered in to preserve them by passing them several times through a piece of sheepskin or a thin
rag.

12
 FA~! TWO~
r~~~t!o~

S·~ction ~11Vo H L9xezc1/~e~

CHAPTER I

LESSON 1
Mounting the tripod: position of guitar and player
49. Taking the lower part of the tripod (see §20) in the left hand and turning the legs upwards,
the pupil should open them as far as they will go; then he must move the metal disc until each of its
arms fits over one of the legs, holding them and preventing them from folding up. Then he should
turn the legs downwards and place them on the ground; he must then loosen screw A (which
should be on the outside right) and insert the spike of the upper or metal part of the tripod into the
hole in the cylinder, making sure that the long arm is on the left; he then lifts it on its own axis and
ensures that it is aligned on one of the legs of the lower section; 13 next, he tightens screw A, which
secures the two parts of the device.

50. He now loosens screws f, i, o, and also screw V in order to let the long arm drop slightly
under its own weight, and when the tripod is completely ready for the guitar, he places it a short
distance from the right side of the chair he will use, leaving sufficient space for him to pass easily
between them.

51. He then gets up to take the guitar from its case (where it should be kept always) as follows:
he should place two fingers of the right hand in the sound~hole between the strings, with the tips
towards the neck so as to lift the guitar, and if necessary he should place the left hand on the neck in
order to lift it out very slowly. Care should be taken in this operation not to damage the neck or
body; the position of the neck is very delicate and tends to be altered if the slightest effort is exerted
on it.

52. Taking the guitar with the left hand by the base of the neck, he should place it on the
tripod, and then sit down, feeling with the middle finger of the right hand for the hole in the bottom
of the guitar into which spike B of the short arm should be inserted. Once it is in, he should check
that the lower sides of the guitar fit properly into the clamp S. Once in place, he should take the
guitar with the right hand by the front part of the base of the neck, releasing the left hand which
then takes the upper end of the long arm, and let the guitar down slowly in order to introduce the
spike on this arm into the hole in the neck. If the spike does not fit exactly into the hole, it must be
adjusted by turning screw o until the spike goes in properly, when the screw should be tightened.
When the guitar is firmly placed on the two spikes, clamp S should be adjusted so that the instru~
' 3 This is extremely important, since if the line of the long arm does not coincide with that of one of the legs, the weight of the

neck of the guitar will certainly make it fall.

13
ment is held firm from the front; this is done by passing the right arm over the guitar until the hand
touches the front end of the clamp, while the left hand moves screw i until the guitar is perfectly
firmly held by the clamp.

53. It should be understood that if the spike on the long arm does not fit into the hole in the
base of the neck because the guitar happens to be large or small, the arm must be lengthened or
shortened using screw o; if for the same reason it were necessary to do the same with the short arm,
screw f is used.

54. Once the guitar is firmly in position as I have just described, the pupil must bring instru-
ment and tripod to him. In order to do so, and generally speaking, whenever one sits down at it or
gets up from it, the top end of the long arm and the top of the base of the neck must be taken be-
tween the thumb and forefinger of the left hand, holding them firmly together; with the right hand
one takes the base of the metal part of the tripod near the cylinder, lifts tripod and guitar and places
them so that the tripod touches the outside of the right thigh, and the neck of the instrument is
more inclined and nearer the player's body than is the sound-box.

55. If the guitar requires to be higher, screw A should be loosened with the right hand, and re-
maining seated, one places this hand on the upper part of the cylinder, while the left hand takes the
base of the metal part of the tripod between forefinger and middle finger and raises it as far as is
necessary, tightening screw A immediately.

56. The neck of the guitar should have an angle of around 25 degrees, more or less, as in Plate 1;
to place it in this position, the pupil should hold the guitar in the left hand as described in paragraph
54, loosen screw E, move it along the arm to the desired point and tighten the screw.

57. The guitar should be so placed that the upper part of the soundboard, instead of being per-
pendicular to the ground, is slightly angled towards the chest. To do this, after taking the guitar
with the left hand by the base of the neck(§ 13), one must loosen screw D with the right hand, take
hold of the body with the same hand by the widest point of the topmost curve of the sides, and
using both hands, angle the instrument back as far as necessary, finally tightening screw D firmly .

58. The angle referred to in the last paragraph should be so slight that the pupil, when seated
naturally, cannot see the strings, since from the start he should accustom both his hands to finding
them by touch, since from now on he has to do this accurately when he has his eyes on the music. He
will also be able to sit straight, without the chest touching the body of the guitar.

59. The player's posture should be natural; the body should be held straight, without slumping
as if to peer forwards, or leaning to the left as beginners generally do; if there is any leaning, it is bet-
ter if it is to the right in order to give greater strength and support to the right arm. The height of
the chair should be such that the chest is visible, for which purpose a swivel stool is desirable, like
those used for playing the piano. Thus seated, the player naturally stretches his legs without cross-
ing them. Ladies look very graceful if they place the left foot on a small stool.

14
 60. Everyone should, however, choose the most suitable position for giving the spectators an
agreeable impression. With this in mind, I shall make two comments which experience has taught
me: 1. The base of the neck should be slightly to the left of the midline of the body, since the left
hand thus remains free to reach all the frets without more support than the strength of the wrist, and
does not depend on support from the body. 2. The angle of the neck must be such that the left
hand can cover the fingerboard comfortably from end to end, without tiring when the first frets are
used, and without difficulty when the rest are played. The modifications mentioned in §33 apply to
this point.

61. With regard to the importance of what has been said in this lesson on how to position the
guitar, I am going to sum it up in five movements which the pupil should consign thoroughly to
memory, and execute always in the same order: firstly, he sets up the tripod; secondly, he takes the
guitar out of its case; thirdly, he places it on the spikes and in the clamp; fourthly, he draws guitar
and tripod to him; and fifthly, he adjust the height and angle of the guitar according to paragraphs
55, 56, and 57. Should the pupil attempt any change in the position of the tripod or the guitar, he
should bear in mind the instructions of the above paragraphs, especially paragraph 54.

62. If the guitar is played without the tripod, the lower concave curve may be placed either on
the left or the right thigh, and the foot on a small stool which should not be more than a span high.
Resting the guitar on the left thigh makes it easier to play, because the right hand, which as will be
said is the most important, will be closer to the body; this is not so when the guitar rests on the
right thigh, separating the right hand from the body, and thus weakening its action. The first
method is more suited to men, the second to ladies. In both cases, the guitar may or may not be
brought close to the chest. In the second method, the left thumb has to work hard in order at one
and the same time to attend to the interplay between the thumb and the stopping fingers, and to
maintain the equilibrium required in the guitar, which may be considered to be balanced. If it is held
against the chest, the work of the left thumb is diminished, but one cannot keep one's body straight.

LESSON 2
Pluc~ing with the right thumb
63. Having followed the instructions of Lesson 1, the pupil should place his right forearm on
the main convex curve of the guitar, endeavouring to keep the elbow separate from the body, and
without moving the forearm push the hand towards the sound-hole, arching the wrist well; he
should stretch his fingers so as to form a straight line with the forearm, without letting them turn
towards the bridge, as tends to happen if the hand is slack, as may be seen in Plate 2, figure 5. 14 The
strings should be plucked about six fingers from the bridge. This is where they should normally be
plucked. Once the fingers are in position, pluck first the sixth string, then the fifth and then the
fourth, all with the thumb. With each plucking movement, bend the last joint in such a way that the
rest of the thumb hardly moves. Repeat this operation several times, beginning with the sixth and
finishing with the fourth string, and conversely, from the fourth to the sixth, still without moving the
•• In the figure in Plate 1, the fingers of the right hand are not so well placed as those of Plate 2, figures 4 and 6. The fingers of the
right hand seem more at ease [indican mas suavidad] in the latter than in the former.

15
hand. It should be understood that meanwhile the pupil must not move his hand from where it is,
nor look at it, since one of the objects of this lesson is that the thumb should succeed in plucking cor,
rectly each of the three strings indicated.

64. The pupil will note that each time the right thumb strikes a string, the guitar makes a slight
backwards movemenes which should be avoided from the start. In order to do so, place the left
hand as if to take the neck of the guitar by the first frets, and without putting the fingers on the
strings, place the thumb about the middle of the back of the neck, bent at the last joint, and
therefore continually resting the thumb,tip steadily on the neck as may be seen in Plate 2, figure 8.
In this position, each time that the right thumb plucks a string, the left thumb at the same time
makes a short pushing movement forwards to counter the plucking movement. These movements
by the two thumbs must·be simultaneous.

65. The training of the right thumb is extremely important, because once it is only the last joint
which is trained to move, it contributes to helping to keep the hand from moving. The same move,
ment should be practised later by the forefinger and middle finger in turn. A sure and energetic
plucking movement depends on the last joint only of the plucking fingers being moved, as far as this
is possible. 16

LESSON 3
Stopping the strings with the fingers of the left hand
66. The pupil should imagine that a wooden hand is attached to his forearm at the wrist and
that at the join there is a screw which prevents it from moving, while the forefinger and middle
finger have hinges only at their last two joints, and the thumb merely at the last; this is how to learn
to use the right hand.

67. The pupil should first read carefully chromatic scale number 1, so as to discover where the
sounds are on the guitar, that is, the strings on which the notes are played, and the series to which
each belongs, that is, bass, treble, or high treble [la serie ... grave, aguda 6 sobreaguda].

68. He should then position his right hand as in Lesson 2, keep his fingers stretched and prac,
tise scale number 2, discovering the positions of the notes with the help of chromatic scale number
1, and placing the fingers of the left hand close behind each fret (see § 16). 17 It is extremely impor,
tant to place them here and not elsewhere in the space between the frets, because with the slight
pressure of the finger, the string necessarily rests on the fret and thus produces a clear sound; 18
1' The guitar should experience this movement so that the left hand does not tire from stiffness as a result of holding the instru-
ment too tightly.
16 The training of the right hand is often very careless, despite t he fact that it should be the first care of the guitarist, because it is

the hand which produces the sound. Everything that my friend Sor played was well expressed, because his right hand plucked vigor-
ously.
17 I shall use the number 1 to indicate the forefinger of the left hand, and the numbers 2, 3, and 4 for the other fingers in order.

" The fact that the strings stopped rest on two firm points-the nut of the bridge and the fret-very considerably influences the
purity of the sound. For this reason, the sound of the guitar strings should be purer than that of other stringed instruments which do
not have frets.

16
otherwise, the more the finger moves back from this point, between frets, the duller the sound,
however much pressure is placed on it. The pupil must also take care to bend the fingers so that the
last joint is perpendicular to the string; to do this, he must arch the wrist well and also make sure
when he stops the string that the direction of the finger is as far as possible parallel to the frets (see
Plate 2, figure 7). The right thumb should pluck the notes on the bass strings in the manner indi,
cated in paragraphs 63 and 64, and the forefinger the notes on the upper strings.*

69. So that the pupil can have an accurate idea of how to use the fingers to stop the strings, he
should imagine that the fingerboard on which the strings are stretched is like the keyboard of a
piano, and that the fingers should fall onto the strings in the same way in which they fall onto the
keys of the piano.
CHROMATIC SCALE
No.1
Strings: Sixth Fifth Fourth Third Second First

Frets: 0 I 2 3 4 0 I 2 3 4 0 1 2 3 4 0 I 2 3 0 I 2 3 4 0 I 2 3 4 5 6 7 8 9 IO ll 1213 I4 15 I6 I7

No . 2 DIATONIC SCALE

• • •
~ .., .. .. ... ..
~
I I I
•I •I • • • • • •
Frets: 0 I 3 0 2 3 0 2 3 2
0__..,_.. 0 I 3 0 I 3
Strings : Sixth Fifth Fourth Third Second First
Left hand fingenng : 0 I 3 0 2 3 0 2 3 0 2 0 I 3 0 I 3

LESSON 4
Semitones and tones with with all the fingers of the left hand
70. While the pupil practised Lesson 3, he was able to watch the fingers of both hands,
because the object was to learn the position of the notes on all the strings in the first four frets, plac,
ing them according to the rules of that lesson; from the start, however, he must accustom them to
pluc~ing and stopping the strings without loo~ing, so that the eyes are concerned only with the careful
reading of the notes and their values.

71. In the guitar, each fret is a semitone, so that if two consecutive frets are stopped on a string
a semitone is formed (letter a). A whole tone is played by placing one finger on any fret of a string
and then stopping the next fret but one on that string, that is, the third fret altogether (letter b).
• [An addition to this paragraph is in the Appendix, paragraph 391 below.]

17
 72. In practising the example of this lesson, the pupil may look at the fingers of the left hand
two or three times in order to learn where to put them; but after this they should be placed in posi,
tion without looking. This must be practised until they can be positioned without hesitation but
gently, that is, without pressing heavily, since this will be the test of whether the lesson has been
well learned. The pupil should pluck all the strings with the right forefinger.

73. The pupil should endeavour to practise the semitone and tone on other strings and other
frets without hesitating, using gentle pressure, but without loo~ing. If any sound is not clear, it is
usually because the stopping finger is not close behind the fret (see §68) and this can be corrected
by sliding it slightly towards the fret without looking. 19

Left hand Ascending semi tone Descending semitone Ascending tone Descending tone

tr F I F r I C F I
fingering: l 2 3 4 4 3 2 I I 2 3 4 4 3 2 I
a

Frets on
~ncr Inr r I r #F IqE t I C rI
the first string: 2 3 4 5 5 4 3 2 I 3 3 5 5 3 3 I

LESSON 5
'The left hand contributes to producing full and rounded notes
74. In Lesson 2, the right thumb learned to pluck, and in the following lessons the pupil learned
to know the position of the notes, and play tones and semitones without looking at his fingers. In
this lesson he will learn how to use the fingers of the left hand on the strings, so that this hand will
in tum contribute to producing full and rounded sounds.*

75. The ultimate objective the pupil should aim at in his practice is to produce much volume
and good tone from the guitar; this requires the instrument to be kept immobile, however agile the
movements of both hands may be in the performance of music. He must therefore be particularly
careful that the left thumb, with the brief pushing movement indicated in paragraph 64, responds to
each plucking movement by the fingers of the right hand. This pushing movement also helps to bring
the strings closer to the fingers stopping them, by pushing the neck towards them; and thus
avoiding the otherwise rather broad movements which would be required to find and stop the
strings if the neck gave instead. The result of this is that a better use is made of the strength used to
stop the strings, because it is immediately offset by the movement of the thumb. It is by the
simultaneity of these two movements-the pressure of the finger or fingers in front and the pushing
movement from behind- that it is possible to make the sounds full and rounded; this is very valuable
and the pupil should therefore in the next passage carefully practise plucking with the right fore,
finger without looking at either hand, and correcting any lack of clarity in the sounds by stretching
• [An addition to this paragraph is in the Appendix, paragraph 391 below.]
'9 In practising the first lessons, the pupil may sit in front of a mirror in order to correct the position of the fingers instead of
looking directly at them.

18
the fingers upwards towards the fret. If the pupil has practised scale no. 1 of Lesson 2 carefully he
will remember the position of the sounds, and then will give all his attention to looking carefully at
the music so as not to mistake the notes, with the certainty that the fingers will for the most part
find their correct position, while after a few repetitions he will be able to play the lesson easily
without mistakes. He should put into practice all the comments made already with regard to the
correct placing of the fingers and the production of rounded tone.
It seems natural to use the third finger for G and Din bars 1 and 7, but it is more comfortable and
more useful to use the fourth finger. In bar 11, Dis played with the third finger.
4

r
1 r 1 r ct I·EJ n 1r t II

I'F J] I F iJ 1'et G I r t II

LESSON 6
Practice of the same technique (continued)
76. In Lesson 5, the left thumb did not have to offset more than one finger at a time; now it has
to increase its resistance, because two strings are nearly always played at one time.

77. Once the pupil knows the position of the notes and that two should sound at the same
time, plucked with the forefinger and middle finger of the right hand, he should not be surprised if the
fingers of the left hand seem lazy or meet with difficulty but should trust that repetition will render
them obedient.

78. He should position his hands as in the last lesson and begin to practise bar 1, repeating it
until he can play it easily and without loo~ing at his fingers; going on to bar 2, he should practise it in
the same way, and then the two together; he should then practise bars 3 and 4 one after the other
and then together, and not continue with the practice of the rest until the fingers can play these
four as well as the first.
In bar 4, B is played on the third string (see Lesson 16 and the table of equivalent sounds). The
other Bs in bars 7, 11, 12 and 15 are played in the same way.
The interplay of the fingers and thumb of the left hand should be kept in mind (see §64).

79. Once the Din bar 7 has been played, the third finger playing it should be lifted before E is
played.
This lesson must eventually be played without the left hand moving from its position, which
means that the fingers must be kept wide apart.

19
 '~·Q r 1·eg·r 1.8 ~ 1ar 1tQ r 1·W1 lu~ 1r 111
6ui1 ~ IJfi r lui'i.r I~ r I tj r I'!!U l#ii tf Ir 1 I
LESSON 7
Pluc~ing with thumb and forefinger in turn
80. When the right thumb and forefinger pluck two strings at the same time, the action of the
forefmger should be towards the palm of the hand, while the thumb, the last joint of which is bent,
should be above the forefinger after plucking, making a kind of cross (Plate 2, figure 6), which means
that the thumb plucks its string slightly lower than the forefinger does. This is how to play the
notes G and B Oetter a), A and C Oetter b), and then immediately the alternating notes of letter c.
The pupil should then go on to exercise A, to practise the plucking method learned, and repeat it
until the fingers have mastered it without his looking at them.*

81. So that the pupil does not become bored with practising, he may learn the waltz below,
which is the practical form of the principle established in this lesson. In addition to bearing in mind
the rules given, he should study the waltz without looking at his fingers. He should play F sharp in
bar 3 with the fourth finger without moving the other two from A and C. The four fingers should
always be as open as is necessary in order that the left hand does not move from its position during
the waltz. The two dots on the left of the double bar in part one mean that this part is repeated,
while the dots on the right mean that part two is repeated.
a b c
i i . . i

EXAMPLE

p p
nnrJJnu
p p p p p
EXERCISE A ..

g2 JJjjJJ]JI 1?J?PJ?H!Jt.@l·!fPJ31 JW]J~

p p p p
11

WALTZg•uOw r I·Uw i ltn s1flw 1 1Pwr 1itw ~ &rJE in~~

p PP P p p p p P

t11= eoo r go r 1e;w r ~~r#'~ 1:0w r 1uw • lcJJ J 1• 1 1 :II

• [An addition to this paragraph is in the Appendix, paragraph 391 below.]

20
 LESSON 8
'The same (continued)
82. In addition to observing the rules laid down in the last few lessons, this lesson requires care
in other aspects. 1. The notes in A should be read to find their position and that of the fingers
which play them; the right thumb and forefinger pluck the strings alternately. 2. Each bar should be
practised separately until the fmgers obey without being loo~ed at. 3. The left hand should not move,
only the fingers, and the thumb placed behind should respond with a pushing movement to the
pressure of each of the fingers, ensuring that the two actions are simultaneous. 4. The right thumb
should bend at the last joint when it plucks, finishing over the forefinger after playing. 5. The right
forefinger, if the nail is used, should be held away from the string so as to move it firmly when it
plucks, as described in paragraph 37, taking it on the inside of the finger; if only the tip is used, it
should lightly grasp the string in order to give security to the plucking movement; in this case the
finger should be well bent, since in this lies the strength required in the fingers; when the nail is
used to pluck, the finger is less bent, and the support of the plucking stroke lies directly in the first
joint of the finger nearest the hand.

83. Once the first bar Qetter A) has been learned, the second should be practised, then the two
together; after bars 3 and 4 have been practised, the four should be put together, and so pro.-
gressively with the rest. The pupil should then go on to section B and practise it in the same way.

84. Once this lesson has been learned, its practise may be very useful. The pupil should start
by stopping the strings firmly with the fingers of the left hand and plucking lightly with the right
hand. Then the lesson is repeated, plucking a little harder with the right hand and at the same time
slackening the pressure of the left hand a little. It is repeated again, with slightly more plucking and
slightly less pressure from the left fingers, and repeated again and again, increasing the strength of
the plucking movement of the right hand and reducing the pressure of the left. This is how the
movements of the two hands begin to become independent.

85. It should be noted that if the fingers of the left hand are placed on the strings at the moment
when the right hand plucks them, they usually attempt to press harder; this should be avoided. •

A,,~v,r v r ~ r2r a:r.r 1f? r P P

' p £ J J3 U1J~ B£ I¥ p, i3 I BBj] l II
B' cf=3 Ma# la2J f{ PaP 1{=3 fl J E I
gJ ]8, p I p FiE,P I¥ f J,P I p g I I I
• [An addition to this paragraph is in the Appendix, paragraph 391 below.]

21
 LESSON 9
How to play chords of three notes at once, i.e., simultaneous chords.
Use of the thumb, forefinger and middle finger of the right hand
86. It is very useful to practise the three passages in this lesson: the second should not be at,
tempted until the first has been mastered. The three notes in each group are played at the same
time, since they are played vertically one on ·top of the other. This group of notes is known as a
chord, and the distribution of the fingers of the left hand in playing them is called a position. The
movements of the fingers of this hand in moving from one position to another, or from one chord to
another, are easier. in A than in B, and more difficult in C; they should all be performed nimbly,
without moving the position either of the arm or of the hand.

87. Special care should be taken that the push forward of the left thumb is in proportion to the
pressure of the three fingers forming the position; they should be placed in position at the same time,
and should lift very little from the strings in passing from one position to another; this last move,
ment should be rapid. The sound made when the strings are stopped ceases when the finger stop,
ping the note is lifted, and the later the fingers lifted from one chord take the position of the next,
the more sound,time is lost from the first chord. The three fingers pluck in such a way that they do
not force the hand to move. Only the last two joints of the forefinger and middle finger move in the
direction of the inside of the hand. The forefinger plucks at the same time as the thumb and middle
finger. When these three fingers pluck together, the note plucked by the forefinger is heard less,
because in this case it is the weakest of the three; special care should therefore be taken with it.

88. In this lesson the pupil not only puts into practice the simultaneous action of the fingers of
the left hand, but should also begin to study the coincident movement which should exist between
the pluc~ing of the right hand and the stopping of the left, avoiding a very common defect which is
that the right hand plucks once the fingers of the left are in place, in which case there is no
simultaneous action. The two hands must work together. This study requires attention, and is very
important if pure sounds are to be produced. The pupil should therefore take as long as necessary on
it in order to achieve this.

LESSON 10
Reading and playing two ..part music. How the parts are written
89. The value of the notes is demonstrated on the guitar by keeping one or more fingers of the
left hand on the strings as long as the note indicates without releasing them. Thus in order to
denote a quaver (eighth note) the finger must be on the string half the time it needs to play a
crotchet (quarter note).

22
 90. This is easy to understand, and it would be easy to perform if guitar music had only a single
melody; but since it is an instrument which uses harmony, it should and can successfully represent
the interplay of two or more voices at one time. In this case, each voice usually has notes of different
values; the notes of each voice or part, the performance of which requires double the care, must
therefore be written separately. It is also necessary not to make mistakes with the fingering of the
left hand if both parts are to be played correctly.

91. The waltz in this lesson should be practised as follows. The bar has three beats; the note
which occupies each beat is a quaver (eighth note). Two voices, or parts written separately, may be
observed; the tail of the notes in one is upwards, and in the other downwards, but each part fills the
bar with the value of its respective notes, the positions of which correspond. Low C with the dot in
bar 1 fills the entire bar, which means that the third finger remains still throughout. In the upper or
treble part there is a rest for two beats of the bar, and Cis played on the third beat, its value being
equivalent to the dot of the low C. In bar 4, the third beat is taken up by two silences or rests, each
of one beat, which are the same in each part. These rests mean that no sound is played; for this pur,
pose, the fingers stopping the strings which produce them are lifted; but on the third string, which
plays G, this is not enough to still its vibrations for the value of the rest; the finger of the right hand
which plucked it must be placed on it at the right moment. In bar 5, the third finger remains on F
throughout the bar. In order to play correctly the second group of bar 5 where there is a dot, it
should be borne in mind that the short value of the note following the dot is not comprehensible
unless the next note is played immediately, following an adequate pause on the note preceding the
dot. In bars 10 and 12, the fingers are lifted on the third beat, and also in bars 16 and 18.

92. The sharp is a sign in music which means that the note affected rises a semitone in intona,
tion. In the guitar, each fret is a semitone, and the sounds rise in pitch as the string is stopped nearer
the bridge and fall towards the nut. Thus C sharp in bar 13 is played on the fourth fret of the fifth
string, which is a semitone higher than C natural; in bar 15, A sharp is played on the first fret of the
fifth string, and C sharp on the second fret of the second string, both being a semitone higher than
A and C natural.
Always remember that the left thumb is bent and in continual action.

23
 LESSON 11
The same (continued)
93. When a note has two different values, one with its tail downwards and the other with its
tail upwards, the longer of the two is taken. Although C in bar 5 is a quaver (eighth note) above, it
is given the value of a dotted crotchet (quarter note), and the finger stopping it must remain still
throughout the bar.
The notes of bars 10 and 18 are the same; however, the value ofF is not the same as the other
notes; a similar situation is in bars 12 and 20. Bar 22 requires care.

LESSON 12
The same exercise continued in this lessons and in lessons 13, 14 and 15
94. C and E in bar 1 last for two beats. The third beat of bar 2 is a rest for the bottom notes.
Low E in bar 13 lasts the entire bar, as does F in bar 14. The continuous movement of the left
thumb should not be forgotten.
im im i )J_ im

gapa:~ 1pJ ~ !fi¥1 ~- Jl1F Jl1 ~ ·~~~:.a w 1~ H

im
.
rm
im 0".

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LESSON 13
95. In bars 9, 10 and 11 the second finger does not move from A, which must be repeated in
the three bars. In bar 21, low C is dotted.

24
 i p i p

LESSON 14
96. B and C at the beginning form one beat, which is the last of the bar. Note that the eighth
bar of part one has only one note of two beats, but this is because when this part is repeated, as the
two dots at the double bar indicate, the aforementioned B and C count as the third beat in bar 8.
When part two has been repeated, the second~time bar is played instead of the first~time bar.

97. Top Gin bar 14 is tied toG in bar 15 by means of a curved line known as a tie, which in~
dicates that the value of the first G continues into that of bar 15; it is played by not lifting the fourth
finger until the value of the second G has been completed- without pluc~ing the latter. The repetition
of the second part is the same as the first. Care should be taken with the stopping action of the left
hand.

98. It should be noted that the left thumb, without leaving the neck, slides slightly forwards
and back with the hand in bars 9, 10 and 11.

25
 99. Great care should be taken with the fingering of both hands. If bars 5 and 6 are examined, it
will be observed that they are written as if played by three voices or parts. Bar 15 also requires par,
ticular attention for a precise rendering of the second dot.

LESSON 16
Knowing and using the equivalent sounds

100. In the chromatic scale in paragraph 69 all the frets of the first string were stopped, while
we have not gone beyond the fourth fret on any other string, and on the third string, only the third
fret. This is because when the fifth fret of any string is stopped, the resulting note is that of the next
highest open string, except for the third string where the fourth fret has to be stopped to give the
same sound as the open second.

101. It may be inferred from this that any note on the first, third, fourth and fifth strings will be
found on the next string immediately below, six frets towards the bridge, while those of the second
string will be found on the third string, five frets up (always including the two frets on which the
same sound is stopped on both strings).

102. I call these different points at which the same sound can be made equivalent sounds
[equisonos], with reference to the note written on the stave. For example, high F on the fifth line of
the treble stave has four equivalent sounds on the guitar: 1. on the first string at the first fret; 2. on
the second string at the sixth fret (six frets towards the bridge in relation to the equivalent sound on

26
the first string); 3. on the third string at the tenth fret (five frets towards the bridge in relation to
the equivalent sound on the second string); and 4. on the fourth string at the fifteenth fret (six frets
towards the bridge).
Conversely, and for a similar reason, the sounds of the sixth string are to be found on the fifth
string immediately above, six frets towards the nut; the equivalent sounds of these on the fourth
string, those of the fourth string on the third, etc., at the same distances as in paragraph 101.

103. I give the ordinal numbers of first, second, third, and fourth to the equivalent sounds of a
note, beginning at the point on the fingerboard closest to the nut where the sound is formed: the
first equivalent sound of high F is on the first string at the first fret, the second is on the second
string at the sixth fret, and so on; the first equivalent sound of.treble C is on the second string at the
first fret, its second is on the third string at the fifth fret, and so on.

104.

Table of Equivalent Sounds

,., U.

Strings: First
Second
u
.. •=~· li .. #• . .
-
~ ~· • tt•
0 I 2 3 4 5
0 I
6
2
7
Third 0 1 2 3 4 5 6 7 8 9 IO ll
Fourth 0 I 2 3 4 5 6 7 8 9 IO ll 12 I3 14 I5 I6
Fifth 0 I 2 3 4 5 6 7 8 9 IO ll 12 I3 I4 I5 16 17
Sixth 0 I 2 3 4 5 6 7 8 9 IO 11 I2 13 14 l5 16 17

,., • ++. .... -•

H.... • ----
----
-- - --
--
e)
3 4 5 6 7 8 9 10 11 12 l3 14 I5 16 17
8 9 IO 11 12 l3 14 l5 16 I7
I2 13 I4 I5 I6 17
I7

27
 105. When two voices have to be played simultaneously, and could be played one after
another on the same string, the position of the higher of the two should be found first, and then the
other. In the example below, F and A could both be played on the first string one after another (as
at letter a); but if they have to be played together (as at letter b), A is first found on the first string,
and then F is found in its second equivalent sound on the second string at the sixth fret. If two
notes with a larger interval than at a have to be played together, for example F and D (letter c), Dis
positioned first, and F is played either in its second equivalent sound (second string, sixth fret, letter
d), or in its third equivalent sound (third string, tenth fret, letter e).

106. In the 1820 Escuela I used ordinal numbers to indicate the equivalent sounds, but it seems
clearer and simpler to use a small circle to indicate the number of the string on which they should be
played; I shall always put this circle to the right of the note, reserving the left for the number of the
finger stopping the string.

LESSON 17
The left hand begins to move along the nee~ of the guitar
107. In studying the waltz which follows it should be noted that it is written in the key of G
which has the following scale:*
Name of the notes: G A B C D E F G
Order of the notes: 1st 2nd 3rd 4th 5th 6th 7th 8th
Intervals between them: tone tone sem. tone tone tone sem.

108. B, C, and Din bar 1 are the third, fourth, and fifth notes of the scale of G and between
them there is first a semitone and then a tone, i.e., one fret and then two frets. The notes of bar 2
and all the rest can be found in a similar fashion on the first and the other strings. Hence it can be in,
ferred how desirable it is to know what note of the scale is going to be played in order to find the
next. The chord in bar 8 needs three strings: low D cannot be played in its first equivalent sound
(open fourth string), since F sharp has to be played there, so it is played in its second equivalent
sound (fifth fret, fifth string) as can be seen from the 5 inside the circle.

109. E sharp in bar 9 has the same position as F natural. F sharp and A in bar 10 require two
strings: first the A is found and then the F sharp on the second string. In order to be sure of A in
that bar one must remember that from F sharp in the previous bar 9 toG, which may be supposed
to be the next step, there is an ascending semitone, and from G to A there is a tone, so that from F
sharp to A there is a tone and a half, or three frets. Similarly, it may be said that from high Din bar
9 to F sharp in bar 10 there are two tones, or four frets. This is how A and C in bar 11 may be
found, and so on. High A in bar 15 is played in its second equivalent sound (seventh fret, fourth
• [An addition to this paragraph is in the Appendix, paragraph 391 below.]

28
string), because since it has to be played together with C and G sharp, it would be impossible to
play it in its first equivalent sound (second fret, third string). Care should be taken to give the notes
their exact value.

110. In this lesson a start is made to teaching the left thumb not to leave the neck of the guitar
while the hand moves up or down, but always to stay touching it, bent at the last joint.

LESSON 18
'The fingers of the left hand become accustomed to being well spread
111. The right thumb and forefinger pluck alternately in this lesson. The fingers of the left hand
must be continually spread throughout so that they will find their respective frets without the hand
moving. This exercise is very useful because it is played on the first frets which have the widest
spaces between them. Care should be taken with the equivalent sounds. When the left hand plays
bar 21 on the second and first strings, the wrist has a tendency to move back; it must therefore be
kept carefully forward.

112. The pupil should be careful not to press the fingers down on the strings more than is
necessary, and ensure that the thumb reacts to the pressure of each.

113. Here, I shall give some advice on how to practise which should be borne in mind from
now on. First the four semiquavers (sixteenth notes) of the first group must be equal, then those of
the second and then all eight. Once the two groups of bar 2 have been practised in this way, the
four groups should also be linked up so that there is the same time interval between all the notes
since they are all of equal value.

29
 g" ! !fJ f JJJ31.J 3JJ,J JJ ; 1J3PFf r FI d; P ;JJ'"S1 p i

guar fr r ~ f'F 1J4] 3kbs FI dJj J J3J31.~ t

gu JWPr::rttiJJ]Darflr "' t.JJjJJJD'IJWPr;rEtl

i p l i p l

t" Jn1\1ffll~ 1 IJwpJUJJI15]JJBWIJJ]\rrr

p l p l 2

LESSON 19
Beginning to use the middle finger of the right hand in conjunction with
the forefinger, practically without moving the left hand
114. It was established in Lesson 10 that the duration of the sound for the value of the notes is
effected on the guitar by keeping the finger stopping the note on the string for the length of its value,
and then lifting it once this is done. If this principle were observed, this lesson would require the
continual lifting of the fingers playing, because the notes are of little value, being semiquavers (six,
teenth notes). However, the rule has an exception, which is when the same note has to be repeated
within a short space. The guitar is an instrument which lends itself to harmony; the substance of
harmony is in chords, which are made up of three notes at least; whether the strings which make up
the chords are played together or one after the other, the ear takes pleasure in their duration; and
for this reason it is desirable not to lift the fingers from the A and C of bar 1 until the last C of the
first group of four notes has been played, because they all belong to one chord; and even then the
same fingers should remain in position, because the same chord is repeated in the second beat.
However, just as it is desirable for the fingers to remain on the stopped notes of a chord, so they
must be lifted when the notes of another chord are to be played, because in addition to possibly
needing the same fingers for the new chord, the duration of some note or notes in the first chord
could produce an undesirable effect in the second chord. Great care should be taken here, for exam,
ple in bars 5 and 13, in which group 1 belongs to one chord and group 2 to another.
What was said in Lesson 10 on how to understand the value of the notes should be borne in
mind.

30
 115. The four notes of each group should be plucked with the same force, and the advice in
Lesson 18 should be borne in mind.

,~ r::fFJJJ ~~ JJj~jJj l·rJ ;p;J JI FJJJ)JJJ I

' FJJ J pliE JJ 1./.J J J~ JJ J I ~ JJJ,p JJJ I FJ J J~ =II

~ I = f j J j f j J j I ~ JJ J, ~ JJ JI,) j J j ~ j JJ I f JJJ1 ~~JJ~j I

J J I~ JJ J) JJ J I ) JJ J~J J J I FJJ JJ 2
=II

LESSON 20
'The same exercise moving the left hand slightly more
116. For each quaver (eighth note) in the lower voice there is a triplet above. All the quavers
(eighth notes) are plucked with the thumb in the same way as in bar 1; they must all be very equal.
In this exercise the weakest finger of the right hand is the forefinger (see §87); therefore it is perhaps
desirable to reduce somewhat the energetic plucking of the thumb.

117. The change of fingers from one chord to another requires great attention. In nearly all the
bars there is a change of chord;· the position of a chord should not be changed until its last note has
been heard clearly for its full value.

118. The correspondence between the fingers which stop the notes and the thumb of the same
hand is more difficult here, since there are nearly always three fingers playing, and the left hand
moves more than in the previous lessons. Care should be taken to keep the wrist continually arched
and the fingers well rounded. The right hand fingers should be only slightly rounded if the nails are
used to play; otherwise they are bent, and in neither case should the hand move.

119. Before going on to another lesson, it is a good idea for the pupil to pause on this and the
earlier lessons, practising the rules laid down for the correct use of the fingers of both hands, and at
the same time he should bear in mind the following observations which he will later apply in the re,
maining lessons. 20
20 Some of these observations have already been made in earlier lessons, but they are so important that I do not consider it super-

fluous to repeat them now that the pupil's hands are more obedient.

31
 120. 1. In the pressure of the fingers on the strings, the strength employed should be no
greater than is necessary to produce a clear sound. First place a finger on any fret of any string, at its
proper place, but without pressing. When this note is plucked, the sound is blurred because the
fmger does not press down enough; the pressure should then be experimented with until when the
string is plucked the sound is clear and no further pressure is required. The strength of pressure
must depend on the wrist, and the arm is not perceptibly involved. It is important for the fmgers of
this hand to know how to apply pressure to the strings so that this may be the subject of delicate
study with good results, particularly once practice has given the right hand the energy and security
it needs.

121. 2. If the last joint of the fingers of the left hand is allowed to drop perpendicularly on the
strings, and the fingers are kept parallel to the frets in stopping the strings, they exert the desired
strength.

122. 3. If the fingers of this hand are always kept spread wide (Plate 2, figure 7) the advantage
is that, when they are lifted from the stopped string, they are all parallel to the frets, and this avoids
a noise or slight whistle which the fingers produce, especially in the bass strings, when lifted
diagonally.

123. 4. The right thumb is often found to be nearly parallel to the strings (Plate 2, figure 5);
the sound produced even when the last joint is well bent, is then hard and disagreeable. This posi~
tion should be altered, so that the thumb forms a fairly wide angle with the strings, as may be seen
in figure 4 of the same plate, for which purpose the wrist must be rounded or arched.
During the next lesson, the pupil can put these observations into practice. It is played throughout
on the bass strings and plucked with the thumb only.

32
 LESSON 21
Continuation of the same
124. If a note of the scale is plucked, and then the note immediately either above or below it,
and the vibrations of the first are still heard when the second note is played, a disagreeable combina,
tion of sounds results: this is a dissonance of a second, and should be avoided. In bar 4, Dis played
on the fifth string, its second equivalent sound, because if it were played open in its first equivalent
sound, its vibrations would continue when C was played. The same occurs in bar 10 and in the sec,
ond D of bar 15. This observation should be borne in mind whenever scales or parts of scales,
whether ascending or descending, are played.

'j £· ·~J
2 ® ® 1 2 ®

I I.J fil£r.J ll t :ll:ij~ ·iifi ll~ I IJ{J J I

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1£ ij£ Jglg J J !:II

LESSON 22
Playing three parts at a time; the fingers of the right hand
begin to move more

125. The pupil should go over again the substance of paragraphs 89 and 90. Then he should
read this lesson with the following observations. 1. It is written in three parts; 2. The melody is in
the treble, and its notes have their tails upwards. The bottom part has its tails downwards, and the
intermediate two,voice part also; 3. The notes in each of the three parts complete the full value of
the bar.

126. Once the pupil is aware of this, he will see the correspondence between the notes of one
p;trt and those of the other two parts in the beats, and will take care that the playing of the notes of
one part does not prevent the giving of their due value to the other notes, which requires care with
the fingering.
The fmgering of the right hand, indicated by the letters in bar 1, serves as a model for the rest of
the piece. Care should be taken with the equivalent sounds and the fingering of the left hand.

33
 LESSON 23
'The same exercise moving both hands more
127. In order to render the rests in bars 2, 6, 8 and 16 the fingers of the right hand which have
plucked the notes must immediately be placed on the three strings in order to silence the three
sounds. The chords in bars 8 and 16 are the same, but they are played on different strings and in dif~
ferent equivalent sounds.

LESSON 24
Both hands move more. Practising equivalent sounds
128. In bar 4 low A is played on the open fifth string, and high A on the fourth. The right
thumb plucks both, sliding the tip vigorously onto the fourth string after plucking the fifth, and
always bending at the last joint. From A (bar 6) toG sharp (bar 7) there is a descending semitone
(one fret). To complete bar 8 a beat is needed, and this is the C and D of the beginning (see Les~
son 14).

34
 I
i i i
1n ); I 1nil
@' I

i i

LESSON 25
Slurs. Slurring two notes, ascending and descending
129. In the slur, the left hand plays two, three, or four notes, ascending or descending, while
the right hand plucks only the first. The slur is indicated by a curved line over the notes. In the
ascending slur with two notes (bar 1), G sharp is plucked and the second finger of the left hand falls
onto A, close behind the fret, but without plucking the string. Naturally, the latter finger, which
produces the slur, tries to drop onto the string as soon as possible, but it should be held back in
order to give the note its full value. The descending slur with two notes (bars 13, 14, 21, and 22) is
played by positioning the two fingers at the same time: the first note is plucked and the finger stop,
ping it pulls away to make the string-and consequently the other note--sound. Some force has to
be exerted with the first finger of the two when it is withdrawn, because it has to bring out the slur
clearly; the other must be somewhat loose but well positioned. The arm should not be involved in
playing the slur.

130. The slurs should be played with all the fingers of the left hand, but this will be seen in the
Exercises (Section Two).

35
 b
tJI
j'

~~""
r·
.( ~
r
I I I I I 1 I I I I I I ~ J Tl

LESSON 26
'The same exercise

131. The first group of semiquavers (sixteenth notes) of bar 1 is composed of a descending slur
and an ascending slur. In playing the first slur in bar 11, the little finger should be stretched to reach
F sharp without moving the hand, keeping the left thumb firmly on the base of the neck. Bar 21 re-
qurres care.

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---- ~
-=#-=~ 0

r lr
~~#J)~ 0

-.,
r
r·

36
 LESSON 27
Playing the simple ascending appoggiatura
132. The appoggiatura is a little note, the brief value of which is taken out of the following note
and has to be played rapidly. It is played like two slurred notes, but very rapidly. In the ascending
appoggiatura, the small note is plucked and the other finger dropped on to the main note. In the
descending appoggiatura, the small note is plucked, and immediately the finger stopping it pulls away
as in the slur, so that the main note sounds. A brief effort should be made with the finger stopping
the small note so that it will be heard clearly, despite its brevity.

133. All the appoggiaturas of the Andante in this lesson are ascending, and are played with all
the fingers. The speed of the piece is slow so that care can be taken in playing the appoggiaturas.
The crotchets (quarter notes) in bar 4 are plucked with the right thumb and forefinger; if they are
played with the forefinger and middle finger a different effect will be heard in the quality of the
sound. Bar 7 requires considerable care in order to give all the notes their true value; in playing the
chord in bar 8, it is a good idea to form a barre with the forefinger to prevent the D and B in bar 7
being heard on open strings (see Lesson 31).
Following this Andante, the waltz in Lesson 28 may be played. After playing part one, go on to
part two, then back to part one, finishing with it.

I =IIJPJ#ft~ (~ I

LESSON 28
Simple descending appoggiatura
134. The object of this lesson is to play a descending appoggiatura; what was said in Lesson 27
about playing appoggiaturas should be borne in mind. Place both fingers at the same time. In bar 23,
the curves over B and B and D and D are ties, because the two notes covered are at the same level,
and the second note of each tie is therefore played by extending the sound of the first note for its
value, but without pluc~ing it.

37
 r·

LESSON 29
Double ascending and descending appoggiatura
135. This appoggiatura consists of two little notes. When it is ascending (bars 1, 3 and 5) the
first little note is plucked and the appropriate fingers immediately fall onto the other little note and
the main note, taking care to stop the string precisely close behind the fret and to pluck only the first
little note. To play it properly, each finger should come down firmly but not nearly at the same time
as often happens, and they should not be heavy. In the descending appoggiatura the three fingers are
from the start placed on their respective notes; the first little note is plucked, and without further
plucking, the finger on it and the next pull successively away to make the second note and the main
note sound. Generally speaking, beginners tend to put all the force into the finger on the main note,
but this is not right; it should be in the finger playing the first little note and thus the backwards
movement of the hand, and consequently the arm, can be avoided. At first it is necessary to be
satisfied with the fact that there is not much sound, provided the notes can be heard clearly. The
triplets in bar 13 are played in the same way as the double appoggiaturas, with the difference that in
the triplets, each finger pauses on its note to give it its due value; in the appoggiatura, the notes are
very short. Since three notes have to be slurred in each triplet, they must all obviously be played on
one string, and the same is true of the appoggiaturas.
After this Andante, the waltz in Lesson 30 can be played.

r i i=u=
v r
38
 LESSON 30
Another double appoggiatura
136. In this appoggiatura, there is an ascending slur and a descending one; the first little note is
plucked and the second and the main note slurred as in Lesson 29. The fmger which produces the
second slur must make it sound clearly. The sign A above some notes means that their sound
must be silenced, by placing the same finger which plucked the note on the string immediately
after. 21 The appoggiaturas in bars 1 and 9 are played with different fingers of the left hand from
those in bars 5 and 13.

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A A A A

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D.C.

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LESSON 31
Simple mordent and barre 22
13 7. The simple mordent is made up of three little notes added to a main note, and is composed
of two ascending slurs and one descending slur. The first little note is plucked and the other two
and the main note are slurred. In order to play the mordent, the three fingers are placed
simultaneously in their correct positions, and care is taken that the first slur is clearly heard. It is more
21 The sound can also be silenced by immediately raising the finger of the left hand which has played it, in addition to placing on

the string the finger of the right hand which plucked it. The effect in this case is to dim the sound even more .
22 The pupil can combine the practice of the Exercises (Section 2) with the Lessons, beginning with this one .

39
difficult to play the mordent with the third, second and first fingers than with the rest. In playing it,
only the fmgers should move, not the hand, nor should the arm be involved. At first it should be
played slowly so as to hear all the little notes.

138. When two or three strings stopped at the same fret are plucked simultaneously, the fore,
finger of the left hand is spread across them, and this is described as forming a barre [ceja] . Some
practice is required until the pressure of this finger allows all the strings played to sound clearly; the
pupil should experiment by placing the finger flat or sideways, in order to stop the strings with the
base.*

139. The crotchets (quarter notes) in bar 3 should be properly held. In bar 10, once the fourth
finger has been placed onE in the second group of semiquavers (sixteenth notes), the other notes
should be found by intervals in the following form: from E (second group) toG sharp there is a rising
major third; from G sharp to B there is a rising minor third; from B to high E there is a rising minor
fourth. To play these intervals, Lesson 41 should be consulted, bearing in mind the strings on which
each is played. Lesson 30 gave the meaning of the sign in bars 6 and 13.
The waltz in Lesson 32 can now be played.

r r r· r ~r r = r
i
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r
LESSON 32
Continuing the same exercise
140. The slur from F sharp to A is difficult, because the hand has to jump to A from the barre
position. The notes of the mordents must be heard clearly, without more pressure than necessary
from the fingers, which should be relaxed.

• [An addition to this paragraph is in the Appendix, paragraph 391 below.]

40
 r,~ ~ ~
~.i#j_il ~- t.J
I I

p p (3)

Pd i
7 =II

LESSON 33
Double mordent
141. The double mordent is composed of four little notes added to a main note; four slurs are
made- one ascending, two descending and the other ascending to the main note while only the first
little note is plucked. All should be played easily, without too much pressure from the fingers, and
the little notes must be clearly heard, although at first they will not produce much sound. It is
natural that each finger pulls away so hard for the slur that the hand is forced back; this should be
avoided, and an attempt made to lift the fingers making the slurs parallel to the frets, even if they are
weak; careful practice strengthens them.

142. Since all the little notes of the mordent must be slurred, it is obvious that the little note E
in bars 3 and 11 will be played on the second string. Low D in bars 22 and 23 is plucked with the
first little note of the mordent.

41
 LESSON 34
Anticipatory use of the barre
143. There is also an anticipatory use of the barre, that is, even when it is not essential to use it
immediately, as may be seen in bars 3, 5, 8 and 32.
c c

~»,fe·~EWEJ 'f ~'·pll~ U'Pl!l~ ~~p.i i '·~ 1

r~

LESSON 35
Arrastre
144. A two,note slur can also be played with one finger only, and this is known as an arrastre.
To make it easier the left hand must be turned appreciably towards the body of the guitar, and the
arm must not move. This slur may be ascending or descending. The ascending arrastre is easy
because the hand moves naturally towards the player's body; the descending arrastre is difficult

42
because in playing it the hand moves diagonally and nearly horizontally away from the body in a line
followed by the strings. In order that it shall move smoothly the stopping finger must be perpen,
dicular to the strings over all the area covered by the arrastre. The sign denoting it is .,........, * J
From bar 19, the notes forming the treble must be held for their full value.

r
4

~· ~-

.,
D.C.

• [An addition to this paragraph is in the Appendix, paragraph 391 below.]

43
 LESSON 36
Ascending and descending arrastre on one and two strings
145. The last comment in Lesson 35 must be borne in mind here for application to the arrastre
with two fingers at a time in thirds or sixths.

LESSON 37
Trills (see plate 3)
146. The trill is a beating or slurring of two notes at intervals of a tone or semitone, played by a
single voice or two at a time and repeated many times at great speed, plucking only the first note
with the right hand, and then slurring the rest, but all must be heard equally. The abbreviation tr is
used to designate it or the sign 'IW

147. The trill is practised as follows : L The finger stopping the lower note is firmly placed;
2. the other finger falls onto the next fret or the next but one using only its own weight, while the
finger already in place remains still; 3. the finger then pulls away as in the slur so that the lower
note sounds; 4. this operation is repeated two or three times to begin with, then four or five times,
and finally more.
Example 1 of this lesson (Plate 3) should be practised, stopping at each division.
The trill in division 5 of this example is the most difficult, because it is played with the second and
third fingers.

44
 148. The trill can be played on the higher of the two notes forming the interval of the third and
the sixth (example 2). In this case, the finger playing the lower note of the interval should be held
firmly .

149. In order to play group 2 of this example well, the left thumb should be kept firmly against
the neck to prevent it from moving backwards when the second finger plays F sharp.

150. The trill can also be played on one or two notes of a chord (example 3). In both cases the
barre must be firmly held.

LESSON 38
Holding the notes of one part while the notes of the other move
151. One of the most important aspects of good guitar playing is how to hold the notes of one
part while the notes of another are moving. This requires the playing of the value of all the notes
with scrupulous accuracy, keeping the fingers playing the longer notes still with constant pressure.
This is the purpose of this lesson and the next two (39 and 40).

=t
i r r
LESSON 39
'The same exercise with more movement in each part
Allegro moderato

45
 LESSON 40
Continuing the same exercise
Bars 15, 16 and 17 of this lesson require great care.

LESSON 41
Practising intervals on the guitar (see plates 4, 5 and 6)

152. Read the definition of the interval in Section Five (§299). Here we shall deal with its ap-
plication on the guitar.

153. One of the advantages of studying this instrument is that a single position of the fingers of
the left hand serves to play the same interval on all the strings (except on the third and second
strings), whatever frets are used; this facility applies also to playing chords, in which several inter-
vals are combined.

154. For this reason, in dealing with each interval, I shall give an example which denotes its
general position on all strings, and then another which will indicate the exception on the third and
second strings. These examples will serve as a model for the formation of all the intervals.

46
 155. Using a figure similar to that of Plate 4, I shall show how the intervals are played. I shall
use squares to indicate the string and the fret for the left hand. The majority of the intervals can be
played with different fingers. Section Five gives the tones and semitones contained in each interval.

156. What is important in playing the intervals is that the fingers play the right strings using
the appropriate fret.

Seconds (N.o. 2)
157. The second can be minor, major, or augmented (see Section Five).

158. The minor second (letter A) is played on the second and first strings jumping three frets
and similarly on the fifth and fourth strings (letter A) and the other strings, except for the third and
second which are played as in letter D.ln the major second, two frets are passed over (letter B) and
only one in the augmented second (letter C); there is always one fret less on the third and second
strings (letters E and F).
Thirds (N.o. 3)
159. The third can be diminished, minor, or major (see Section Five).

160. The diminished third is played jumping two frets (letter A) as in the major second; the
minor third jumps one fret (letter B), like the augmented second; the major third two consecutive
frets (letter C). On the third and second strings, the thirds are always one fret less, as was stated in
paragraph 158.

161 . It should be observed that in forming the interval of the diminished third, the forefmger
stops the higher string and the fourth finger the lower, and that as the interval increases from
diminished to minor and then to major, the fingers move closer together (letters Band C). In forming
the interval of a fifth, we shall see (§ 168) that the opposite takes place.

162. If we consider the note between C and D to be sometimes C sharp and sometimes D flat,
we see that different intervals may occupy the same number of frets on the guitar. Thus in model A
of the interval of the second on the fifth and fourth strings (§ 158), the notes considered as C sharp
and D flat form a degree, and therefore a major second; in model A of the interval of the third, on
these same strings, the notes considered as C sharp and E flat form two degrees and a diminished
third, although both intervals occupy four frets each, passing over two. T his observation serves for
all similar cases.

Fourths (N.o. 4)
163. The fourth can be diminished, minor, or major (see Section Five).

164. The diminished fourth occupies the same number of frets as the major third for a reason
similar to that just given in paragraph 162. The notes of the major third (letter F) are A flat and C
and those of the diminished fourth (letter D) are G sharp and C .

47
 Fifths (No. 5)
165. The fifth can be minor, major, or augmented (see Section Five).

166. The interval can be played on the guitar in two ways: on adjoining strings, or on alternate
strings, that is to say, leaving an intermediate string between them.

167. The minor fifth (letters A and D) occupies the same frets as the major fourth (letters C
and F). The major fourth contains three tones and the minor fourth two tones and two semitones,
which is the same number of semitones; the material difference is that the major fourth contains
three degrees and the minor fifth four.

168. It should be noted that the greater the interval from minor to major and from major to
augmented, the more tha fingers open, unlike the interval of a third (see § 161).

Sixths (No . 6)
169. The sixth can be minor, major, or augmented (see Section Five).

170. Sixths are generally played on alternate strings (see § 166).

It should be noted that the minor sixth is the same interval as the augmented fifth .

Sevenths
171. The seventh can be diminished, minor, or major (see Section Five).

172. The diminished seventh has the same dimension as the major sixth, and the minor seventh
as the augmented sixth. Since the major seventh has one semitone more than the minor seventh, the
finger stopping the high note will advance a fret, or the finger stopping the low note will move back
a fret.
Octaves (No. 7)
173. The interval of an octave is played in two ways; stopping the low note with the first
finger, or with the third or fourth fingers. Read carefully the models in example no. 7.

Tenths (No. 8)
174. Major and minor tenths are played leaving two strings in between. They are very useful
in guitar music, especially on the fourth and first and the fifth and second strings.

LESSON 42
Reading several chords one after another
175. Once one knows how to play intervals, it is easy to play chords.

When they are simultaneous (following example, Nos. 1 and 2) the highest note is located first,

48
then the next highest, and so successively. Each note of a chord has its own movement in order to
continue into the next chord, and generally speaking this is done by jumping only a few degrees.
The pupil should not move the fingers of the left hand from a chord until he has mastered this move~
ment. The indication is in the form of little dots.

From top G (No. 1, chord 1) to A (chord 2) there is an ascending tone (two frets towards the
bridge). From B (chord 1) to C (chord 2) there is an ascending semitone. From G (chord 1) to F
sharp (chord 2) there is a descending semitone (one fret towards the nut). This same method should
be used for passing from chord 1 (No. 2) to chord 2 (No. 2).

176. Guitar music is usually written in three parts. Each is different and they are usually writ~
ten separately so that the value of the notes in each part corresponds to the notes of the rest. In ex~
ample 1, No. 3, the chords are the same as in No. 1, with the difference that there are two notes in
the intermediate part for each note of the other two.

EXAMPLE 1

177. The method indicated in paragraphs 175 and 176 should be used to read the arpeggio
chords (example 2).

From G on the fourth string to B (example 2) there is an ascending major third, which means that
this B can and should be played on the third string.

EXAMPLE 2

Here are several passages which confirm what has just been said (example 3).

EXAMPLE 3

49
 ll

p p
i.

g~npalfS If!/€Jf= 1f9ff If!1/f/B11

178. From this example (letter B) it can be seen that it is not always necessary to indicate the
equivalent sounds. TheE flat and C of group 1 (bar 1) form a descending minor third. In letter C
(bar 1), the same is the case, and also in bar 6 of the same letter. In letter D, from F sharp to D
(bar 1) there is a descending major third; in bar 3, from E to B there is a descending minor fourth and
in bar 4 this fourth is major.

50
 CHAPTER II
The Wealth of the Guitar

LESSON 43
Harmonics

179. One of the fine points of the guitar is its harmonics. These are produced by touching a
string at its harmonic points, that is, by touching it with the tip of a finger but without pressing
down, at certain divisions along its length, whose positions sometimes correspond to the frets (the
seventh, for example); then the string is plucked, and immediately this is done, the finger of the left
hand is lifted and ceases to be in contact with the string, which gives off a harmonic.

180. The diagram in Plate 7 contains all the harmonics which can be played on the guitar up to
the twelfth fret, since between here and the bridge there are as many more spaces at proportion,
ately equal distances. But not all have the same quality; those of the bass strings, especially if these
are new, are clearer than those of the upper strings, where the five highest are hardly audible, in,
eluding that corresponding to the seventh of the key, which is out of tune on all the strings.

181. It is to be understood that in the general tone,scale, the harmonics are as they appear in
the example in Plate 7, but on the particular fmgerboard of the guitar they are an octave below the
music written in the treble clef.
-z
The~ and the with a short line over them mean that the finger should play the harmonic of the
string slightly ahead of the third and second frets; the same numbers with a short line below them (3
and 2) indicate that they have to be played slightly behind the corresponding frets.

182. In order to convince oneself that the harmonics corresponding to the minor seventh (tri,
ple) of the open string are out of tune, although quite clear, one need only compare the G (marked 3)
of the fifth string with the same G (marked 5) of the third string which should be in unison; the
former can be seen to be much flatter than the latter.

183. There are two ways of depicting the harmonics on the stave: 1. By writing the notes
really played with the addition of two numbers, one of which can be written in a small circle (like
the equivalent sounds) to denote the string, the other indicating the fret on which the harmonic
should be played; 2. By writing the note which represents the open string on which the harmonic is
played, and a single number to denote the fret. 23

23 Sor used the first method for harmonics.

51
 5 ·~ 5
-3 .~
-3 l! 5
-3 ·~ 5 7 1:?

First method : 'H## c J j

@ ®
J
®
r
®
IF
®
rFr
® ® (!)
IF F J J
C5>
&
II

,~#e
J ~ J ~ I J ~ J J lg J J J II
Second method:
&

5 3
~ 3 5 ·~ ·~ 5 3 ·~ 5 7 1:?

184. Leaving on one side the notes which are unclear and out of tune, the harmonics on the
guitar which have a pleasing sound when played, as has been explained, can be reduced to the
following 18 notes, the resonance of which diminishes from bass to treble.

Frets: l2 12 7 12
_._
7;5 12 4;9
_._ _._
5;7 12;3
_._
4;9
_._ _._
5;7
_._
i2-;3 7;4,9 5 3
.--
7;5;4,9 3 5
' &
.Q
-& .Q
()
#e
#u e D
II
' #o 0 0
0
0 e
-& 'tY
'tY
Strings: 6 5 6 4 5;6 3 6 5:4 2;6
-.- 5 ~ 1;5 2;4 3 4 1;2;3 3 1
-.- -.- -.- -.-
-----
185. Many notes of the chromatic scale are missing from this series, and these can be played as
harmonics using a method published by my friend Mr Fossa in an article at the beginning of his com~
position Ouverture du ]eune Henri, arrangee pour deux guitares.24 Starting from the principle that the
open string gives its harmonic octave over the twelfth fret which divides it into two equal parts, he
necessarily concludes that the same string stopped at the first fret will have its harmonic octave
over the thirteenth fret; when stopped at the second fret it will have it over the fourteenth, and so
on; and since in this case the fingers of the left hand are busy playing in their usual way, those of the
right must perform two functions- stop the harmonics and pluc~.

186. For this purpose, this hand is turned as in the figure in Plate 7, and the forefinger is ex~
tended as far as possible, forming an angle of 35 degrees (slightly more or less) with the string on
which this finger is playing the harmonics, and which the thumb- almost perpendicular to
it-plucks. The inventor of the sounds produced in this form has called them octave harmonics
[arm6nicos octavados], because the forefinger of the right hand plucks the harmonic of each open
string while the fingers of the left hand play the same notes near the nut.
The following example will facilitate the understanding of this method of producing harmonics. In
order to play the harmonic octave of two notes played naturally by the fingers of the left hand, the
right forefinger stops the harmonics of the same strings over the fifteenth, fourteenth, thirteenth,
and thirteenth frets.
24 I gave the explanation of this method in the Escuela which I published in 1820. [On the true date of the Escuela, see the Intro-

duction above - Ed.]

52
 Strings: 4 3 2 I

J J rr II
Frets:
' 3 2 I I

This invention has the advantage of producing clear good.-quality sounds and also of giving all the
notes of the chromatic scale. It is true that for each harmonic both hands must be moved, except for
those on open strings, which are played only with the right; however, this difficulty is rapidly
solved, since however the harmonics are played, they are not used in very lively passages.

187. When Sor played in the keys ofF or D, the tonics of which are a semitone or a tone from
the open sixth string, he raised or lowered the string to the tonic which gave the harmonics of this
particular keynote, and made it easier to play chords. The passage in Plate 8 is taken from a work of
his entitled: Methode pour la Guitare, published in Paris.

LESSON 44
Prolonging the sound, held by the left hand. Vibrato
188. The left hand can prolong the sound using vibrato. • If after a string is stopped sufficiently
firmly it is plucked and the finger holding it down moves immediately from side to side at the point of
pressure, the vibration of the string and consequently its sound is prolonged; but the finger must
move as soon as the string has been pluc~ed in order to take advantage of the first vibrations which are
the strongest, maintaining at least the same degree of pressure on the string. These movements
should not be too pronounced nor involve the left arm, only the wrist. Some people play vibrato
taking the thumb off the neck; I prefer not to do so, in order better to adjust the pressure.

189. A successful vibrato does not depend so much on the amount of the pressure as on how it
is applied. The last joint must be pressed perpendicularly down on the string, parallel to the frets, en.-
suring that the weight of the hand on the point of pressure, offset by the thumb behind, maintains
and prolongs the vibrations better than the excess pressure which may result if the arm is used.

190. Vibrato may be used on all the strings, but to best effect on the bass strings. In this case
they should be plucked near the bridge, but in the case of the upper strings nearer to the sound.-hole.

191. The longer notes are most suited to vibrato. In the Largo which follows I shall indicate
them as follows: .w . When this sign is found above an interval of a third, as in bars 5, 6 and 7,
the two fingers forming the interval must use vibrato simultaneously.
• [The term which Aguado used in the original 1843 text to mean what we call vibrato, v.as tremulo. He writes more on the
subject of vibrato in the Appendix, below, paragraph 386.]

53
 The first small note of the mordent in bar 8 is plucked at the same time as the B, keeping the finger
firmly on it to serve as a support to the rest. The arrastre in bar 14 is difficult, because the first third,
D and F sharp, is major (two consecutive frets), and the other third, B and D which is slurred, is
minor and the fmgers tend to be more open when they come to it. The arrastres in bar 15 are easy,
because they can be played by the forefinger alone. In bar 24, from C to A there is a descending
minor third. In bars 25 and 26 the vibrato is played with three fingers.

Largo
, . !! j
t 2

LESSON 45
Sounds produced by the left hand alone
192. The strings of the guitar can be sounded without being plucked by the right hand. The
fingers of the left hand can be allowed to fall onto the strings very close behind the frets, forcefully
but avoiding the noise which would result from large movements. To do this, the fingers must be
rounded as much as possible so that their strength is concentrated in the last two joints. The open
strings will sound when they are caught with the tip of the appropriate finger, or else they are
played in their second equivalent sounds, especially if they are short notes.

54
 $REft E pIl J. tJJJW Jl J. g IJ Jlffl I r· EtEIIF ~m
!l • (3)

·1

' r· h=ll= r· tfrl r r· 1J. Cf%1 r· J. u ;131J. J. 1r Jk9J 1J. 1,,II

LESSON 46
Silenced sounds
193. To silence the sound of a string which has been stopped, its vibrations must be stilled.
This can be done by lifting the stopping finger (next example, letter a), or, after plucking an open
string, by putting a fmger of the left hand on it (letter b), or by placing on the string the finger of the
right hand which plucked it, even when the finger of the left hand is kept on the string (letters c and
d), and also by combining these two operations by both fingers (letter e). This last method is used to
play chords which seem to be cut short [cortados] -I use this expression to distinguish them from
those which are silenced [apagados].

a b

J J
' J J J II

194. If a stopped string is plucked, its vibrations invade the other strings and cause a reaction;
on the open string this may give a third, fifth or octave; this movement is more or less noticeable ac~
cording to what the string producing the sound is made of. Normally, the fifth and the third are
heard rather than the octave. If open Dis played, for example, low A will be seen to move and
sound; if the A is plucked, the two Es will sound open. As all the sounds which can be played on
the guitar are not involved in this resonance, one should take care, in playing an exercise, to pluck
its notes with greater or less strength so that they do not differ from the rest in volume.

LESSON 47
Similar effect to that produced by the violin, viola and bass together
195. The difference in the thickness of the strings of the guitar makes it possible to combine its
sounds so as to produce a similar effect to that produced by a combination of the violin, viola and
bass or violoncello. The first and sometimes the second strings can represent the treble; the second,
third and even the fourth the tenor, and the fifth and better still the sixth the bass. The following
passage gives an idea of this combination.

55
Andante

~··

LESSON 48
Different qualities of the same sound on a single string

196. The main wealth of the guitar to my way of thinking lies in the different quality of sound
produced by each string played at different points. In Lesson 2, the point where the fingers of the
right hand should become accustomed to plucking the strings was determined, because the strings
offer proportional resistance at that point to the strength of a normally strong person. However, if
one wishes to be clearly aware of the different quality of sounds that one string can make, the part
of the string between the bridge and the sound~ hole should be divided into sections as long as the
width of two fingers; then the passage indicated by letter A should be plucked in each section with
equal force, and this difference will become apparent; each section can also be plucked in the middle,
i.e., one finger apart, in addition to the greater or lesser vigour one may wish to apply in plucking.

197. The use of the nails gives another variety in the bass strings; in each plucking movement,
use a smaller proportion of fingertip and more nail, which means that the fmger plucking must bend
a little more than usual (Andante, letter B).

198. Plucking only with the nail gives yet another variety-a sound which is more or less hard
depending on the quality of the nails-which may give a successful effect in some cases when com~
bined with the rest.

56
' n~r ?'II r~ II';F I faY·';&· 3if 1fS'ifbO~jJ. 31

'H"·f'F'IJF~H!tfi?''~o~g IrPr t·F·i 1f7 I

LESSON 49
Campanelas

199. A special effect can sometimes be given by plucking one or two open strings whose
sounds form part of a chord played fairly far from the nut, even though these sounds could have
been played on stopped strings. Some people have called these sounds ca.mpanelas ("bell. .sounds").

,.•-"

® 1

@ #

57
 LESSON 50
Particular method of pluc~ing with the right thumb and forefinger

200. Instead of using four digits of the right hand to pluck chords played on four consecutive
strings, the thumb is applied firmly to the lowest string and is then forced rapidly across the next
after the first has sounded. It does not matter if at the beginning the sound is hard; care must,
however, be taken to pass the thumb across rapidly, keeping its last joint bent but without becom.-
ing stiff (letter A). The same thing can be done in cases where two consecutive strings must be
plucked at one time, for example, C and E (letter B).

201 . The forefinger can also pluck the first and second strings when they have to be sounded
together, for example in intervals of a third (letter C). If the nails are used, the ftrst string must be
plucked sharply so that the finger passes over the second string, sounding it and then coming to rest
on the third. It is not so easy to produce this effect if the fmgertips are used alone.

i 0mmm
f· •
e I
f t II

p ff!L
~
,. ,.·~
I I t II
·~
I
r r
C m m m iii

,~ rr i
rr ~ r
i i i i
11

58
 CHAPTER ill
Imitations

202. The guitar is suitable to a greater or lesser degree for imitating the sound of certain in-
struments.

Drum

203 . The drum effect consists in striking the strings of a chord near the bridge with the middle
finger of the right hand held flat, or better still with the thumb, in this case giving the hand a quick
half-tum so that it comes down onto the strings. The wrist must not be stiff, but must turn with
great flexibility so that the weight of the hand and not the arm produces the sound. This is how the
passage in this lesson should be played.

' r Drum
*
Dwjtins ~.-v=n,,: !, ~~vl:i 1 pJl, iii, f!lf, !&!, ~7=11
*

Some people produce a sound very like the bass drum which accompanies military music, and this
is done by beating the middle and forefmgers onto the bridge; they should be well stretched and
should alternate while the left hand holds down a chord.

Trumpet
204. If instead of stopping the front edge of the fret as we have taught, the pressure is placed
on the middle of the space between the frets, and the string plucked, the vibrations cease and in-
stead of producing a clean sound the string makes a harsh sound, and even if the finger is
withdrawn, the string continues to vibrate, producing a noise like a trumpet.

Harp
205. If the right hand plucks the strings over the last frets of the neck, rounding the hand and
consequently the wrist, the resulting soands are similar to those of the harp, because the strings are
plucked at about one-third of their length. In this case, the closer the left hand is to the sound-hole

59
in forming the chords the more the sounds will be like those of the harp, especially if the fingertips
are used to pluck. Arpeggiated chords are most suitable for this purpose.
The passage in this lesson is the first part of a variation by Sor on a theme of his own in his opus
54, called Morceau de Concert. •

r i

• [See vol. 4 of Sor's Complete Wor~s for Guitar (Tecla Editions, London).]

60
 LESSON 37
EXAMPLE 1

J
:Notation:
second note of E maj .

Result:
23 13 34 24 23

EXAMPLE 2 - in thirds
tr
I

in sixths

c EXAMPLE 3
tr tr
...1. _&1 I uJ I uJ I uJ I J

\.. ,
r r r r -
i r I r #r *r
.;:;

#f 1
~
(.. -- ---
j.LtJjf] Jlj J l.J ~t.JblJJJLIJ
----------
~t..l#11 IJ .JJ _jf_1 ---------- 1
~J --- t -
r r r r 1 #~ ~r
- t;
r I r #~
tr tr

#f r rr
.....---.... 3

-3

#f rr rr
PLATE 3

61
 SECONDS
~:;_~. General models

Minor Major Augmented

B c

On the second and third strings

THIRDS
General models
Diminished Minor Major

On the second and third strings

PLATE 4

62
 FOURTHS
General models
Diminished Minor Major

On the second and third strings

FIFTHS
On contiguous strings
Minor Major Augmented

On the second and third strings

On the sixth and fourth, and fifth and third strings

Minor Major
B

On the fourth and second, and third and first strings

PLATE 5

63
 SIXTHS
On the sixth and fourth , and fifth and third strings

Minor Major Augmented

B c

On the fourth and second , and third anJ first strings

OCTAVES
~~~,
.! ., • •
On alternate strings Leaving two strings in between

..
~---------------- ~~------------------~

TENTHS

On the fourth and first strings On the fifth and second strings

Minor Major
A B

On the sixth and third strings

PLATE 6
64
 OCTAVE HARMONICS

~
'fhe Most Common Harmonics
i
5 3
8 7 E
ro;""il
9
6~
g tl 10
liiilll Iii!•
Iii! ••• ·~ ~

§" loliil
5th'
-
-
4th

3rd
2nd \
c.
i
-
- 1st
l
Strings:
)
a~#a
Sixth
6 0
@6

clear harmonics
?::J
~ ~~

_/
6
~

a
~
c

'15
unclear harmonics

"'Y" ~
::>
0 2
2 2 #.&-
a 1;
t2 9 7 5 ~ j" -9.a-
f; #a

'
Fifth t)

~
."\!r

3 1. !2 l.#~
t2
*~
9
7 5
#~ -9 .!2
2--
---
~
Fourth t9
n
0

f f tU
9 ~
5
t2 .t2 7 ~
.a
Third
f ~
~

#~ 5 #42
Second f t2
....
#$
..r:;

~ 9 ~
12.
First f=~2

PLATE 7
65
 Andante

Result:

7 5
]I(otation:

4 4 4 5

4 4 4 12

12

7
3 .9
4 4

4 4 4 5
r
12

PLATE 8 66
 CHAPTER I
Exercises for the right hand
In the following exercises the speed is not indicated, but the pupil should aim to play them rapidly
and clearly.

For the thumb, forefinger and middle finger

206. When the forefinger and middle finger pluck together, for example, D and F sharp, and E
and G, in bar 1, more attention should be given to the foniler than to the latter.

207. When the fingers of the left hand are positioned in each group, they must not be moved
until the next group, except those playing the bass.

67
 The same care must be taken as in Exercise 2. The bass E in bar 9 and the following bars should
not be plucked until the fingers have been placed on the notes immediately following it. •

3 'tin~ 31 ~~ 'f ~#~ l•j J.'F, 1.p~t J.f l·r ~=~ f t ~ I·r ~=~ rd~ I
c

gd~n.f~:rr ~~I ;~~rif~ I;~~~ ~ l ;i=~/ ~I ~d:~pi ~I pi=~r~ ~I

c

The bass notes must be held sufficiently long and the appoggiaturas must be heard clearly.

Great care is required in playing the dotted notes and appoggiaturas rapidly and accurately.

• [In a note, Aguado here explains that the letters p, i, m, and a are the initial letters of the Spanish words pulgar, indice, medio,
and anular.}

68
The notes in the treble must be adequately held.

The same care as in Exercise 6.

"~#~·r
z=:;

69
 Special care should be taken with the precision of the bass melody.

s .
g~e.; u U·~~ UU1t.~l ~) U ~~; f U Ip~~~~·'"I
g~ ~. UU ~~~U f U 1.;.~ UU~~:,?}1 PU~~; Uf U I! find~~=~
gu1 r~ f =ll=·~~~jjjl,~l@.f~JI ~ijj~l p.i?~~JfJ I
gu·~~f}Pr~BI ~ ~ ~ (~ i; i I pu·~~J i \l.;=.r r l =II
208. The three notes of each chord must be plucked exactly together without .moving the
hand, always keeping the thumb forward. In these simultaneous chords in which several strings are
plucked at the same time, special care should be given to the forefinger which in this case is the
weakest. The left thumb should make a strong pushing movement.

r. ~ . r:.•• f-4 n~ -;
. r-=
. l aj

..
._ .
®r ••
.
.. . .. -
I I 2
- ffj• ~. 11'11
r· -:

~
-
i
~

70
 209. The left hand should be kept still in each group until the last note has been played, and
the movements from one position to another should be very nimble. The right thumb is always bent
at the last joint.

10 ge ~ JJ JFJ JJaJ J J~ JJ J I FJJJ~ JJJFJJ J~~~; I

~,,mpt,paipt ~-~r=stm IpEfEi'\CQI

This exercise requires great precision in not moving the fingers of the left hand on the third string
until they have played their full value. The thumb will give equal value to plucking the A and E of
the bass.

u ~~I G/13~ I~ I•.O[j 1P a~® ~ .Jp 1

rrrr rrrr i ~ rrrrrrrr rrrrrrrr 6W" 6:U"

71
 The three notes of each chord should be plucked equally, giving more vigour to the forefinger.

12 &»nn t,=~ 1:=~ 1.!~ 1fffl11S:~ 1.:; I

rrrri ,,,~~~~ =l~:n~ijjO diji~ ''tlftli'

Once the alternate use of the forefinger and middle finger has been observed in the two groups of
bar 1, the same follows in bars 3, 5, 7, 9, 11, 13, and 15.

72
 The four sections of this exercise are the same, but in each a different note must be plucked
strongly. The object of the exercise is for the pupil to accustom the fingers of the right hand to obey
him whenever he wishes.

" l J L _L l l JIJ I 41 I I I I I II I FfFi I I

14 ._
-
f
-::
fl
fi i
f
= fl .~r .t' r ~

f f f f f f f f
I I I I I I I I I I I
"
., -
~ -:: I
r I
= r I
r t

f f f f f f f f
II I I I J I I I I I L I J l J I I I _I I I I I I I I }
"'
~ -:: I
i I = .I
r I
r t

.f .f .f .f .f .f .f
I I I I I I I j J I I I I I I I I I I I I I I I I I I I
"'
._ -,:: I
i I = I r I -
r t

For the thumb, forefinger, middle and ring finger

These four~finger exercises should be practised with the following precautions: 1. The •right hand
should always conserve sufficient energy by lifting the back half, with the little finger stretched.
2. The thumb should bend at the last joint. 3. The ring finger must be made to strike the string
sharply. 4. The plucking force of the forefinger and middle finger should be moderated at the same
time.
Each chord occupies two beats. The fmgers of the left hand should be placed simultaneously in
each position (see §209) and not move until the value of the last quaver (eighth note) in the group is
complete.

73
 r 3

r
The same care should be taken as in the previous exercise.
c
r1 I I ~~ r1 J I r1 J I r1 I I r1 J I ,....., ,.....,
"u +±
16 ...
= r r 4r -:: 1
~
c c
" u ~ ~ ~I I ~ ~ LL 1'1 J I
..
+±
"'""'
... 1r #- --
2 ·ff
=
i
I+ Ji ~ ~~~31 J ~ IJ I ~~
..
I'}

I r -.= I .I r -=
'-
I 2
·~

" I+ ff. i1h~ I u I ~I 1'"'1." - 3J I

- ~
~ .~J ~
:
'- qr # • r - -
2

r
The bass notes must be duly held.

r~·---=' ___...,jr
#[

74
'~ f3f1~.,st'f¥~tr I r I!Jr' I
~r•~e,l·{£~~n;~r!f~ =I

71
gifMfr·f',~ I:~tiJ !P I f "~ ;n
'f•lf2llfJ??Pf.'Pf~rnr~ =I
This exercise is difficult, because in addition to watching the ring finger, the barre position is fairly
continuous.

75
 All the notes of the sextuplets should be given equal tone and value.

f, H IJ I I I I I I I l J I 1 1 II L II I I I I I I I I I

19 ..,
-- - I I -
3
1
*r 1
3

t1 )< I II I I II II I
II II I II I I I II II II II II IIIII II II

:.
.._
= - 1r r ++r r r -

r, H I I I I I I I I I I I I I I I I I I I I I I I I I
:.
._,
= - r *r r t -

t, H I~ I I..! I I.J I I.J I I II II III III .I .I .I .I

.._
1
~
-:
*r I f t
r

76
 ,., I+ I I I I I I I I I I I I I I I I I I

u
r = 3
- 1
r Hr r b

'ti a~jJJJJPJJj~)JJJjj~JjJjj l#~jjJJ] ~]J JJ]PJJJ] ~jJJJj I

6ti .)JJJJj~jjJJJ)JPJJJJPJJ l.pJ JJJ.~]JJJJ)JJJJ~d)JJJ I

,., I+ I I I I I I I I I I...I I I I I I I I I I I I I

e)

r -
r r = ·1
- 1 --
1:J

The fingers of the right hand move more than in the previous exercises.

ur
fl 14~ I II~ I I ~ ~ I I I I I I I I I I I I I I

"'
~ 1i 2E-.J i u r r r
r 4LJ

77
 : II

78
 CHAPTER II
Exercises for the left hand
210. In order to avoid the confusion in reading the ad~itionallines for the top notes, I shall
write them an octave lower. The dots placed above or below them indicate that they should be
played an octave higher.

EXERCISE 1
Ascending diatonic scale of F major played on one string

211. While the scales of this and the next exercise are being learned, the left thumb must be
firmly placed against the neck and the stopping fingers must not use more force than exactly what
the thumb can counter.

212. The scale of this exercise is divided into three sections. The first section consists of a tone,
the second of a semitone and a tone, and the third of a tone and a semitone. In order to make it
easier to understand how to play it, account will be taken of: 1. the order in the scale of the note
played; 2. the interval of a tone or semitone between this note and the next.

section 3 The same, written an octave lower

section 2

,_

Notes:
"5 r r
1
i
section 1

2 3
i f
5
F
6 7
r F II 'b r r J r r r -r-r II
8 1 2 3 5 6 7 8
Fingering: 1 3 1 ·"2 t 3 4 1 3 1 "'2 1 3
"' "' "'
section 3
section 2
The same, written an octave lower

r
section 1

rfi
m E r r II ,.r-rTr-r--w r r II
Notes: 'b
Fingering:
8
1
7
3
6
1
5
4 "'2
3
1
2
3
1
1
8
4
7
3
6
1
5
·"
4
2
3
1
2
3
1
1

EXERCISE 2
213. The same scale, playing section 1 on one string and sections 2 and 3 on another (No. 1).
In No. 2, sections 1 and 2 are played on one string and section 3 on another.

section 2 section 3 section 2

section 1 section 3 section 1

Notes: 1 2 3 "' 5 6 7 8 8 7 6 5 ·1 3
Fingering: 2412 413"' "' 3 t "' ...
•)
1

79
 section 2
section 1 section 3 section 3 section 2 section 1

No. 2 ,, ·r E E p f J fl II
Notes: 1 :? 3 1 5 6 7 8 8 7 6 5 ·" 3:21
Fingering: 1 3 1 :? 1 1 3 ·'I '13 1 ":2 131

EXERCISE 3
214. The same scale, playing each section on a different string without moving the left hand
from one spot.

section 2 section 2
section 1 section 3 section 3 section 1

g£r~~r r f ·~ f E II
Notes: 1 :? 3 1 5 6 7 8 8 7 6 5 1 3 :2 1
Fingering: 1 3 1 :? 1 1 3 1 1 3 1 1 :2 1 3 1
3131113,, ,, 3 1
1 ·" 3 1 3

According to the above three exercises, the same scale can be played on one string, or on two or
three strings with different fingering, bearing in mind the three sections in all cases.

215. The right hand plucks these scales as indicated in the following example. In all the ex~
amples alternate use is made of the index and middle fingers except for a difference in section one,
where, if the two notes are of equal value, the scale is played with the fingering of No. 1; if the two
notes are not equal, they are played with the fingering indicated in No. 2, and if they are slurred,
they are played as indicated in No. 3.
EXAMPLE
Scales on one string

section 3 section 3
section 2 .section 2 ~ section 2
No. 1 section I section 3 No. 2 section I ___..,_ ~~~

' ,qr r r F·rtf 11 ' ~arr&cr 11

i m m m i m i imimimi i i m i m i m
Fingering: 1 3 1 :2 ·'I 1 3 1

216. This is the order of the fingers of the right hand when the scale is played on two or three
strings.
The practice of these three exercises is very useful because they serve as a model for playing the
scales of all keys on the first, second and third strings. In fact, the diatonic scale is a single scale
made up of the order of intervals seen in Exercise 1; what varies is the first note or tonic; but once

80
the three sections into which we have divided it as seen in Exercise 1 are familiar, and the string
and fret on which the tonic is to be played are determined, it is only a matter of playing the three
sections as indicated in the examples given. If, for example, we wish to play the scale of treble G on
one string, we should find G (the tonic) on the third fret of the first string, in its first equivalent
sound, and play on this string the three sections with the order of fingers given in Exercise 1; if we
play it on two strings, Exercise 2 will be taken as model, and if it is played on three strings, Exercise
3 will serve as model.

.
217. Another useful result of this exercise is that the method of forming the interval of a tone
on two consecutive strings is learned, as follows: between the second note of the scale and the third
there is a tone (Exercise 1); the second note of the scale ofF is G, and from G to A which is the
third note of the scale, there is a tone; this is played in Exercise 3 on the third and second strings,
the second string being stopped at the same fret as was the tonic or first note, so that there is an
empty fret between these two notes. There is also a tone between the fifth note (last note of the
second section) and the sixth note (first of the third section), that is between C and D, and this tone
is played by moving from the second to the first string, playing it on the same fret on which the third
note of the scale was played, and leaving two empty frets between the two notes.

218. Knowledge of the intervals between the notes of the scale, and how to form the tone be,
tween two adjoining strings, as we have just seen, makes it possible to play scales on all the strings
and in all keys. It is advantageous to know that between the sixth and fifth, fifth and fourth, and
fourth and third strings, the tone is formed in the same way as between the second and first, that is,
leaving two frets empty.

219. Once the D of the scale of C has been played in the following example, the fourth finger is
lifted, so that when E is played on the next string, the vibrations of the D will have terminated,
since this forms an interval of a second-a generally disagreeable dissonance. The same care should
be taken with G and B in the same scale. This is a general rule apphcable to all ascending or de,
scending scales.
EXAMPLE
Scale of C major
On two strings: On three strings:

section 1 section 2 section 3 section 1 section 2 section 3

Fingering: :2 ·1
r F II
3
~ J J J J @J
:2 1 :2 1
•~ @r F II
·1
·1 3
Scale of G major
On two strings: On three strings:

section 1 section 2 section 3 section 1 section 2 section 3

J J ®J ®j J :J II ~NJJJ J ~ :J J
Fingering: :2 .1 :2 1 3 1 1:2 1 :2 3

81
 EXERCISE 4
Two-octave scale played on the six strings

220. In order to play this scale, we must bear in mind how we learned to play the tone on one
and on two strings (§217).
G sharp is the major seventh of the tonic A; from G sharp to A there is a semitone, which is
played as can be seen in the following example, i.e., by jumping three frets .

Notes : 1 2 3 .1, 5 6 7 8 2 3 1 5 6 7 8 876513217651321

Fingering: 1 1 3 1 1 3 1 1 3 1 2 4 1 3 .1, 4 3 1 .1, 2 1 3 1 1 3 1 1 3 1 1,

With the same order of fingers, this scale can be played on as many tonics as there are semitones
(or frets) moving upwards from A, i.e., A, A sharp, B, C, C sharp, etc.

EXERCISE 5
221. Two-octave scale played on the second and first strings

No [ 'uft ~ rW r.#~ I f(rEfir -1 T i- -It -Q--Prtil ®bt@rc I rI II

t t mt mt t ·t t t t t
Fingering: 2 1 1 2 1 1 3 1 2 1 1 2 1 1 2 .1, 1 2 1 .1 2 1 1 22 ·1
2 12 1 1 2

222. In the preceding example (No. 1) all the fingers playing have their corresponding indica-
tions, but henceforth I shall only indicate the appropriate finger when the hand has to move from its
position on the understanding that the notes following that indicated are played without moving
the hand, and I shall not put the equivalent sound sign except when in moving the hand one has to
change strings; hence the confusion caused by too many numbers is avoided and the equivalent
sound signs are economized. See the following.

EXAMPLE

Fingering: 2 1 2 2

82
 223. Numbers 3 and 4 contain the same exercise in different keys, i.e., changing the tonic.
Raising the tonic a semitone Raising the tonic a tone
From D (No. 2) toE flat (No. 3) From D (No. 2) to E (No . 4)

No 3 &,~.~.i'lf'Lfl Fffai1-C~ 11
i i mi i i
Fingering: 2 1 2

Although the tonic is changed in numbers 3 and 4, it may be seen from this example that the
order of the fingers of the left hand is the same as in No. 2 of the previous example.

EXERCISE 6
224. The following exercises are played on the first string. Each serves as a model for playing a
similar exercise on all the other strings with the same order of fingers . I have preferred the first to
the other strings because it is more difficult to play the exercises on it than on the rest owing to the
lack of support given to the fmgers by the thumb which is bent behind the neck of the guitar. This
hand must be well turned towards the body of the guitar, and the stopping fingers must move easily
and independently, without moving from the second note of each group until its full value has been
played.

225. It is more difficult to play these exercises downwards than upwards, because the
movements of the left hand in a rising passage are natural, since they are, as it were, towards the
player's body, whereas when this hand moves towards the nut, it has to make an effort. This has to
be outwards and the movement of the hand should be parallel to the strings and to the neck, since
otherwise the hand would collide with the edge of the neck and would be prevented from continu..
ing its parallel movement.
In practising the exercises, the pupil must aim at playing them rapidly and well, but gradually in..
creasing the pace each time. The first of the two quavers (eighth notes) should be accented, that is,
it must be heard more than the second. This accent is indicated in each group with an acute accent.
After practising this exercise with the fingering indicated by the numbers above the notes, it
should be practised with the fingering indicated by the numbers below, noting carefully the place in
the scale of the first note of each group, in order to produce the correct interval between this and
the second note.

Notes : 2 3 ·~ 5 6 7 8 2 2 8 7 6 5 ~ 3 2 1
8 - -- - - - - - - - - - - - - - - - - - - - - - - -,
Fingering: 3 3 2 3 3 3 2 .~ 2 3 3 3 ;2 3 3

,, eaua 0 aaaa aeeaeaEta11

A A A
~c

A A A A A A
11
A A A A A
'C
A A
~

Another, less 1 3 4 3 2 t 4 2 3 t 4 3 2 t 4 2 4 2 2 1 4 3 3 1 .~ 2 2 1 .~ 3 3 1
common fingering:

83
 EXERCISE 7
226. Exercise 6 can be played slurring the notes in a special way, that is, by changing the
fingers . The first finger, when withdrawn, slides vigorously down the string until the second finger
is placed in position. This type of slur is less harsh on the ear than that of the previous example.

i ~ b ~ c. 8- - -- - - - - - - ;-.; - ~- - - ~ - ~- - - - - - - - - -;a; ~ ~

~~ Cf J
A A
t;s
A
CLEJ (FE] CJ lJ I tf CJ (F C]' EJ d
A A A A A A A A A A A A
t;r
A
E! II
A
Fingering: 1 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2

EXERCISE 8
227. This exercise is the same as Exercise 7 except that the accent is placed on the second note
of each group; to do this, the slur must be played vigorously without using the arm, pressing the
finger stopping the second note firmly on the string, but not hurrying the value of the first.
y 8- - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - -l
~ ~
y
f).·~
lj y y y ~
y
"'
y
;-'\ ~ y y y
y
::a'~ ~
y y

'' U E! w- aEJ (FE] U lJ I E!Q'Eftt]' Ef 61 w- tf11

Fingering: 1 3 3 2 3 3 3 2 4 2 !.a, 2 2 3 3 3 2 3 3
Another fingering: 2 '• 1 3 1 -~ 4 3 -~ 1 4 3 4 1 4 3 ~ 4

EXERCISE 9
228. The same groups and notes as in the above exercises with the difference that the first note
is dotted. The movement of the left hand in passing from the second note of a group to the first of
the next must be very quick, and this is how the brief value of the semiquaver (sixteenth note) is to
be understood. The order of the fingers is the same as in Exercise 8.

Fingering: 1 3 3 2 3 3 3 2 '• 2 3 3 3 2 3 3
Another fingering: 2 4 1 3 -~ -~ -~ 2 -~ 3 -~ -~ 4 3 4 4

EXERCISE 10
229. The same notes, playing rapidly the first note of each slur but without depriving the sec-
ond of any of its value. In playing this slur the arm tends to move back; this must be avoided and the
wrist should be kept well arched.
8 - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - ,
~ i; lj· :-"\ ~ : f;' ~

' ' @· ~- w-· a ar· Rgr· @· ru-· I Qf. i;· bHI EJ IJ w-· ~-II
Fingering: 1 3 3 2 3 3 3 2 ~ 2 ~ 2 2 3 3 3 2 3 3
Another fingering: 2 ~ -~ 3 -~ -~ 4 3 -~ 2 1 2 3 1 -~ -~ 3 4 4

84
 EXERCISE 11
230. The accent should be placed on the first note of each group. In order for the slurs to sound
clearly, the finger should be close behind the fret.
8- - - - - - - - - - - - - - - - - - - - - - - --,
-i- y y
~"'""""• ~· f:__f
Yr--.
E ~
,y
Yr,
t:LtrtJ t§7 tl1 I C! 0: EJ§• o CiU Ct r II
Y_.- Y y y yr-:: y Y Y:tj Y,.--.•

~~ E1 U ~
1 ,.-...,..

Fingering: 1 1 1 1 1 1 1 1 1 1 1 t t 1 1 1 t
Another fingering: 2 2 4 2 2 22 2 2 2 2 2 2 :2 :2 :2 :2 1

EXERCISE 12
231. Three exercises similar to Exercises 8, 9 and 10 can be made out of Exercise 11.
No. 1
,.-. _. g ~,.
ii b CJ
y
y
,.----.
s= ~ t;r ==-~ I
Y
,.----.
?-r--. t;d*
r
Y r-f No. 2

c:t~#~t-~=~11
~ .
~_. :-· • ?'? -r-
~
~ No.
~
,--..

,..---._..
·e· .. 3

bf
,.
:-r - , ,-
cr -.
~iF~
. ..
tt =-II
,....-:::
~·
,.--:::;

t=

Fingering: t 1 1 1 1 1 1 1 1 1 1 1 1 1 1
Another fingering: 2 2 4 2 2 42 2 2 2 2 2 2

In playing the three sections of this exercise, the comments made in Exercises 8, 9 and 10 should
be borne in mind.

EXERCISE 13
232. This exercise is composed of two slurs, one ascending and the other descending, and only
the first note is plucked; all three should be heard equally clearly.
Notes: 1 2 3 4 5 6 7 8 8 7 6 5 1 3 2 1
8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ,----.....

& tFFcrttrtm&wciCEE 11 ftc?FtEF-Efl@t:rEcd'rftll

i
Fingering: 1 3 3 2 3 3 3 2 2 3 3 3 2 3 3 1
Another fingering: 1 3 4 2 3 4 -1 4 3 3 4 4 4 3 -1 4 1

EXERCISE 14
233. Two fingers in each group are positioned at the same time. Although the movement from
one group to another is rapid, the last note of the first must still be heard before the hand is moved.
Still greater care is required in playing No. 2 of this exercise, because the two demisemiquavers
(thirty~second notes) must be played very quickly, after sufficient pause on the quaver (eighth
note).

No. 1 i i m ~ e 8-- -- - - - - - - - - - - - - - - - -,
i,.--..-. m i . m i ; r-:: ,..--,

&if ar etc anr

Fingering: 1 3 3 2 4
E EftJ
4 3
@F
3
ttr ctr
3 1
11
Another fingering: 2 3 4 3 4 -1 1 4 4 1

85
No.2

'~ t"
·

ar ~ [ a
· m i m i m

C"
~ ~

it II

EXERCISE 15
234. The two little notes are played with great speed so as to lean on the main note. The mov~
ing fingers must act like springs, and the finger which does not move should stay firm .

I I I I I I I I I I I I I I I
II
2 2 2 :2 :22 :2 :2 :2 2 :2 :2 :2 2 2 :2

EXERCISE 16
235. The same exercise, but giving equal value to the three notes.

'~ ~ rrr rttcEt ftfrEEITEI 1 11tttmtrtrttrnttt~~

11 1 1 1 1 1 1 1 1 t t t t t t
o)
2

EXERCISE 17
236. The same notes with the variations indicated in numbers 1 and 2 of Exercise 14.

1 t 1 t t t t t
I
:2 :2 :2 :2

t 1 1 1 1 1 1 t 1
II
1 2 :2 :2 :2

EXERCISE 18
237. Here, each group is composed of a descending and an ascending slur. Special care is re~
quired in practising it because of the sharps. The four notes of each group must produce equal sound
and value without using the arm; only the fingers should move, but not the wrist.

86
 3 :.? 1

EXERCISE 19
238. The two slurs in each group (No. 1) are played rapidly. Care should be taken in No.2 to
position simultaneously the two fingers playing the descending slur, and also to ensure that the
semiquavers (sixteenth notes) sound clearly.
On the basis of the groups in numbers 1 and 2 of the following example, other similar groups can
be played on the other notes of the scale, the difference in which should be taken into account in the
next few exercises.

EXERCISE 20
239. An ascending and a descending slur in each group. The four notes must be given equal
values.

EXERCISE 21
240. The same groups as in Exercise 20 with several changes in the value of the notes and in
the fingering of the right hand.
· · m i m
/'E, "'

g ~to· cor· a. . r e.'L

No. 1
b
t

12.j
m t

134
::--... r::

12j
f."'

124
~E·
11

E EE . . · · i m

g au rrrrcr tC::q No. 3

i
i

12·j
t m t

134
z m tr-:

124
r--~

124

87
 EXERCISE 22
241 . A three-note slur as in Exercise 16, and two notes plucked with the forefinger and middle
finger. The three notes should be played slowly and equally.

· i . i~ i m ~ i m
1
~ ~f~# E
8- - - - - - - - - - -

g, [TrE f rbr# F ECFr 0tftr CLt 0::: E=tTrr r r

• 1 ~ ~ ~ ~ ~ ~
1
------------- ·- - - - - - - - - - - - - - - - - - - - - - - - - - -----,

F fltr r rTrr r ffl'#c rijrrr~r r'i'r r £03 Jrttt r rLtc r 1

EXERCISE 23
242. The two little notes are played very briefly. In No. 2 there should be a pause on the first
note and the demisemiquavers (thirty-second notes) must be played rapidly.
. . n Fi F= ~

No. ! &, Pr Er'?rut afr F r~r E i;·e 'C f ;'A#f e;~c Er~=t ~ FII
.__

~ ~ ?! E1f.# ,_ i:~r- r ~7rEr

§, (J6i ftucr c f6! [" 6LEfl FtPrl
No . 2

.__
i . i i m
F It t Et L m SiFn
EXERCISE 24
Special care should be taken with the fingering of the right hand.

EXERCISE 25

,, fr r Cu[r Cf#ft f r fr tt fF Fen Aff[ Er1

.__ :.!~ :.!~ :.!~ :.!1 :.!~ :.! ~
:l1 ~1 :.! 1 ~ ~

88
 I .

', fA f E EE F F 0 r r Cr
• :1 1 3 :! ;j :! :1 1
a
EF
:J 1
r E II
'i •) 'l •) :1 'l ·'~

EXERCISE 26
243. The first finger should not move while the fourth plays the slur. In the descending part,
care should be taken not to involve the arm, and not to cramp the fingers. This exercise can also be
practised with the accent on the second note of each slur (Exercise 8).

EXERCISE 27
244. These groups are descending slurs, and the two fingers should thus be positioned at the
same time .

._ 'i 'i 'i 'i -1 .'J

Notes: 3 1 'i :! 5 (i 7 8

EXERCISE 28
245. The three notes of each slur in No. 1 should be played slowly and equally. In No. 2 the
same groups are played rapidly, because they are appoggiaturas, and the player must ensure that
the fingers find the right spot. The first finger playing the first note of the triplet in No. 3 should not
move while the other two notes of each group are being played.
Similar groups can be played on the other notes of the ascending and descending scale .

1 :! 'i 1 1 :! 1 :! 1 'i :! 1 'i :!

EXERCISE 29
246. This exercise should be practised with the first fingering given and then with the second.
In the latter case it should be noted that when the first and third fingers play the second ascending
slur, there is a slide which produces a different effect from when the first fingering is used.
In the descending part of this exercise using the second fingering (letter A) the first finger slides

89
along the string towards the nut in order to play the first slur.
The forefinger remains still while the fourth plays the slur.

$tc rf Er rEte cEare r1ff frri r? ff~if~i - 1

0 0 3 3 1 1 1 1 1 2 ·'I 2 1 :2 1
0 0 3 3 331122 133113311331 2 1:2 131

A ---------------------
- - - -- i E~ ,.._t: f:-~ ~ "'
JzU fr=t1 FFEf fr g Fr
:~ 2 ·> ·~ ·~ 2 2 1 1 z :2 ' i .1
r r t cr cr Er ff r II
3 1 1 z :2 1 1 3 3 1133112

EXERCISE 30
247. While the ascending slur is played with the third finger, the other fingers should remain
separate from each other.

&, c§r 6frjUiEfffitfHEE 1 Ei@t1fkr1.crltlll

1 3 13 13 13 3 3 1 2 1 13 13 13 :2 13 3 1

EXERCISE 31
248. The fingers of the left hand should be kept constantly wide apart. In No.2 the first finger
slides in order to slur the third note.

1112 2'1212 ·1 2 1 2 1 1121 121 121 1

II

EXERCISE 32
249. In No. 1 the first and fourth notes of each group should be accented (see §225); in No. 2
only the fourth, and in No. 3 the fifth, sharply sliding the first finger which plays the notes of the
second slur.
i mi t m . y r y

i ~ rrrrrrrcr«rrrruuJrrtt
No. 1 r m r t r m r-: rt-f!:.~ r::: f~

11
131 12/i 1213131312'121212

90
 EXERCISE 33
250. The second slur of each group is played by jumping from the position of the first note of
the slur to the second which is played with the fourth finger. It can also be played by running or
sliding the finger of the first note a short way along the string. This gives two different effects.
. . r.:o 8 - - - - - - - - - - - - - - - - - - - - - - - - - - - - --,
~ i mr.;; t m ,-, ~ ----~ ~(!_ r. 1

&& rrrarrr Prr+rr&rrttfftrrrFr-rr rwrrr=rr rrrtfflrrrrrr cfrrr 11

1'1 :2 2'1 3 3'1 2'1 :2 '1 :2 2'1 2 2'1 3 '1 3'1

EXERCISE 34
251. The second finger slides from one fret to the next to play the second slur.

EXERCISE 35
On the first string.
m. i i~ 8- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I

&c:cur m
E";'lf
i i ~
II
'I 331 :2 1 4 :22 131
·" 2 2 131 'I 33121 ·'I :2 2131

EXERCISE 36
On the first string.
8- - .- - - - - - - - - - - 1 8- - - - . - - - - - - - - --, """'
-:J- ~ z:.-: ;,m~ m i i i m : ~ ,---f!l!!:. ,_ ire i m t~ im :€ft~flf!~,_ 1'-~
~ E[FCfFFttf01MWffiLL[t!C I EfEFffrrEttrrFcrracrwmrE II
1 1 1 1 1 1 1 1 1 1 1:2 4 31 4 3 2

EXERCISE 37
On the first string.

:ug~~~ r
8 - - - - - - - - - - - - - - - - ---,
[t{E; 8.- - - - - - -: - - - - - - ' """'

&~ r CEFtrrtrfDtrliE,_Jr r I Tmtrrrfitrtrr:r?t:r

i i mi i i · · 1

( i i • i i i
II
'I 1 1 1 ·' 111 1111 1'11 1 4312 42 4 3 3 1 :2

91
 EXERCISE 38
252. In this exercise, the descending slurs are played differently from the method used up to
now. The first finger begins the slur at the point marked A and the third finger finishes it. In
withdrawing the first finger, it slides down the string until the third finger is in position. The slurs at
points B, C, D, I, and 0 are played in the same way.
No.1 No.2
8-: - : - - - - - - - - - -~ 8: - -. - - - - - - - - - - -- - -- 1
'0. '"' "
,_ t"' i

&ti ~ EFfU?&traetr
-'!
i i

133113311331123
.

1 arrretrfrrrhnff*ttrrrrrrcrr
t

1
t i . . i

121212
. . 'tli'e~~"

211212321212
II
A B C D I 0

EXERCISE 39
In No. 1, the three fingers are positioned at the same time; the first note is plucked and all the rest
are slurred rapidly but with equal vigour so that the first two can be heard clearly. In No. 2
only the first note is plucked. These groups can be written as appoggiaturas (as at letters A and B).

EXERCISE 40
'Two,string exercises

II
1 'i 2 1
·" 3 1 " 3

EXERCISE 41

'tin ft Errrtm:rr
..
frOrrr Ff frf&=r rrffffffrrciT[ft
•)
3 3 ·'I 3
II

EXERCISE 42
253. Special care should be taken with the order of the fingers. The accent should be laid on
the first note of each group; when the exercise is repeated, the accent should go on the third note.

92
 2 ·~ 2 2 ·~ 2 3 1 ·~ ~ 3 1 ~ ~ 1

EXERCISE 43

2 1 13 ~ 2 ~21 1 2 ~3~ 1 1 2 1 12~2 1121 1 2

EXERCISE 44
Chromatic exercises
254. This exercise and the next are plucked with the thumb. The stopping finger of the left
hand is the only finger to move; all the fingers should be well separated from each other.

2 01230 1 34 1 2 3 1 3 ·~ 1

EXERCISE 45

,~ig dJ@ ~!i# UJ lijj)Pj_!@ Uit1J J llg ! II

~ 1231 1 ·~22 4 2 0 2

EXERCISE 46

4i }2t E!Ut- I r1ffCf Er Iffft~lJ § IdQ~ihbd:J} I J I

3 1231 11242 123 3 .1.241·~04
II

EXERCISE 47

4*#irE~r1'0R I C1@ll4~ I 00Fffll(c¥Jt#(tt±IIF H

1.3 34 121412 123112 1123431

93
 EXERCISE 48
Exercises in thirds
25 5. The practice of this exercise consists in not moving the left hand from an interval of a third
until the right hand is ready to pluck the following third, so that the two movements of stopping and
plucking will be simultaneous. It should be noted that all the thirds are played with the first and
third fmgers, and first plucked with the forefinger and middle fmger, and then with the thumb and
forefinger, taking care that the thumb bends at the last joint with each plucking movement so as to
fmish over the forefinger in a sort of cross. The thirds must be played easily without involving the
left arm, and ensuring that the left thumb offsets the pressure of the stopping fingers.

256. The majority of these exercises in thirds can be played on the other strings using the same
fingering, except on the third and second strings (see Lesson 41).

g;,. ~· 1. ~· 1. 1. ~·
maj. maJ.
mm. min. min. min.
Species of thirds: min. maj. maj. maj.

~·
maj. min. maJ.
1s
1:J A:I 3_ 1s
At: 3_ mm. mm. maJ .
1J
3
a 3 3 3 1.
§I
3

3 4 5 6 7 8 8 7
II
Notes: 1 2 6 5 4 3 2

EXERCISE 49
257. The major and minor thirds cannot be properly slurred if they are not played with the
same fingers.

EXERCISE 50
258. Scale in thirds played on the third and second strings with their own fingering in order to
be able to slur them (No. 1). No. 2 is similar to Exercise 49.
No. 1 #
gull!• ~· ~· 11 ~·
1. ~· 2
!S
M
s • •• • I I I I
1 2 3 ·~ 5 6 7 8

EXERCISE 51
259. The first third of each slur is plucked. This example can also be continued descending in-
stead of ascending if care is taken to play the first third of each group with the appropriate notes of

94
the scale, as in the ascending slur. All the thirds in each group are major or minor in this exercise
and in Exercises 52, 53 and 54.

Group: 1 2 ~ 4 5
8 - - - - - - - - - - - - - - - - - - - - - - - - - ---..,

' "n 1 r"ar;aamtrrrrrru•w~Mmr '11

EXERCISE 52
260. In order for the descending slurs in this exercise to be played successfully, the two fingers
must slide towards the nut with equal force, while the movement must be parallel to the plane of
the strings, moving only the hand and not the arm. The first of the two slurred thirds must be
played very close to the front edge of the fret, so that a clear sound will result and the vibrations
serve to produce the other third.

8-------------------------,

gnn rlrlr'ei~leftrrrtr~'UpMWMr~~ i1

EXERCISE 53
261. Each group is a slur of three major or minor thirds a semitone apart. Care should be taken
that both fingers cover the same distances and are well placed, that is, near the front edge of the
fret. The arm should not move; the movement of the hand depends on the wrist.
8- - - -- - - - - - - - - - - - - - - - - -

g"D r11'fil rrer f¥1 6D ~t 11i 1 ~~r

The same exercise in the key of A major, on the third and second strings.

,~~l~ti fv~~.-r~fnlqtrrr t#fl ru

g~~n r"fr ffr ~rfh!f#fr ~rti)"f#fr ~~•r~~ru ~~ 11

95
 EXERCISE 54
In this exercise and the next four, major and minor thirds are slurred.

n
8-- -- - - - - - - - - - - - - - - -

,~, ~rr r•r ft Mfrq~t frbr#t rt ~~~~r tJ ~~' ~~ #=

a
&~~ aqr r or r r r g ~ r r1 r r·rr rr rr r r r
8- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I r:;

11

EXERCISE 55
Combination of Exercises 52 and 53.

EXERCISE 56
This exercise has the same object but with some variation.

EXERCISE 57
262. In groups 1 and 5, the third finger prepares the next group, in the case of group 1 by
means of the slurred semitone D sharp. In the third group, the first fmger prepares the next group.
One single indication serves for the slurring of several notes in a row and of two or more thirds.
Group: 1 ::? 3 1 5

gun lfq~rfif~
'--'
irriiftMns 11

EXERCISE 58
Combination of Exercises 49, 52, and 57.

'ti# Ao i~ bd? iJ f~ rt nfuJ tf r~ti rt i~ itsf

96
 II
EXERCISE 59
263. The finger which plays the crotchet (quarter note) must remain still and firm while the
others play the three slurred notes, so that it will serve as a support to the little finger, allowing it to
move freely. Although the two thirds on the fourth and fifth notes are major, a semitone is slurred
in the first, and a tone in the second. The fingering should be carefully observed.

Notes : 1 3 -~ 5 6 7 8 7 6 5 4 3

EXERCISE 60
264. A third with a slurred triplet is played on each note of the scale; this third is then lowered
a semitone and is immediately raised again. In playing the third on the second note (bar 2), special
attention should be paid to the fingers playing it and the next third; the same is true when playing
the thirds on the third, sixth, and seventh notes of the scale.

8- - - - . - - - - - - - - - - - - - - - - - - - - - - - - -
......-.._

-~ 5
8-- - - - - - - - -

7 8 7

EXERCISE 61
Exercises in thirds on all the strings

They should be plucked sometimes with the thumb and forefinger and sometimes with the fore~
finger and middle finger.

97
 EXERCISE 62

EXERCISE 63
F major

EXERCISE 64

EXERCISE 65
The slurred thirds are played on the same strings.

98
 Exercises in sixths

265. H the highest note of the interval of a third in the scale of Exercise 48 is played an octave
lower and the other left where it is, another scale in intervals of sixths in the same key will result. In
this case, the note of the ftrst scale on which the sixth is based is the highest, as in the thirds it is the
lowest. This change is called the inversion of the first interval (see Section Three, §312). H the third
is major, the sixth resulting from the inversion is minor; if the third is minor, the sixth of the inver,
sion is major; hence the intervals of the scale in sixths are the inversion of the intervals of the scale
in thirds.
Example
min. maj.
min . maj . maj. min.
Species of thirds : maj. min.

[!] [!] [!] [!]

~nn [!]
Species of sixths: min .
[=
maj.
~maj .
C:]
min. min . maj . maj . min.

EXERCISE 66
266. This exercise and the next three will not contain more sixths than are formed on the ftrst
six notes of the scale; this is a sufficient number for learning to slur major and minor sixths, and con,
versely minor and major sixths.
Example 1
Sixths on the third and first strings
In practising Example 1, it will be noted that the finger stopping the low note of all the sixths is
the same, while several fmgers play the high note; it should also be noted that each sixth can be
played with different fingers; the numbers on the left of each indicate one fingering and those on the
right another. On the fourth and second strings, the sixths are slurred with the same fingers as on
the third and first strings.

Example 2
Sixths on the fourth and second strings

II

99
 EXERCISE 67
Sixths on the fifth and third strings

,~,:BJ
Species of sixths: min. maj .
.:ij ;ua d~ ~rr ;r1 :pa &W ;Ud
maj. min. maj. maj. maj. min. maj. maj .
,u min.
11

Sixths on the sixth and fourth strings are played in the same way as in Exercise 67.

EXERCISE 68

Sixths on the fourth and second strings are played with the same fingering as in Exercise 68.

EXERCISE 69
Sixths on the fifth and third strings

These intervals are played on the sixth and fourth strings with the same fingering as in Exer,
cise 69.

EXERCISE 70
Exercises in octaves

267. When playing octaves, the forefinger stops the low notes of the interval (Nos. 1 and 4) or
the high notes (Nos. 2 and 3).

On the third and first strings On the fourth and first strings On the sixth and third strings On the sixth and fourth strings

No.3 No.4

3 3 3 3

100
 EXERCISE 71
268. Octaves can be played in two ways, giving different effects: 1. Once the two fingers are
placed on the first octave in the example below, they should not be lifted until bar 6, but rather slide
from one fret to another. 2. Once this exercise has been practised as in 1., it should be practised lift,
ing both fingers to move from one fret to another. This is somewhat more difficult than the other
way; in this case, both fingers should be kept constantly spread, and the distance between them
should be progressively narrowed as the octaves go higher, and widened as the octaves drop. In the
descending octaves after bar 6, care should be taken to keep the first fmger playing the low note as
still as possible. It is more difficult to play octaves descending than ascending (as is indeed the case
with any passage).
This exercise may serve as a model for a similar exercise on the other strings.

~#~·itiickf~ckt~;Dct;tJIJ;!~I t 1
,#f ~;tl&i;!JJ=IJJJ;PIJ&ilctlr~~~
EXERCISE 72
269. This exercise is extremely important.
The fourth finger which stops the high note of the octave should move very rapidly, while the
first finger stopping the low note remains as still as possible. All the high notes of the octaves are
plucked with the forefinger- strongly but without moving the hand- while the thumb should pluck
gently.

,~l#e'[j[} (jE; I (t@4Jfr I E/&r &b frbbfn

'Hn# &E/ib1 &&L;LJ 1lt&ttl;1 l;ijtfijl &&&&I
'#ffn (iG @& Id&?) 1I@ O{J?J I'!J 1d& I~ ~ I~ _II
1

101
 EXERCISE 73
270. While the fingers of the left hand are stopping octaves on the first three frets, they alone
should move and not the hand. The right thumb should pluck the accented octaves more sharply,
and as from bar 3 all the accented notes.

EXERCISE 74
271. The finger stopping the crotchet (quarter note) in each group should not move and remain
firm while the other notes are being played. The fingers of this hand should be kept spread.

102
 _,......_ ,---.,. ,....._
__....,
~

_,......_

" !+
I ,...,...,..., I ..J I I I
~

I I"""'T""''
.;;;;;... ..........._
I j

._
r 'f r p- -- t
r
~

Exercises in tenths
272. The interval of a tenth may be either major or minor, like thirds. Scales in tenths follow
the same order as the corresponding thirds; the lowest note is the note of the scale on which the
tenth is found.
min. maj. min .
Species of tenths : .
maJ. rrun . min. maJ . maj. maj. min. min. maj. ,

EXERCISE 75
273. The fingers forming the tenth should be positioned at the same time.

Exercises to be practiced every day

274. The next three exercises are plucked sometimes with the thumb and forefinger of the right
hand and sometimes with the forefinger and middle finger, taking care that they alone move and not
the hand. The first time that an exercise is played, the accent is placed on the first third of each pair,
and when it is repeated, on the second third as indicated in No.2 of each exercise. When played in
the second way, the exercise should finish as in No. 3.
In order to play each pair of thirds, only the left hand should move and not the forearm; the
movements of the hand should come from the wrist.

103
 EXERCISE 76

EXERCISE 77

4~~ JJuJailU U¥J.,"r ~·r r r·ff r r·N~ trtrtrr trtrtt

·~A A A A

~ Y y No . 2 No. 3

,~ rrrr rrr rrr~"r.'·iJJ.HtiJJJIJJJiiJH IIJiJiJUuull

A A 3A 1A ~A A A A A A A A

EXERCISE 79
Exercises on the frets beyond the nee~
275. This exercise and the next eight are intended to accustom the left hand to playing quick
passages on the frets above the twelfth, these being beyond the neck. For the purposes of this exer.-
cise, the following should be noted:
1. The left thumb should be continually pushing against the base of the neck, as it has to form the
basis of the accuracy and security of the fingers playing the highest notes of No. 3 of this exercise;
the harder it pushes the closer the fingers will come to the sound.-hole.
2. Each finger must exert pressure easily, remaining separate always (in a manner of speaking) from
the fingers next to it, while attempting to round them so that the last joint comes down on the
string perpendicularly.

104
3. The forefinger has to provide support for the movement of the rest. The middle ftnger requires
care because its length is awkward for playing well. The hand must be well turned towards the
bridge so that the little finger will reach its notes more easily.
4. All the strength put out by the fingers in stopping the notes must come from the wrist, ensuring
that they depend on this support.
The three parts of this exercise are played with the same left hand fingering. That of No. 3 is the
most difficult because the fingers are closer to the sound~hole .

EXERCISE 80
The pupil should go back and read the note given in Exercise 5 on the numbering of the fingers of
the left hand. As a result, he should pay great attention to the figures and the equivalent sounds.
I shall write all the notes an octave lower than they should be played.

No. 1 No.2 No.3

EXERCISE 81
The left hand does not move from its place to play groups 2 and 3 of No. 3.

No.1 No. 2
- ----,

105
 EXERCISE 82
The indications for Exercise 80 should be observed exactly.

No. 1 No. 2 No. 3

8 - - - - - - - - - - - - - - - - , 8 - - - - - - - - - - - - - - - 1 8 - - - ·- · - - - - - - - - - - 1

t- H • :.;..._~r-~~ t .m:1 : • :;...~,...~ : ~~r-·r:. 2 I

@•pb$h!U'~ lltf[Jfufl~ lltn]WlE~ II

(Jj @ CJ)

EXERCISE 83
No.1 No.2
8- - - - - - - - - - ~ 8- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - '

fti j !lJJJ!J;n
~ #,~.~ ~\f~t I=~\?~
~II'=-='-== ~7~
=e:t (fr = = J II:
® -- @
® @

EXERCISE 84
8- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - --- -

&#11. ""13
~ .l~ @
(
grrfr r Stcbttr;r@®JJ -Gf ( &rrfr r
8- - - - - - -- -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
~ ~ r'~
Lbrffb;rtrU~9JJ£j II
t

gun rfrtf[Ef[tpQJ]J .fie: gqcCf=

r-' f. I

® &

EXERCISE 85
8- - - - - - - - - - - - - - - - ~ 8- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
#• ~ .,-. ~1

6~~~®@rrrFftfFW'fEF II ttrrrFtllliFFfUrttrrrFff[[FEFPFr
f ,-.=-"'l I f ,.. =-"

(:JJ
8- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -'
# t ~ =-" --- ~ "'l - ~ "''l - '

6~ EttrFECt([FFf(FrEtrF Erfh[[FFtfFr(!EfFFftfFFFtrfrJ II

106
 EXERCISE 86
s - --- - - --- - -- - ---- -- - - - - - - - - --- - - - - - - - - - - - - - - --'
## •~
~b .J ]JJlc rrrrrrc•EtCF 1 arg&P~MJJ~!J II
1 .,~ I

EXERCISE 87
276. This exercise should be practised daily remembering: 1. That the elbow should always be
close to the player's body and that the forearm should move only when the left hand moves along
the neck. 2. It should first be played slowly so that each finger of the left hand is positioned
deliberately and surely. All the notes should be played in their first equivalent sounds, so that the left
hand can run the length of the neck from the bottom upwards, and from the top downwards.
3. During these rapid movements of the left hand, the fingers of the right hand cover all the strings
without moving the hand.

107
 EXERCISE 88
277. This exercise is very useful in making the left hand independent of the right. In practising
it, the right hand must be very sure, since the firmer it is, the better the left hand will move. This
exercise can be made even more useful, if after practising it as written, the higher note of the octave
is played first and then the lower, as in the example which follows this exercise.

,~n rfrf c[rrcM rfcPrir fFfrfr fr fr ff fcf Err fc!

&~ ~ r[[[c[rf cfrfrf&[[r R& ftfrErfdgfrl frtpJlrrr
~"»
& r[ rfc frf tfcErLridcfr frFE[[[c[c hf[[c [rf F 11

EXAMPLE

' ijft# [ F[ r f r f r rrPc rrf Vr frfFfr[f [ cfr [ f II

F

EXERCISE 89
278. This exercise is played only on the lower strings, and plucked only with the thumb. The
slur from F sharp toBin bar 3 is played without plucking the F sharp; the vibrations of that note are
enough to let the B sound when the finger falls upon it. The slur from D sharp to B in bar 13 is
played by striking the D sharp at the first fret, and then moving the hand upwards with some force
and striking the B with the little finger. At first it will sound weak. To perform it well, the first
finger must press firmly on the note before it moves. The D sharp, E and F sharp in bar 23 are
slurred; the slur from E to F sharp is of a particular kind; the fingers remain on the string while
changing, and the movement must be done strongly and promptly.
Adagio

,~ e,J I~· h<J.#QJ QI,J. 'WJJ 7 J liQ?@Sti HJnJ£0lfl'J I

3 r3--, 3

,~ l hl10HIJ. ir]jJJ 13 V,],p-'Jw 19 :JIII#S p'qiW~ ~-1

108
'» #Jj J@ 'tft @ IT .,bJ,tJ J1#:8 r O{J!£j~j I.J@ F I "~ I

'ti .J.• );.~H l#j IJ I·J )iJ ¥D lJ·'\9 Jl ~ J I,J iii!¥ gq 1JSial

'u Jl'Jl;.h i:u I~- hl.#jJ. 0IJ ~1.h \! 1,] iJi#JijmtfPJ ,J I~ J Ill
® 1·~ ~ ® ®

EXERCISE 90
Using the barre
279. The barre is employed when it is necessary to play two or more strings at the same fret. If
the strings in question must be played at the same time, the barre is placed. Sometimes it is placed in
anticipation, as in the following.

,w,.· ~7 .nl f~2F ~·~ ~: ~r a~~ J~ ~r~·~= :~+.~-r~q-~ 1 ~' =li

12. c c c c

, wv +~~w~~~ 11
f
g~~¥Jtt~~r 1FJ r=~r~~~~f~~, ~ij~" D.C.

109
 PRELUDES
Or indications of the
~ey in which a piece is to be played

280. In these preludes the metre is not strictly observed. The value of the notes serves only to
give an idea of the respective speed at which a piece is to be played. The time,increasing dots after
some notes show that the notes in question should last for the whole value of the notes which they
include and which are above or below them. The pupil should learn those preludes which his fingers
are able to play.

281. The preludes with the indication ~can use the same fingering in another key, the tonic
of which is on the same string one or two tones higher or lower. The symbols used to denote the
fingering of the left hand should be understood in terms of the note in paragraph 222.
Preludes nos. 1, 2, 3, 4, 5, 6, 9, 10, 13, 14, 20 and 21 can be played in the minor, if care is taken to
make the third and sixth notes of the scale minor.
1 2

r r

110
 II

A AAA

111
18

r rr 4
®

~~~I
__ J~~~= ..
-
i

112
 282. In order to play these studies at the speed indicated in Italian at the beginning of each,
Mael2;el's metronome should be used, setting it at the number indicated.
The pupil should play as fast and as clearly as possible those studies which do not have any in,
dication of the speed.

283. Once the fingers are familiar with a study, the pupil should endeavour to play it with the
sense and expression denoted by the signs (see Section Four); the signs and
~====== indicate the gradation of the sounds of the strings plucked; the notes at the beginning
of the indication should be played loudly, and then should diminish to piano where
the angle closes. In the indication the contrary is the case; it should begin piano, and
gradually increase in tone to forte. These indications are placed above or below the passages.

For two fingers

B and D in the first group of bar 1 are played on two strings, as are each of the other' two,note
groups, and they should be plucked with the thumb and forefmger.

su;y &"e "f (tt r rrr~d§J Jr Fr r I! ~) fcy J3]"JJ 513 JJ" I

PiPiPiPi PiPi PiPi

=II

113
'# JJ@JJJJOJJJJJI,Jjj UJJ#JjHJ~J~~;JH I f----~====~======~===

4u.J~jJRlnJiJ~~FJfj IuWgrFWf& I JijfJjJ~~~

f pip i
t :II
f--~================ =================----
For three fingers
In Lesson 30 the significance of the sign placed over some notes was given; it cuts short the
A
sound by the immediate placing on the string of the finger of the right hand which plucked it.

..
I r· I V I r I l:?i I
1-
i
I

~ ~ r ~: ~~r&l!ob#dcJ3 ~:~pI, i q,ll~ !

§ 112. I
I
I=

The thumb only plucks the bass notes. The hand should not move.

Allegretto J = 66

114
 c

fli
'~,pi ifijij~9J I rr ~m l/lrP-iJI Mtm: r: =I
f

This should be played in the same way as Study no. 3, as far as the right hand is concerned.

Allegretto J = 66 ~
St1y¥WI R ~ U U JJj ,J U i I i
- -
UJ UJ J U jJ ti i I
"'. "'.

4ti ~ U U j U U Jl (i J J I j
- -
JJj U UJ j J fj Q I
"'. "t'J·

115
 t·

,~ ~ .u
- 3
un] n j n Q 1.U ~ ~ ~ t.£:fj ~ri 1
-&'
"ty.

=II

Study no. 4: in the original, Aguado indicates that the upper notes in bars 9-12 and 15-16 are to be played on the fourth and fifth
strings, and those in bars 13-14 on the third and fourth strings.

ARPEGGIO STUDIES
284. The arpeggio studies require special care iri that the firlgers should not move from one
position to form another until the last note of each chord has been heard.

For three fingers

All the notes must be clearly heard although those plucked by the thumb should be heard slightly
more clearly, and of these the first of each sextuplet slightly more still.
Allegretto~-- _ '
- - - -- ' ...-------..... ~...-------.....
1\ I I I I I I I I I I I I I I I I I I I I I I 0 I1 II .11I I I I I
Study •

l..J - --
:..
5 .._

k
'I J 'W I.....
- I ~
-

116
 The notes plucked by the forefinger and middle finger must be heard clearly; in addition, when
the thumb plucks those notes which have their tails downwards, it should stress those notes of
longer value.

Andante

117
 t II
~~~~==========~----- i

,., ++ I I I I I I I I J -~
.J r-~ I.J I.J I.J I.J IJ lJ I...J I.J

.. =~
C,...-J -
~r -
r.....J - -........J
T """'~iii I I -:: ~

118
 II

For four fingers

The ring finger is now added in. This finger is naturally weak, and special attention must
therefore be given to it, although this does not mean that the strings plucked with the other fingers
should cease to be heard clearly.

The bass notes should be held for their full value.

Allegro i ma ami a a

Study "~ jf J•)l I I I I I ,JIIIIIIIIII II II I I I I I I

7
.., -
u
p 4r 3t: -- 3
~ =
-
r·
-

c
" ~ H IIIII 111111 I I I I I I I I I I I...! I I II..J I ..J J I I ..JI ..JI

u -.
~ r .rr :::; ·1~ 1r r r

~ H I.J I I.J I I I .JII I I I .J .J J

..
...
r I. J = r. ..r - r- .I
r t

"~ H I II~ I I I~ I~ II I~ I~ I I.J I IJ IJ I

.
...
u H[_..J t
f
'I r. .[ - r. J:!t rr· -

119
 The thumb plucks only those notes which have their tails downwards.

~>+Pima
l1. J I I I I I I I I I~ I I~ I I 1-1 I

... - t,11, .. .•
r ~.
csr· ~· r· =~~··

- t.

120
 1\ ~ z ltt:JJ I
-
!J /Tri 1-J r '• l~j i.J l rlllll I I 111.J li
.. ~f· r.
®
-. -.

- -
- -
r·
285. The notes of the intermediate strings should be heard clearly although those of the treble
melody should be heard still more, and given their full value.

)=84

'iir-
-~~ i

121
 r
The Allegretto tempo, which is more lively than Andante (see Section Four) makes this study
more difficult to play than the last; in each position, the last note of the accompaniment in the in..
termediate strings must be heard clearly.

Allegretto J
n
= 6J
" u it
Study
10 ._ .. -::
r r
r
-
I r -

t t t t fJ ~ p

i
fJ t t
= t
i
t t

122
 t
t =II

The observations made up to this point should be borne in mind here.

-
i

123
 -
I

The melody in the treble plucked with the ring finger should be heard more clearly than that of
the accompaniment on the intermediate strings, while the force of the thumb should be moderated
so that its part does not dominate.

'frr~ptSIII_fuc,rrrfrrrl ,.rrrJJJzpYfcrn
~ f

124
fl~J~ t bJ 31 1
.
t r 1
- = i

125
 The Allegro tempo makes this study more difficult than the last because the movements of the left
hand must be very rapid in order to take up each new position in time after the last note of each
group in the accompaniment has been clearly heard.

~ ti #·~ ·'~ ~ ~
fi
0 i ., I
~ 01 ~ ~ ~
II rw=bE.Fafbd&lr~·:Jbd wr j
j '
1

~ tip# 11=1w 1· rJ ·i utfi 1~ w ~ w; w'i·EJ 1

r t

126
This study requires the same care as the last.

- ~ t
i

127
 MISCELLANEOUS STUDIES

It is difficult to make the accompaniment on the third, second, and first strings completely steady
because of the varied movements of the thumb. Bar 10 requires special care.

128
 u r
The movements of the left hand when passing from the chord to the scale must be very rapid so
that the full value of the chord can be heard. The chord in bar 4 is played with a barre, even though
that is not strictly necessary, in order to silence the vibrations of the open D of the previous chord,
which would produce a dissonance of a second (see Section Two, §219).
This study can be still more useful if each bar in the first half is played as the example at the end
indicates-this is the first bar-by making the semiquavers (sixteenth notes) demisemiquavers
(thirty-second notes).
Andante J= 63

s':ty ' ~~# e ~ (iifi1 (

f

'~~~# ! garrflE ~rrcr#t .E

a
Pj
I~ l
I~ ~em '!i!
fi
·::!1d j

f ff r· t

129
 The eight demisemiquavers (thirty,second notes) in each pair of groups should be made very
equal. Immediately after plucking the chord in each of bars 5, 9 and 13, the plucking fingers should
be placed back on the strings to silence the notes.

Study
17

,......im . t1
A
t~ A ~-
t
r i

r rt
130
 This study is very useful, but very tricky to play well. All the slurred notes must be heard with
equal clarity.

',.,; iiI ¥i;fiiQ I, ~j @)

~J]1 7 •{iJ ~JJ 1.j i 2 !~ I
I - --

r·-=== r· r· r- r r· r· r· ~rr
'~~JF~ I ?f'rP~Jll ~'=;f.~ I~{!~~ 7~~ ~J;f _~I
r· r· ~r r r· ~1 r· f r·

'~~~~ 7fi, n1,S ~~~.F'f.f~fi ·F~~

= =
- = = fr=
f =. = = = f
r· r· r· r· r· r· r· r r· r·

':rr:F~;.P4 r.fJ~t~'~'F-~'
'~tr9~.~~ ~-j~~~~r.rt;~H 1
131
 The intermediate part may be plucked with the forefinger and middle finger or with the forefinger
only.

=II

,,;&fbi I fj I I pr1k= I FPprii Ie~ :=II

132
 In bars 23 and 27, the barre should be used to play the last note of the bass without moving the
hand.

r
~ ~3i ~
3~
mezza voce

- ~

v
~ ~ <5) ~ 3 #

' ~~~~~ ¥¥4~nn ~lrit&frinS~JnJjj'

v ~======

-===== =======--

133
 The two little notes of the appoggiaturas and the main note which follows must be heard clearly.

f -== ~r ~ #r

$#11« J., I~~~~; lib~ iilj; I I

134
 Be careful to sustain for their full value the minims (half notes) and crotchets (quarter notes) from
bar 26 on.

~.

f p f p

135
 The E plucked with the chords must be heard clearly, and should be plucked with the middle and
ring fingers.

a a m a
a_
1\ .ij tt I I I I I I I I I I I J I I I I J L L J J J J J~ 1"'"""'1 I

.. ..
~ ~ 3.,.~
ji: ;::::
p

f, .ij t± I I I I I I I I I I I I _I I I I I .I _b OJ O_LQj_ O_l l I I I I I l

. .
-- r
... :: ;: • #F qF ;:
~

----...
#•
-- ~

.J~.JJJJj.JJJjJJJj JJJJJJJj_.lJjj ;~ JJ
~-

=II

136
 The three notes of each triplet should be plucked sometimes with the thumb, forefinger and mid~
dle finger and sometimes with the thumb alone.

Adagio J =50

fJ. j

r
137
138
 Only the thumb plucks the passages in bars 1, 3, 5 and 7 which are played on the bass strings. In
order to play bars 38 and 39 clearly, the wrist must be well arched and the tip of the left thumb
pressed against the base of the neck so that it always serves as a support to the fingers when they
play.

Allegro J = 66

---rrrr rrrrrrrr rrrrrrrr rrrrrrrr

p

'"r ~ i ,m,nnnJJ,JJJJJJJJ,JJJJ1JJJ,
rrrrLLrr rrrrLLLr FLLrLLFr 1 ~r~ r
~ p f

139
g«u#. ~ ~ ~. ~ B I aifJJSZl{ifJD.;JSI & J J i 1
;r r uF I - :wcrrr
JH# ;m§Q.m#l ~ j • j I /m;~"~-'"1
~ v~ r - ; w crrj r ~~=---=======-

-
i r

r t

$~~ G~CPfzt d r1:r r r b'f A f 6r 0 Cf (f t f E['Ff

1 1
f

gH/E fiCfftr ~Cirtl~! r! lj I r! lj - I

f p ff p

140
 This study is fairly difficult to play cleanly and accurately as well as giving it the colour indicated
by the expression signs.

Allegro brillante

-=::::::: =====-

141
~##·®R~~~IIII~:a•~~~
i --================
-~.~

-======-

1
®

142
 287. The sublime aspect of the art, as far as the musician is concerned, lies in giving true feeling
to musical compositions, expressing in the instrument the ideas of the composer in such a way that
the sounds transcend the mere ear and move the heart of the listeners. This is what is known as ex~
pression.

288. In order to achieve this, one must be sensitive, and this is how the player himself, in~
terested in what he plays, also interests other people, .causing them to share in his own feelings.

289. In vocal music, the words usually indicate the appropriate tendency, but this is not the
case in instrumental music. Although it is an imitation of vocal music, it also possesses an unex~
pressed language which is therefore more obscure. This is why the composer, after arranging the
musical phrases and periods as best seems fit to him, finds it necessary in instrumental music more
than in vocal music to indicate certain capital points, by using the signs given in the table in
paragraph 292, so that the player will modify the intensity of the sounds; he also indicates at the
beginning of the piece the tempo at which it should be played, because its expression and character
would certainly be lost if instead of playing it as a Largo or Andante, it were played as a Presto or
Allegro, or vice versa. Without departing from the capital points determined to him, the player still
has a very wide field in which to express his own creative spirit, by producing in the sounds con~
tinuous chiaroscuro, similar to the accents of expressive speech, the rules of which are to be found
within the heart and nowhere else.

290. Table of the principal speeds or tempi given to pieces of music.

Largo: a very slow speed, in which each bar lasts two or three seconds.
Larghetto: less slow than Largo.
Adagio: less slow than Larghetto
Andante: moderate speed.
Andantino: modification of Andante.
Allegro: a somewhat lively speed.
Allegretto: modification of Allegro.
Presto: a rapid speed.
Prestissimo: the most rapid of all.
GENERAL CONSIDERATIONS ON HOW TO GIVE FEELING T O THE MUSIC

291. Music is a language and has ideas with which phrases are formed, and with these,
passages. Generally speaking, each musical idea is expressed in two successive bars; the idea begins
in the first bar and concludes in the middle or at the end of the second. The conclusion must be
piano in order to distinguish it from another idea. A phrase may consist of two ideas, and conse~
quently of four bars; the end must be piano for the above reason. Beginning the phrase loudly at the
first bar, and gradually reducing the amount of sound to the end at the fourth bar, will give it some
sense, but it is also necessary to bear in mind the sense of the notes in each melo'dy in the phrase;

143
while they rise, the sound gradually is intensified, and tends to decrease when they fall. This con. .
sideration also applies to each idea, although the notes of the first beat should be heard more than
those of the second. In order to indicate this effect, a regulating sign [regulador] is usually employed
< > and placed over the idea or phrase. In addition, there are the following
expressions:

292. Table of names and abbreviations which serve to indicate a change in sound.

Italian Abbreviations Meaning in English

p1ano p soft or quiet
pianissimo pp very soft
forte f loud
fortissimo ff very loud
mezzo forte mf moderately loud
dolce dol. sweetly
crescendo cres. increasingly loud
diminuendo dim. decreasingly loud
ad libitum ad lib. at the player's pleasure
a p1acere a p1ac. idem
perdendosi perd. softer and softer
. ;
piu morendo pm mor. fading little by little

293. The sense of the idea can also be subdivided by applying loud and soft to the two halves
of a bar, i.e., to each beat, and even each half beat. The guide to this is the expression it is desired to
give to the music which is dictated by good taste and sensitivity.

294. When a melody is played in the treble with its corresponding bass and an intermediate
part which serves as an accompaniment, in addition to the above considerations care must be taken
to ensure that the melody stands out as the main part, while the accompaniment is soft, and the
bass is clearly audible (Lesson 22).

295. The slur, the appoggiatura, the mordent, etc., give new emphasis to the expression if used
with due care and not too frequently. There is another kind of ornament which consists in varying
the mechanism of some melodies; this should be simple so as not to distort the main idea, and like all
types of ornament must be dictated by good taste. In the following example from Sor's Fantasia,
opus 7, the second bar has be~n varied in five ways.*

Variation 1 Variation 2
Andante

• [See vol. I of Sor's Complete Wor~s for Guitar (Tecla Editions, London).]

144
Variation 3 Variation 4 Variation 5

296. When one plays alone, the expression permits a slight change in the beat in some short
passages, either quickening it or slowing it; in this case there is an apparent departure from the
tempo for a moment, and then it is followed with the same accuracy as before.

297. Lastly, the guitarist must seek models of expression in teachers of renown, whatever the
instrument used to express their sentiments. He should listen to them with great attention and
endeavour to imitate them until he is able to form his own particular taste and style.

145
 S·~ction Sfiv~ H gjbcaj, ott f~t'f/l,ifi/~~iltt
t·uit~ t~~~ aote-z-~H-'tc· op t~c ~~~it~z

CHAPTER I
Intervals and their inversions
298. The notes of the scale are known as the tonic or first note, second, third or mediant,
fourth or subdominant, fifth or dominant, sixth, and seventh or leading note. 25

299. An interval is the difference existing between two different notes, and on the stave it is
the difference between two notes placed on different degrees. 26 If, for example, ·one note is placed
on the first line of the stave and another in the first space, there is an interval of a second between
them, because the two notes are on two different degrees, even though they are those closest to
each other (Example 1, letter a). If the first note is left on the line, and the other moves away from it
by degrees, intervals of a third, fourth, fifth, sixth, seventh and octave are formed, depending on the
number of degrees between the two notes (letter b).

300. All these intervals are called simple because they do not exceed the limits of an octave;
but from the ninth onwards they are called compound because the consist of an octave plus another
interval (letter c).
EXAMPLE 1
SIMPLE INTERVALS COMPOUND INTERVALS
2nd 3rd 4th 5th 6th 7th 8th 9th lOth 11th
a b c
• • • •
...
~ • • II. . • I... • I•..··•·•I •.. I•..•····••I•..·· I I. I• •
II
Octave and a 2nd Octave and a third Octave and a fourth

301. Tones and sernitones contained in the intervals of the scale:

The minor second consists of one sernitone

" major second
" minor third
" majqr third
" minor fourth
" major fourth
" minor fifth
" one tone
" one tone and one sernitone
" two tones
" two tones and one sernitone
" three tones
" two tones and two sernitones

" In order to be the leading note the seventh note must be major.
26 Each of the different places where a note can be placed on the stave, that is, the lines and the spaces between them, is a degree.

146
 " major fifth
" minor sixth
" major sixth
" minor seventh
" major seventh
" octave
" three tones and one semitone
" three tones and two semitones
" four tones and one semitone
" four tones and two semitones
" five tones and one semitone
" five tones and two semitones

302. The augmented intervals have a semitone more than the major interval of the same type;
the diminished intervals a semitone less than the minor of the same type.

303. If one of the voices of an interval is shifted an octave up or down and the other left where
it is, a new interval is formed, called an inversion, and this makes up the difference between the first
interval and the octave; the complement of C to B, for example, is B to C.

304. Two rules result from the above:

1. The inversion of the second produces the seventh

The inversion of the third produces the sixth
The inversion of the fourth produces the fifth
and vice versa

2. The inversion of a major interval produces a minor interval

The inversion of an augmented interval produces a diminished interval
and vice versa

EXAMPLE 2
minor major augmented diminished minor

The Second The Third

produces by inversion produces by inversion

The Seventh The Sixth

diminished minor major

The Fourth
-8-
produces by inversion
augmented major minor
The Fifth

147
 305. Compound intervals follow the same rules as their respective simple intervals. For exam-
ple, the compound interval of a tenth from C toE is major, just as its corresponding simple interval
of a third from C to E is major.

306. Intervals are also consonant or dissonant. The following intervals are consonant:

The minor third and its inversion the major sixth

,
" major third minor sixth
,
" minor fourth major fifth
,
" major fifth minor fourth
, '1
minor sixth major third
, ,
major sixth minor third
" octave

The following intervals are dissonant:

The minor second and its inversion the major seventh

,
major second " minor seventh
,
major fourth " minor fifth
,
minor fifth " major fourth
,
minor seventh " major second
major seventh " minor second
and all augmented and diminished intervals.

307. The discord has to continue into a concord, and this is called the resolution of the discord.
In this, one of the notes forming the discord remains the same while the other rises or falls a tone or
semitone (Example 3, Nos. 1, 2 and 5), or else both move in opposite directions (Nos. 3, 4 and 6).

308. Discords and their resolution, in practice on the guitar.

EXAMPLE 3

1st res . 2nd res. res.

res.
maj. 2nd min. maj . min. 2nd res. ma!} 4th maj. min. aug. 2nd 3 aug. res. aug. res.

,.., .. t
:----~~ .. l ftn h.?:t ~ H~ & & H _).. & H~ & ....·~
)
~

:.
.. I 2 3 4 5
~

6.
1st res. 2nd res.
min . 7th min . maj. min. maj. maj. 7th res. min. 5th maj. min. dim. 7th res. aug. 4th res. dim. 3rd res.

Inversion of
ll "" ~
l.l ~ •l

------------- ~
~ 3 ~ 3 ::! .-
the preceding
.. T
3
________......______..--- T
3 t 3 ~ 1 •l •l •l ~

·" ·"

The observations in paragraph 305 on compound intervals should be kept in mind.

148
 309. The playing of these intervals applies to the other strings with the exception given in
Lesson 41 with regard to the second and third strings. These resolutions should be memorized for
the section in Chapter III on discords.

CHAPTER II
The perfect chord and its different positions on the guitar
ARTICLE I
'The perfect chord and its inversions
310. The name chord is given to the union of two or more intervals. At least three notes are
needed to form it.

311. The perfect chord is the union of two intervals of a third, one major and the other minor
(Example 4, No. 1). This chord is formed from the tonic or keynote of a key.

312. The order of the three notes of the perfect chord can be inverted and the notes used to
form another two chords with different intervals. Inverting Can octave higher (Example 4, No. 2)
gives a chord of a third and a sixth, both of them either major or minor. 27 Inverting E an octave
higher (No. 3) gives another chord of a fourth and a sixth, either major or minor. Of these three
chords, that in No. 1 is called direct, and the other three inversions; they are all concords because
they are made up of consonant intervals. If the octave of the tonic is added to the direct perfect
chord, the chord is complete (No. 4).

EXAMPLE 4

Direct First inversion Second inversion Complete

2 3 4
,,~
II 8 ~8 II ~ II ~i II
maj. 3rd min. 3rd min. lrd maj. 3rd 4th 4th
i
maj. min.
and 5th and 5th and min. 6th and maj . 6th and maj. 6th and min. 6th

ARTICLE II
Positions of each ~ey
313. The complete direct or inverted perfect chord of any key is found in five different places
on the fmgerboard of the guitar; I call these positions. In each position of this chord, the fingers of the
left hand are so placed that their basis is the nut of the guitar or the forefinger in the barre position.

314. I divide the positions into whole and half positions. I call three of them whole because the
direct complete chord is formed with the nut or barre, the tonic of which is to be found on the
fourth, fifth and sixth strings.

27 All the intervals of a chord are counted from the lowest note.

149
 EXAMPLE 5

Whole positions
c c
c

'~
Major

I vbJ ~ ~.~.

< Tonic on the 5th string Tonic on the 4th string

Tonic on the 6th string

Minor ( "'
t-
bJ t'l'~:l ·~ o•

315. The positions above which use the barre are different from the others. In all the positions,
the perfect chord is complete, but the difference is that the strings which in the positions without
barre are open, in the positions with barre are stopped with the first finger. An important observa-
tion follows, which is that with the exception of the chords with open strings given above, all the
other chords built on the twelve degrees of the scale are formed with the same order of fingers as
that given above using the barre, even though on different frets.

316. I give the name of half positions to two chords, because the perfect complete chord cannot
be formed with them, only by inverting one of the voices or without the octave.

EXAMPLE 6
Half positions
I J ~. ,.
M•i"' ~~~~r~~~i~~r~~r~
Tonic on the 5th string Tonic on the 4th string

Minor (" I J J I h.J

~

r r
317. I call A the complete tonic position formed on the fourth string; B, ·t he half tonic position
formed on the fourth string; C, the complete tonic position formed on the fifth string; D, the half
tonic position formed on the fifth string; and E, the complete tonic position formed on the sixth
string. The circle below gives the order in which the five positions follow each other in each key,
reading them from left to right in alphabetical order. The first position of a key is that in which the
perfect chord of its tonic may be found closest to the nut. This first position may be complete or
half. In the key of F, for example, the first position is A, because the complete perfect chord of its
tonic can be found at the first three frets; its second position is B, its third C, and so on (see the cir-
cle). The first position in the key ofE flat is B, and it is half rather than complete; then follow C, D,
E, and A; the last-named is formed on the thirteenth, twelfth, and eleventh frets.

150
 POSITIONS

A D
Tonic on the sixth string Tonic on the fifth string
stopped with the index finger, stopped with the index finger
or on the fourth string
stopped with the third finger

ARTICLE III
The different ways of playing the perfect chord on the guitar

318. The major and minor perfect chord is played on the guitar on any three consecutive
strings (Example 7). The commonest positions are those in numbers 3 and 4 below.

EXAMPLE 7
No.1 No. 2 No.3 No. 4

319. The direct perfect chord and its two inversions can be played on the same three strings
(Examples 8 and 9). The position which the first, third, and fifth notes in each chord occupy should
be kept under consideration. The numbers at the side of the notes indicate the fingerings.
EXAMPLE 8
Direct First inversion Second inversion Direct Second inversion
First inversion
maj. min .
maj . min. maj. mm.
maj. min.
., I ht /.,

#, ~,
maJ. min.

3~· ~·4
II · ' ' II
I ar r II
3 3

3 4 5 6 7 8 9 lO ll 12

151
 320. These chords can also be played spacing out the notes more (Example 9).

EXAMPLE 9
Second inversion
Direct Second inversion Direct First inversion
First inversion maj. min.

~
maj. maj. min. maj.

·~~
min. mm.
maj.

3 @
:.
tr tr
13 14 15 16 17 18 19 20 21 22 23 24

By a method similar to that used in Examples 8 and 9 the same chords can be played in any key
which has its tonic on the fourth and fifth strings.

321. The spaced chords in Example 9 may be made up of four notes, by adding the octave of
any one of the three notes composing them (Example 10).

EXAMPLE 10

Direct First inversion Second inversion Direct

maj . mm.

II
27 28 29 30 31 32

First inversion Second inversion

maj.
maJ. min.

!~
33 34 35 36 37 38

It is a good idea to be familiar with these different positions of the perfect chord, because discordi
are finally resolved in it (Chapter ill).

In order to dominate the perfect chord, the problems in article II, chapter 3, may now be studied.

152
 CHAPTER ill
How to form the most common dissonant chords on the guitar

322. Chords are concords or discords. The only concord is the perfect major and minor chord (see
paragraph 311); all the rest used in music are discords.

323. The discord cannot exist on its own; it may continue into another discord, but this must
be finally resolved in the perfect chord.

ARTICLE I
'The dominant seventh chord
324. This is a perfect major chord formed on the dominant (§98) of a key, to which the minor
seventh of the dominant is added:
EXAMPLE 11

r r r~
:::j

' ' r~
--1

• #J
J II I • II

This is the chord most used in music, since it immediately precedes the final perfect chord.

325. The notes of the direct chord of the dominant have three inversions (Example 12).

EXAMPLE 12
The lowest note of these chords is on the fourth string.

Direct First inversion Second inversion Third inversion

;; ~ II t I t II ~ II
On the guitar it is very difficult to play these four chords as written above;
but they can be conveniently formed with the fingering given below.

res . res. res. res . An octave lower

2nd inv. maj. min. 3rd inv. maJ. min.
dir. maj . min. 1st inv. maj . min . res.

maj. min.

153
 EXAMPLE 13
The lowest note of these chords is on the fifth string.

Direct First inversion Second inversion Third inversion

II ,,r II ,r II ~~ II

res. res . res. res.

dir. maj. min . 1st inv. maj. min. 2nd inv. maj. min. 3rd inv. maj. min. An octave lower

326. Note: 1. that in each of the dominant chords of the second staves in Examples 12 and 13,
there is a dissonance which is resolved into a consonant interval which forms part of the perfect
chord of its tonic; and 2. that the dominant chord can resolve either into the major or minor forms
of its tonic.
With the order of fingers given in Examples 12 and 13, the direct dominant chord and its resolu. .
tions can be performed without moving the left hand from its place. In this case the dominant of
each of those chords will belong to a different tonic.

327. In the following examples, the letters a, b, c, etc., against the chords refer to the chords in
Examples 12 and 13 which bear the same letters. The numbers 1, 2, 3, etc., refer to the similar
numbers placed under the chords in Examples 8, 9 and 10.

EXAMPLE 14

res. res. res. res.

direct chord 1st inv. 2nd inv. 3rd inv.

of the dom. maJ . min. of t he dom. maj. min. of the dom. maj. min . of the dom. maj. min.

154
 328. Once a dominant chord, direct or inverted, is formed on any part of the note~range of the
guitar, its three inversions will be found easily as follows: 1. See what note is in the bass-whether
it is the first or dominant, the third, fifth or seventh; 2. See what the other three notes of the domi~
nant chord are so that they can be placed in the bass in their turn; 3. Raise the third from one of
these notes to the next in order to form the corresponding chord on the same strings or on the
strings immediately below or above; for example, form the third inversion of the dominant chord of
C which is B flat, E, G, C (Example 15, letter d). Once this chord is formed as in Example 12, letter
d, the fifth G is also found on the fourth string, by dropping a minor third from the seventh, and the
chord in letter cis formed (same example); then the third E is found on the same string, by lowering
the fifth G a minor third and forming the chord in letter b (same example). Lastly, the chord on the
dominant in letter a is formed (same example), by finding it on the string immediately below the
third E. If the given chord is the direct chord of the dominant of G, which is D, F sharp, A, C (Ex~
ample 15, letter a), the third F sharp is found on the next highest string, after forming a major third
on the dominant D, and this gives the chord in letter b; then the fifth A is found, a minor third
above F sharp, and the chord in letter c is formed; lastly, a minor third up from A gives the minor
seventh C, and the chord in letter dis formed . If the given chord has a seventh in the bass (third in~
version), the three remaining notes must be found by lowering the fifth, then the third, then the
dominant. If the given chord is direct, the other three notes are found by successively raising the
third, fifth and seventh, using for this purpose notes on the string above or below that on which the
given chord was formed.

EXAMPLE 15

3rd inv. 2nd inv. 1st inv. dir. dir. 1st inv. 2nd inv. 3rd inv.

In Example 15 it must be noted: 1. That the same chord is formed on different equivalent sounds;
2. That in the direct chord of the dominant and in the first inversion are to be found the direct
perfect chord and its two inversions, which are numbered 13, 15, 21 and 23 in Example 9, with a
slight difference in the last of these.

329. In addition to the resolution of the dominant chord in the tonic chord (Examples 12·and
13), which is the natural form, there are other resolutions. We shall give some here. In playing
them, attention must be paid to the point at which the dominant occurs in each chord, so as to raise
it the tone or semitone needed to make it tonic, or third, and arrange the other notes in such a way
as to form the direct or inverted perfect chord as in Examples 8 and 9.

155
 The following resolutions can be applied with a slight difference in the fingering to the direct
dominant chord and its inversions with the low note on the fifth string.

330. Resolution by raising the dominant a semitone to become the major tonic.

EXAMPLE 16
direct dom.
chord res. 1st inv. res. 2nd inv. res. 3rd inv. res. An octave lower

~~
~ a ~ I~
bd. ~~~
c ..
I ~~ d
i _L- ~ 1~J
. I I I
:. :.
I r

331. Resolution by raising the dominant a tone to become the minor tonic.
EXAMPLE 17
direct dom.

i
chord

,.,
a
.. ~ bd. 11
c ..
l
~- d ~~ J 1J
u
I I I I I ., ·r

332. Resolution by raising the dominant a tone to become the third of the major tonic.
EXAMPLE 18
direct dom.

~
a
chord

.. ~
b ..
""'::
• J c ~

l 1. d i ~ ~ J
. I I I
5
I

23 19
I 119

333. Resolution by raising the dominant a semitone to become the third of the minor tonic.
EXAMPLE 19
direct dom.

~
chord I

a b c ...
,., ... ~ I d

I I
6
I

24 20
I

156
 334. Resolution by raising the dominant a semitone to become the third of the major tonic.
EXAMPLE 20
direct dam.
chord

335. Resolution by raising the dominant a semitone to become the leading note of the dimin,
ished seventh (see §§341,3).
EXAMPLE 21

'The subdominant chord

336. The subdominant chord is a perfect chord formed on the subdominant (§298) of a key, by
adding in the treble an interval of a second. It is resolved in the second inversion of the chord of its
tonic (Example 22, No. 1) or in the direct chord of the dominant of its tonic (No. 2).
EXAMPLE 22
direct direct chord direct direct chord

g!l'~
subdom. f th d 2 perfect chord of the dom. res.

,, I ~ >f I ~tfi F tr ~ l"1 1

337. One property of the subdominant chord is that two of its notes can be changed by raising
them a semitone in order to give a more elegant resolution in the second inversion of the perfect
chord of its tonic (Example 23, ~ ). The fingering resulting in this case is the same as that of the
diminished seventh (see §342).
EXAMPLE 23

with double
direct with double lst inv. with double 2nd inv. with double lrd inv. alteration
subdom. alteration res. of the subdom. alteration res. of the subdom. alteration res. of the subdom. res.

+
+
!##, ~ 1~~ -~#~
II· r ilr , I

157
 The augmented sixth chord

338. This is a perfect major chord, to which the augmented sixth of the fundamental note is
added: ' J J F•r
It is played with the same fingering as the direct chord a and e of the dominant (Examples 12 and
13). In its resolution, the augmented sixth rises a semitone to the tonic. It is commonly used with
the fundamental in the bass, as may be seen in the following example.
EXAMPLE 24
res.
fingering of the fingering of the aug. 6th
aug. 6th chord dam. 7th chord chord maj. min .

+~
i• *i~ #~ q~ 41
' II
+
6
339. It should be noted that even when the fingering of the augmented sixth chord (Example
24, at the sign + ) is the same as that of the dominant seventh (same example, at the sign =#= ),
the form of writing these two chords is different. In the guitar, each fret has only one sound which
may be written with a sharp or a flat. The substitution of a note with a flat sign for one with a sharp
sign constitutes what is known as enharmonic change, and the chords written with this substitution
are called enharmonic modulations.

340. This chord is also placed on the sixth note of a scale, and is then resolved in the second in-
version of the perfect major chord, raising the augmented sixth a semitone to become a fifth; in this
case, the fingering of the chord is similar to that of the diminished seventh (§341).

EXAMPLE 25
aug. 6th 2nd mv. of the direct dom.
chord res.
perfect chord chord

II
r
The diminished seventh chord
341. This chord is made up of three minor thirds. It is formed on the leading note of the minor
scale and is resolved naturally in its minor tonic: i f?ni
~ nJ #J rr wr ¥~ II
Like the chord of the dominant seventh, it has three inversions, wh1ch are played as may be seen
in Example 26, No. 1.

158
 342. The diminished seventh chord can be resolved in four different ways, taking as the
seventh note each of the four notes composing it, always in the minor.

EXAMPLE 26

I 2
dim. 7th dim. 7th
chord res. 1st inv. res. 2nd inv . res. 3rd inv. res. 2nd inv . res. 3rd inv. res. chord res . 1st inv. res.

3 4
1st inv . res. 2nd inv. res. 3rd inv . res. direct res. 3rd inv. res. direct res. 1st inv. res. 2nd inv. res.

343. The four different resolutions of the diminished seventh chord, without moving the hand
position, can be seen in Example 27. Each chord is written according to the key to which the leading
note corresponds.

EXAMPLE 27

direct res. 2nd inv. res . 1st inv. res. 3rd inv. res.

' ~ ,, II ;~ t~ t. II s'~ ~;h~ II

~~
Observe that: 1. The direct diminished seventh chord and its inversions in Example 26 No. 1 are
played on the guitar with the same order of fingers; 2. In the four resolutions of this chord in Exam-
ple 27, the order of the fingers is the same as in the resolution of the three inversions of this chord in
Example 26.

Chord of the ninth

344. If a third is added in the treble to a seventh chord, a major or minor ninth will result, ac-
cording to whether the third added is major or minor. It is generally formed on the dominant. In the
guitar, it is normally used in incomplete form and is resolved as in Example 28.

159
 EXAMPLE 28

9th maj. 9th res. min. 9th res.

maj. min.

J J
root
r tlr I ,

E
~,
E 11

345. From what has been said up to now it may be deduced that: 1. The fingering of the direct
spaced perfect chord (§320, Example 9) serves as a structure on which to base the other chords;
2. In nearly all discords there is an interval of a sixth or a third; 3. They also contain at least one
dissonance; 4. The extremes of these chords frequently form an interval of a major or minor tenth.

EXAMPLE 29
direct 1st inv. of the 2nd inv. of the aug. t>th
perfect chord perfect chord perfect chord subdominant chord chord dominant chord

subdom.
1st inv. dim. 7th w ith double
of the dam. res. chord res. alteration res.

, tF ~ II ~ -~ I ~,r ~~~
The same chords as in the above example played with the low note on the fifth string.
EXAMPLE 30
direct 1st inv. of the 2nd inv. of the aug. 6th
perfect chord perfect chord perfect chord subdom. chord chord

maj. min. maj. min. maj. min. dir. res. res.

t_r a
~ ©= 2b=
ti I ~d :?qr II~
d ·~~
g
ti
II e;i2r #~ II ~
m
tr
II
tj 3r tj
dim. 7th

,,,;
direct dom. 1st inv. chord with double
chord res. of the dom. res. dir. res. alteration res.

&®·=
r ~ II,
:? ~ ~ ~r ~ :?r
II II

160
 ARTICLE II
Problems which the pupil can set himself in order to master the perfect chord

PROBLEM 1
346. Stop any fret on the third string, and make the resulting note successively the tonic, third
and fifth of the major and minor perfect chord, then form the corresponding chord on three con,
secutive strings, two of which are higher than the first.

EXAMPLE
Direct First inversion Second inversion
B flat maj. B flat min. G flat maj. G flat min. E flat maj. E flat min .

1 '~'~
~ .~, a\1 Ill'~ !J, II iW ~·
"~'3
~~ II

PROBLEM 2
347. Do the same with a note played on the fourth string using the same process as in problem
1. The pupil should decide what place each note occupies in the chord.
The given note should be distinguished by being given the value of a minim.
EXAMPLE
On three consecutive strings

Direct First inversion Second inversion Direct First inversion Second inversion

F maj. F min. D flat maj. D min. B flat maj. B flat min. C maj. C min. A min. A flat maj. F maj. F min .

~ ,~ 1.~ II ,, ~ ~~ ~ II II f 1 ~ g, II II ,~! II

161
 PROBLEM 3
348. Place a finger on the first string, and make the resulting note the tonic, third and fifth.

EXAMPLE
On three consecutive strings

First inversion Second inversion Direct

min.

~
maj J maj.

J.-s -~ 3
min.
::)~
maj_J
nll:J
I ~ _jJ
:.
t~ _])

Spacing out the three notes

c
J. 1J::) a.J.2
~
·H i i-6 i-6 ::)
~

I
~

r f® ~
I "I 'I

PROBLEM 4
349. Place a finger on the second string, and make the resulting note the tonic, third and fifth on
three consecutive strings, also spacing out the three notes of the chord.

EXAMPLE
Direct First inversion

Second inversion

162
 A P NDI
fa the

whLch was_ jz_ufLILs.hed Ln 18l;.JJ ILg.

Dieai~io A"aa;d •
~ 18.4Jf ~

163
 Since my invention of the Tripod (see the description in the New Method, paragraph 20), I con~
sidered that it would help the strings of the guitar to give free rein to the sounds which they pro~
duce, and also that it would facilitate the free use of both hands, which would not be required to
hold the instrument.
In the Method which I published in 1843, six years after the invention, I made public my observa~
tions up to that time on the above two points; experience has shown that I was not mistaken.
In continuing to investigate what truth there could be in the supposed advantages, I have reached
the conclusion through practice, that they can be employed to the full if the rules established are
observed exactly; they can also reach high peaks if care is taken with the extensions of these rules
(given in this Appendix), the truth of which may be observed in the progress made by my pupils
and myself, which is such that expectation that it will continue seems well founded. I can guarantee
that I myself progress daily in fullness, purity, and solidity of tone. It is a fact that my artistic energy
is such that it seems incompatible with my present age of 65. What a hopeful future for young
students!
In the belief that the study of these new observations, which are based on the same rules, will
lead to perfection in the art of guitar playing, I have decided to publish them, by writing this short
Appendix, which is intended to be joined to the abovementioned Method.

IMPORTA'N..'T 'N..O'TE. Since the correction of this interesting wor~ by its distinguished and famous
author and its delivery into the hands of the printer for publication, the regrettable and unhappy decease of
the author too~ place on 20 December last year, at the age of 65 years and 8 months. In compliance with
his last wishes, his executors have decided to publish this Appendix without delay as being worthy on all
counts of the great reputation of this modest and eminent teacher and composer, whose incalculable loss is
a matter of the greatest regret to true artists and admirers of the guitar. [From the original edition.]

164
 CHAPTER I
Observations on the nature and disposition of the guitar
350. Observation 1. If the music played on the guitar, and generally speaking on any stringed
instrument, is to produce in the mind of the listeners the effect intended by the Artist, three con~
siderations must be borne in mind. Firstly: the strings must be mastered to the point of obeying the
slightest and most varied modifications which it is desired to produce in their individual sounds.
Secondly: the Artist must know and possess the art of putting such modifications into practice.
'Thirdly: the Artist must have the talent to make the most of the beauty of the instrument.
351. In order to master the strings of the guitar, whether in plucking them with the fingers of
the right hand or stopping them with those of the left, the strength exerted must be in proportion to
the resistance offered by the strings, so that they will obey the player's will.

352. The strings of the guitar are of a length suitable for playing sounds of an appreciable
volume. Their tension, when tuned, offers a resistance which can be offset to the satisfaction of the
Artist, even on the sixth string (when used as intended), which is the hardest because of its weight
and thickness. In order to convince oneself of this, it suffices to concentrate on the passages played
at the end of the neck, that is, in the middle of the strings. The sounds produced there are as solid
and at the same time as gentle as those produced on the rest of the neck, and can be played with at
least the same ease; in other words, the strings of the guitar lend themselves to being mastered to
the satisfaction of the Artist over the whole length of the fingerboard.

353. Once this is taken for granted, the guitarist must become acquainted with the art or
method by means of which the strings obey him. For this purpose he must use all the strength of his
fingers, but in such a way that in so doing he does not need to support the guitar against his body
nor indeed have it touch him; this allows the whole instrument to vibrate when the strings do so.

354. So as to combine full sound production with the strength which the fingers of the right
hand must necessarily apply to produce it, and those of the left hand use to give it form and con~
sistency, a centre of resistance had to be found as close as possible to the tips of the fingers; this cen~
tre is found in the wrists. The result is that communication between wrist and arm, and conse~
quently between wrist and body, would seem to have been severed. Since the part which can be
moved, that is, the finger, is short, its movements are easy, and plenty of practice so strengthens the
muscle structure that the movements of the fingers are barely perceptible, especially in the left
hand, even in the most energetic passages. This is the basis of an easy, lively, and vigorous perform~
ance.

165
 355. Observation 2. Any sound made by the strings of the guitar is per se clear. The reason is
that whether the string is open or (properly) stopped it always rests on two solid points, and the
vibrations are therefore clean and fairly long~lasting, depending on the force of the pressure of the
fingers of the left hand. This is an advantage, not only for the clarity of the sound but also for the
speed of performance in scales and rapid passages, because when the fingers are well trained, they
do little more than come down on the right point of the strings, making them sound clearly, even
when the sounds are pianissimo; this is why the most delicate mordents can be heard so clearly, and
also why the sounds produced by the left hand alone are so clear (Lesson 45 of the N..ew Method).

356. Observation 3. The duration of the sound of a stopped string depends on the Artist. In
observation 2, we saw in what consists the clarity of the sound of any string on the guitar. We shall
add here that the stopping finger of the left hand may exert constant pressure, increase the degree of
pressure, or decrease the initial degree of pressure. These differences of pressure are useful to the
Artist, as is also the facility of entirely silencing the sound, or reducing it at will. The last point will
be explained below.

357. Observation 4. The system of strings on the guitar, that is, the order in which they are
placed and their respective thickness, is another advantage which improves the nature of the instru~
ment. The six strings can be considered as being divided in two; one section contains the three gut
strings, and the other the three bass strings. The resistance of each gut string in terms of its
thickness and tension corresponds most successfully-depending on how they are positioned-to
the strength of the forefinger, middle and ring fingers of the right hand, when they are used to pluck.
The bass strings, because of their weight and thickness, require the strength which the thumb can
give. If this is considered, the skill with which the guitar is strung and tuned can only be com~
mended.

358. Observation 5. With the guitar, the Artist has to occupy himself with only six strings, on
which he can produce a clear and sufficiently correct harmony. Nevertheless, although at first sight
this small number appears to be an advantage, good knowledge of harmony is required to use them
and good taste to manifest this knowledge.

359. I leave it to intelligent persons to consider the advantages which may be deduced from the
above considerations. Because of these and others which I will not list here, I consider that it is the
studious guitarist who will master the strings and be able to bend the sounds they produce entirely
to his will, while if he is talented, he will find in the guitar resources which will not merely content
him but fully satisfy his desires.

CHAPTER II
ARTICLE 1: Some observations on the use of a fixed position for the guitar.
Advantages of the tripod.
360. Observation 1... Any position adopted for playing the guitar means that part of the
faculties or physical strength of the guitarist must necessarily be distracted in order to hold it, even
in the position in which it requires least support, which is when the concave curve of the lower ribs

166
is placed on the right thigh and as it were balances there; this balancing movement causes a con,
tinual lack of sureness, especially in the left hand.
361. . .. In order for the guitar to manifest its beauty and grace, most of which in my opinion
consist in the infinite modifications which can be made in its sound, it must be made to give all the
tone it possesses, and this cannot be done if the guitarist is not freely controlling his physical
faculties; it may be deduced from this that if the guitar is not supported by some mechanical means,
all of these faculties cannot be applied to the producti0n and modification of the sound.
362. 3 ... The vibrations produced in the neck should be as free as possible, and the pressure of
the fingers of the left hand should not be harder than is appropriate; and the amount of this pressure
cannot be exactly measured unless the guitar is maintained in a fixed position.
363. 4.. . On examining the nature of the guitar, it would seem that the kind of music typical of
it is that which imitates fairly closely, although in miniature, the effects of the orchestra, such as the
boldness of the violins in the runs and rapid passages, the grave firmness of the bass strings, and the
precise progressive efforts of the tutti. How can all this be produced in the guitar if it has to be held
at the same time? And how can the imagination cast off its shackles and play freely if it has to think
about not allowing the instrument to move?
364. 5 ... For free playing, it is perhaps the instrument which offers most to a skilled Artist
with a fertile imagination who will attempt to exercise the good principles of harmony, but who will
also take advantage of the different qualities of sound which each of the six strings is capable of pro,
clueing-reinforcing, prolonging and silencing this sound when and how he desires; and yet the
movement of the instrument must not interfere with any of this.
365. There are also other advantages of a fixed position for the guitar:
1. The posture of the person using the tripod to play is positively elegant, especially for ladies. The
rough movements inevitable in the usual methods of playing, when two different forces have to be
joined-holding the guitar and stopping and plucking the strings-thus disappear.
2. The composure and serenity of the guitarist in performing the most difficult passages is agreeable
to the spectator, when with the help of a good method he runs the fingers of his left hand over the
fingerboard of the guitar like a skillful pianist on the keyboard of a piano.
3. It is a fact that the guitar has never produced as much volume as it does now when it is used on
the tripod.
4. There is also the advantage that once the guitar has been learned using the tripod, all the useful
aspects deriving from this are conserved when the guitar is played without it.
5. If the six strings of the guitar are plucked as I shall indicate, they would all seem to sound at
once, producing a surprising amount of tone. For example, in the chord ofE minor, E, B, E, G, B, E,
the middle finger plucks the first string, the forefinger the second and third strings, sliding the finger,
tip up from below, and the thumb plucks the sixth, fifth and fourth strings vigorously, sliding down
as rapidly as possible from above. The result would not be so brilliant if the guitar were allowed to
move because the plane which the strings present to the fingers would change rapidly and the
fingers would not easily find and pluck the strings. 28
28 The unusual progress of my studious pupils the brothers Jose and Agustin Campo is irrefutable evidence of these advantages,

because young though they are they give a lively and clear performance, and play-especially the latter-the most difficult composi-
tions I have written.

167
 ARTICLE 2: Sor's opinion on the tripod
366. When in Paris I informed our famous compatriot, Don Fernando Sor, of my invention,
with that perspicacious understanding which distinguished him, he immediately perceived the
usefulness of the Tripod, and its future importance for the guitar. In a note at the beginning of his
Fantaisie e1egiaque (op. 59), he says: "By this means (the tripod) the guitar is raised to the heights to
which it belongs, because it lends itself to the successful use of harmony almost as much as the harp,
and far more than the harp as far as melody is concerned. The talented guitarist can now have no
excuse for failing to draw out of this powerful instrument what ignorance and routine have denied
it. Without my friend's invention, I should never have believed that the strings of the guitar were
capable of producing at one and the same time the different qualities of sound required by the
melody, the bass and the complementing harmony in music like this Fantasia; there is no great dif,
ficulty in this, because mastery of the instrument includes it all."* It is to be believed that Sor would
have explained the results he achieved using the guitar on the tripod, had not a premature death
struck him down in 1839 when he was 64 years old.

Corroboration of the above opinion of Sor

367. My worthy friend, Don Florencio Gomez Parreiio, a lawyer and lover of the guitar, not
satisfied with the above opinion of Sor on the usefulness of the tripod, tried it out himself, and after
some sage observations on its use, is today a great devotee of the tripod, because, as he says, it not
only facilitates the performance of all types of music, but the confidence which the fixed position in,
spires broadens the range of his imagination (which is indeed fertile), by suggesting ideas and effects
appropriate to this fine instrument; he believes that they could not be produced without the help of
the tripod. In speaking of this friend and distinguished lover of the guitar, I must say that today I
know of no one who has discovered more beauties in the guitar, as may be seen in his compositions,
especially when he plays himself.

s~ct~on 'l9/vuo
CHAPTER I
Practical bases of this method
368. 1. Use of all the vigour which the guitarist possesses to produce the sound, and -as his
skill permits, to graduate and modify it.
2. Reduction of the movement of the fingers of both hands, so as to place the strength used in
plucking and stopping in their tips, ensuring that the movement of the fingers does not involve the
arm.
3. Following on no. 2, making of the wrists the agent which offsets the strength used by the fingers
to stop and pluck the strings.
4. As a consequence of the above points, reduction of the movement of the fingers of the right hand
to the last two joints, and the force of plucking to the tips, and very little movement of the fingers of
the left hand.

• [See val. 4 of Sor's Complete Wor~s for Guitar (Tecla Editions, London) .]

168
 CHAPTER II
Rules for the use of both hands
ARTICLE 1: General rules for both hands
369. 1. The fingers of the right hand in pluc~ing and those of the left hand in stopping must
derive their strength from the wrists, but in order to keep it from permeating into the forearm, the
fingers must be arched so as to form the apex or point of an angle, the sides of which are the hand
and forearm.
2. So as to strengthen the wrists when they are in this position the back of the hand or metacarpus
(opposite the palm) should not move; only the fingers should move when they pluck or stop. 29
3. The fingers should only be moved completely deliberately.
4. The amount of force used in plucking or stopping must obey the will of the player to such an ex,
tent that he is able, as it were, to measure its application (see the explanation of the study of this in
chapter 3).
5. In both cases the force must be in proportion to the respective thickness of each string. The
third, second and first, although made of the same material, are of unequal thickness. If the sounds
of these three strings are to be equally clear and produce the same volume, the force used to pluck
them and stop them must be in proportion to their resistance, depending on their thickness. The
same should apply to the sixth, fifth, and fourth strings.
6. The thumb and forefinger of both hands must be the basis of the good playing of the rest, as will
be seen when the functions of each are discussed.
7. In addition to being well trained in their respective tasks, there must be an exact correspondence
of action between the hands, without the right having priority in plucking nor the left in stopping;
they must work simultaneously, and yet in their unity of action, they must be entirely independent
of each other, that is, the movements and efforts of the one must not produce a reaction in the
other. Once this independence has been achieved, it will seem to the player that he is not holding
the guitar rightly however much his hands move, and he may even believe that he is keeping it
balanced. The guitarist knows that independence exists when he observes that the direction of
pressure along the length of the note,range forms angles of nearly 90 degrees with the neck, and
then he can feel that however strong the plucking movement, it does not pass the point at which
the forearm rests on the sides. When the pupil has achieved all this, I consider that he will have lit,
tle else to desire with regard to the art of playing (see §23 of the New Method).
ARTICLE 2: Functions of the right hand (plate 9, figure 2)
370. 1. This is the hand producing the sound. The direction given to the fingers is somewhat
unnatural because it is towards the sound,hole, but I consider that it is indispensable. When in this
position, the back of the hand will always be lifted, dropping down towards the little finger so that
the forefinger and middle finger turn easily towards the strings and can pluc~ with the inside of the
fleshy part. The direction and angle of the fingers must be kept constant in order to give strength and
sureness to the plucking movement, while at the same time the forearm pushes the guitar towards
the centre of the player's body. The sounds produced in this way are strong and of good quality. 30
29 The muscle structure of both hands must be so rigid that they appear to be made of something hard like wood or iron.
30 Harpists well understand this manner of plucking and Sor used it with admirable energy.

169
2. The direction and firmness of these fingers are also useful when the ring finger and even the little
finger are used, because they successively give support to those which follow. 31
3. The wrist must be arched without moving the metacarpus however strong the movements of
the fingers. This is how they find the strings easily and acquire sureness in plucking.
4. Following rule 5 of article I, the thumb must apply more strength in plucking the sixth string than
in plucking the fifth, and less for this string than for the fourth.
5. The fingers should pluck the strings at a distance of four or five fingers from the bridge. Here the
resistance of the tensed string strengthens them, and at the same time the two hands can be fairly
successfully separated; this makes it easier for each to work on its own from the wrist and they
begin to acquire the independence which they need in their respective functions . This separation
also produces a good visual effect on the spectators.
6. In practising plucking, it is suggested that the pupil should concentrate in the last joint of each
finger of the right hand the strength used to pluck; the metacarpus will thus not move, and possibly
not even the first joint. When this has been practised and progress made, a certain weight will be
felt in the tips of the fingers.
7. When the thumb plucks it must not move the string with the fleshy part but merely take it with
the tip; the last joint is already bent, so that when the string is released, it is only this joint which
moves.
8. A string can produce different qualities of the same sound:
1. When plucked a finger's distance from the bridge, then two, three fingers' distance, etc., as
far as the sound-hole and even higher;
2. When plucked with the inside of the fleshy part of the finger or nail;
3. When plucked with the middle of the fingertip or nail; in this case, the hand and fingers must
be at right angles to the strings. The second of these three methods is preferable, because of
the strength and sureness given to the plucking movement;
4. When plucked with the forefinger or thumb;
5. When the bass strings and even the upper strings are plucked with the thumb, bent at the
last joint, and also with the soft part of the thumb, in which case the thumb is stiff. This
gives almost imperceptible but clear sounds (see Lessons 2 and 7 of the New Method).
9. Since the pupil cannot see the right hand straight on, he must use some external sign to know
when it is properly positioned, and should accustom himself to keeping his mind on this hand,
although he is actually looking at the left hand or elsewhere.

ARTICLE 3: Functions of the left hand (plate 9, figures 3 and 4)

371. 1. The left hand should form a right angle rather than an acute angle when the fingers
stop the strings. The guitar is then sufficiently detached from the body, and the hand is obliged to
depend on the wrist for the strength the fingers put into stopping the strings.
2. The last joint of the thumb of this hand, once the wrist is well arched, must always 32 be bent so
as to be almost perpendicular to the neck, which the edge of the nail should just touch; I say almost
31 I have thoroughly considered the great force needed to enable the ring and little fingers to pluck strongly keeping the hand in

the position explained; however, after experimenting with my pupils, I have observed that this difficulty can be overcome.
32 Nowadays, such a wide stretch is required from the tip of the forefinger to the tip of the little finger of the left hand that it

would seem impossible to keep the last joint of the thumb bent, in which case the fingers would not receive the support which the bent
thumb would give them.

170
PLATE 9
because its left side should be against the neck. It should generally be placed slightly below the
longitudinal line through the middle of the neck, and as it were opposite the ring and little fingers,
thus serving as a support to all of them. However, its position can be above or below this line, ac~
cording to whether the fingers are playing the bass or upper strings. The firmer this finger is against
the neck, once placed as described, the more the strength and agility of the stopping fingers. The
thumb applies its strength with an elastic movement like a spring, and thus softens the movement of
the fingers; it is very important that this movement should strengthen the thumb sufficiently to off~
set but not overcome the increased pressure which the fingers may exert. However, the thumb
must not bend so much that the last joint is very close to the neck, and nearly parallel to it, because
its action is then greatly weakened; nor is it desirable that it should serve as a support against the
force of the stopping fingers, forming a right angle to the neck (look carefully at plate 9, figure 4).
3. It has been said that if the thumb is placed as indicated, it would be unable to offset the force
needed when a barre is formed, when it would therefore be necessary to take the neck between
thumb and forefinger, pressing against each other on their whole length. I believe this to be a real
problem, but I also think that it can be overcome with time, and that only in rare cases will it be a
real disadvantage; it would not be logical that because of this sole exception the guitarist should
have to deprive himself of the greater solidity of the sounds produced when the thumb is placed as
described, compared with those resulting when a large portion of the inner surface of the thumb lies
on the neck.
4. The forefinger should play resting the outside of the fleshy part on the strings (plate 9, figure 4)
in the same direction as was given to the thumb in the last paragraph; they must press the neck be~
tween them so that the force they exert serves to support that of the other fingers when they stop
the strings. In this case the other fingers will have to be placed obliquely to the frets instead of being
nearly perpendicular, as I said in paragraphs 68 and 69 of the New Method. 33 I can confirm that, ac~
cording to the experiments I have made on myself and my pupils, this form of placing these fingers is
very advantageous, and it is not difficult to become used to it.
5. When the left wrist has been strengthened as a result of the practice of pressing the neck be~
tween finger and thumb as indicated, the understanding which is established among all the fingers is
such that at times the thumb, relying on the strength of the fingers, and while they are working,
shows the power it has acquired of moving from side to side, always in contact with the neck.
6. The last joints of the fingers of this hand have to be bent in such a way that with the next joint
they form a clearly defined angle. Their direction must be somewhat diagonal, as may be seen in
plate 9, figure 3, where it may be observed that each finger exerts two forces at the same time-one
tending towards the perpendicular to ensure the pressure, and the other leaning towards the fore~
finger, which, as has been said, is constantly closely involved with the thumb (figure 4).
7. When the left thumb has acquired the necessary strength to offset that of the stopping finger, it
may be imagined that between this and the fingers a sort of pincer movement is formed, pivoting on
the wrist. In this case, the effort must be in the fingers which are putting out force, while the thumb
only backs it up.
8. The back~angled position of the guitar, which is adjusted using the screw at the end of the metal
part of the tripod, tends to influence the exact correspondence which must exist between the
pressure of the fingers and the resistance of the thumb. The more the guitar is angled backwards,
33 Violinists stop the strings in a similar manner.

172
the less strength there will be in pressure and resistance. There is a certain angle which the guitarist
must observe in order to be able to take advantage of it. The desirable angle is usually that which
allows the player to see the fingers of his left hand, but not very easily.
9. Since the sound ceases as soon as the finger stopping the string producing it is lifted, the
movements of the left hand must be very rapid in passing from one point to another; the ear will
therefore have more time to enjoy the sounds which are to be left behind, while the next sounds
begin to be heard at the right moment. It is in the arpeggios that this accuracy is most particularly
required, so that the last notes of each group are clearly heard.

CHAPTER III
Study of forces in pluc~ing and stopping
372. I consider it to be so important to examine the resources of the two hands for producing
sound, that I have decided to make a special study of this, in two parts. The first part studies the
two forces of plucking and stopping individually and together. The second is particularly aimed at
the study of the right hand.

373. Once the points covered by these two sections are thoroughly understood and have been
practised with attention and assiduity, the pupil will succeed in making his hands obey the inspira,
tion of his imagination and feeling.

374. It is assumed that before undertaking this study, the pupil has carefully followed the order
of the right hand lessons and exercises of the New Method, and that both hands have made prog,
ress-the right in steadiness, correct direction of the fingers and raising the back part of the hand
and the wrist, and the left hand in proper arching of the wrist, correct placing of thumb and fore,
finger, placing of the stopping fingers close to the front edge of the frets, and rounding of the fingers.
There should also be unity of action in both hands.

PART ONE: Graduations of the force of pluc~ing and of left hand pressure34
375. Section 1. The object of this section is to graduate the force of the pressure of the left
hand. A passage is selected with a four,finger arpeggio, such as plate 10, example 1. A certain
degree of strength of plucking, and of speed, is determined: the first part of the piece is then played
three times, and each time the pressure of the left hand is increased one degree; with the third
degree the second part is played and repeated. The same piece is then played again in the same form
but with the increase in the degree of strength of plucking.
There are two difficulties for the right hand which are part of the object of this section: 1. Care in
applying less force in plucking the second than the third string, and less still the first string; 2. A
constant degree of plucking from beginning to end, without any reaction to the increased pressure of
the left hand.

,. The degree of pressure is the force from less to more used by the fingers of the left hand to stop the strings. The degree of
strength of pluc~ing is the force from less to more used by the fingers of the right hand to pluck the string. The degree of speed is from
less to more in the speed of playing a passage of music.

173
 376. Section 2. A moderate degree of speed is determined, and used to play the first part of this
piece six times, increasing the degree of strength of plucking; after the last time, the second part is
played twice.
The vigorous sounds produced by the right hand near the beginning of the lower part of the
sound~hole are more rounded and pleasing than those produced with the same force two fingers
nearer the bridge (see below, section four of this chapter).
The care which should be given to the practice of this section to graduate the force of plucking,
and ensure that it is constant, usually makes the left hand produce more pressure than it should, but
this does not require attention for the moment.

377. Section 3 . Using the last degree of pressure with which section 2 was concluded, or
slightly less, the first part of this passage should be played four times, producing a further degree of
speed each time, and then the second part should be played twice using the last degree of speed.
The le!t hand plays a more important role in this section than it should, but this is not yet the mo~
ment to attend to this, which will be done in the next section.

378. Section 4. This section is the combined result of the practice of the foregoing sections. Its
object is to produce sounds of considerable volume and good quality, and requires care with both
hands at the same time.
Once a moderate degree of speed has been determined, the right hand is given the strongest
degree of plucking possible; it must be constant. The first part of the same passage is played three
times, observing what the least degree of pressure is which the left hand can use to ensure clarity of
sound, without using more; this is continued when the second part is played and repeated. In this
way, the left hand provides the least possible impediment to the vibrations which the string, when
plucked with force, has produced in the neck. In my opinion, this is the most beautiful sound pro-
duced by the strings of the guitar, especially if they are plucked slightly below the lower part of the
sound-hole. When this delicate degree of pressure is found, there is a tickling sensation in the tips of
the stopping fingers.

379. Section 5. Although there is nothing in this section which has not been said before, a new
point for study may be observed. This consists of making a good crescendo and dimuendo, at the
same time as the left hand is continuously moving along the neck (plate 10, example 2).

380. Section 6. Each part of the same passage is repeated with both hands at the same time ap-
plying the strongest plucking and stopping pressure that they can, but taking great care over the
unity of action. The distinctive nature of the sounds produced in this way is their solidity; never-
theless, the result given by section 4 above is preferable.
The pupil will observe that as the left hand moves towards the sound~hole, the right has to in~
crease the force of plucking, the result of which is that the left hand is given a natural impetus to in-
crease its pressure as the vibrating section of the strings is shortened, because the shorter this is, the
more resistance it offers to the fingers stopping it; there is the additional difficulty of not applying
more pressure than is necessary to coincide with the object of section 4.

174
 PART TWO: Sustained vibrations and silenced vibrations

381. Before going into the explanation of the study of this second part, I shall mention an idea
which I consider important. This is the division of the sound of the strings of the guitar in terms of
their duration, into natural and prolonged, because in my opinion all the other differences which may
be observed only concern the quality of the sound.

382. I call natural sound that which results from a plucked open string, and by analogy I also
term natural those sounds which are the result of the careful placing, according to the rules, of a
finger of the left hand on any string, and stopping it using a constant degree of force but without
moving this finger.

383. The sound can be prolonged in two ways, viz.: First method. Without moving the finger
stopping the string, but deliberately increasing the degree of pressure, as a result of which the ear
may clearly perceive that the sound becomes livelier. If at the same time the stopped string is
brought down in a straight line, pressing it against the front edge of the fret, the effect of this new
movement may be perceived even more clearly, but there is a risk that it will sound somewhat out
of tune. In this case, pressure must be exerted in an almost complete right angle to the stopped
string; the quality of the result depends on the intensity.

384. Second method. Moving the stopping finger from one side to the other but without mov-
ing it from its place, and maintaining constant pressure. Once the tip of the finger is firmly on the
string, the weight of the hand itself is the best agent. The movements should be small at the begin-
ning if they are to be properly evaluated. 35

385. This is the place to correct the fairly generalized idea that the more pressure is used in the
movements, the longer the sound. I consider that this pressure must be economized and used with
great skill so that the neck will not stop vibrating because of being too tightly held. The close
understanding between the thumb and the stopping fingers and some flexibility in the hand itself
produce a fairly long sound which is also soft.

386. In Lesson 44 of the N..ew Method, I called the sound produced by this latter method,
vibrato [tremulo]; however, I do not agree with this term now nor do I think that there should be a
sign to distinguish it, since if the inflexions of the sound are the means available to the guitarist to
convey his feelings, what is important is familiarity with the mechanical means of expressing them;
for this reason it seems unnecessary to adopt special signs, except in the case of certain particular
existing or invented modifications in the sound, the execution of which the inventor should explain.

" These two differences in the sound can be distinguished if the former are described as "animated" [animados] and the latter as
"more animated" [reanimados] .

175
 Vibrations maintained for a longer or shorter time
387. Order in this study. Method 1. The vibrations of the chords in plate 10, example 336
should be held the full time indicated by the crotchets (quarter notes). The movements of the left
hand from one position to another should be very lively and the fingers positioned at the same time.
The right hand too should vigorously pluck the three or four strings making up each position at the
same time.
The interest of this exercise lies in keeping the fingers of the left hand on the strings as long as
possible in each position. The greater the degree of pressure, the more effort is required to move the
hand rapidly from one position to another.

388. Method 2. This exercise should be repeated, prolonging the sounds of each chord, using
the two methods explained at the beginning of this second part.

Silenced vibrations [Vibraciones apagadas]

389. Method 1. The chords of this exercise should be plucked at a distance of four fingers from
the bridge. The ring and little fingers of the right hand should be kept stretched, in order to use the
energy of this hand. In this position, the fingers must drop onto the same strings which they have
just plucked so as to silence the sounds produced. The force and energy used for this are in propor,
tion to the value of the notes of the chord. Thus more energy and greater attention should go into
silencing the sounds of a demisemiquaver (thirty,second note) chord (letter a) than if it is a quaver
(eighth note) chord (letter b). In the latter case, the fmgers come down on the strings fairly slowly,
while in letter a this action is extremely rapid. Meanwhile, the left hand tempers the pressure of the
fingers so as to show that they are working independently of the right hand. I have used the sign
" to denote these sounds.

390. Method 2. The chords are plucked at a distance of six fingers from the bridge and once
they have sounded, at the same moment as the fingers of the right hand which plucked them are
placed on the strings, those of the left are lifted. The result is that both hands contribute to silencing
the vibrations. This gives a different effect from the other. Its distinctive sign could be .t .

CHAPTER IV
Additional observations to several paragraphs of the New Method

391. Addition to §32. One of the means existing to appraise the sounds of a wefi,made guitar is
first to tune it a half or quarter tone higher than the A of the tuning,fork, and then tune it a half or
quarter tone lower; a notable difference will be observed in the sounds. What the cause or reason is
I do not know, and it may at present be a secret.

16 This exercise is based on Sor's Lesson No. 20, of the series which he published in Paris. [Ed. note: The piece is no. 20 ofSor's op.

31. See vol. 3 ofSor's Complete Wor~s for Guitar (Tecla Editions, London).ln Sor's original edition, each chord is only a quaver (eighth
note) long followed in each case by a quaver (eighth note) rest. To demonstrate his point about sustaining or shortening notes, Aguado
first lengthens the chords, then shortens them.]

176
 §68. The fingers of the left hand lose their stopping strength the more the angle of the neck in~
clines towards the horizontal, but recover it as the neck is proportionately raised. If the neck is ex~
cessively high, it tires the hand.

§74. From this lesson on, the recommendations of chapter 2, article II of this section on the
functions of the left hand should be put into practice, and also the provisions of rule 4, article I of
this chapter, on the right hand.

§80. The thumb must use more force to pluck the third than the fourth string, and the fore~
finger must work in a similar fashion in the second part of the waltz when it plucks the second and
the first strings.

§85. At the end of paragraph 85 the following should be added: Special care should be taken to en~
sure that when the fingers of the left hand stop the fifth and sixth bass strings, their last joint is
bent.

§ 107. At the end of paragraph 107 the following should be added: This is how it should be taught.
Once the first bar of the lesson has been played, while the G and B in bar two are being played, the
thumb slides up the neck on its side, with the last joint bent, and situates itself in its correct place
during the playing of bar 2. It does the same to place itself correctly for bar 3. Once bar 4 has been
played, it slides to the correct place to play bar 5. Much care is required in part two. While low D
in bar 10 is plucked, the thumb should slide down the appropriate distance to play bar 10, and the
same thing occurs while low Dis played in moving from bar 10 to bar 11. As a general rule, when
the thumb slides up and down the neck, it should anticipate the movement of the hand when it
moves up and down the fingerboard. I recommend great care in practising this point.

§ 138. When a barre is formed, the other left hand fingers sometimes have a tendency to learn
their weight on the arm, and are flattened across the strings or crushed against the barre itself. If
this happens, the wrist must be arched again, and an effort made to bend the last joint of each finger.

§ 144. With regard to the functions of the left hand (chapter 2, article II), the finger playing the
arrastre must put firm pressure on the interior of the fingertip (not the exterior, as pointed out in
Lesson 35), and once the notes have sounded clearly, without reducing the pressure or changing the
given direction, it slides to the appropriate fret. The same care should be taken when it is a descend~
ing slur. This is a fairly secure method of playing arrastres.
When the little finger makes an arrastre downwards from the highest frets of the neck to the
lowest, it is a good idea to have the forefinger in position close to it, although not exactly on the
next fret, and it is this finger which concludes the arrastre with the impetus given to it by the little
finger.
The arrastre can be performed in two ways: either by sliding the finger sharply and rapidly along
the string to its position, or by bringing its weight down on each of the frets it crosses, although fair~
ly lightly. The execution of either method can be graduated.
Thirds, sixths, octaves, and tenths can also be played in either of these two ways, and sometimes
some chord series too.

177
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179
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Aguado's method for guitar has been known to
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guitar; as a historical text; and as a reliable edi,
tion of Aguado's many studies, exercises, and
other music, included here and edited for modern
performance with the composer's own fingering.