RIGHT-HANI

DEVELOPMEN-
HJA22
EGUIT\F

itil

:ilii'..:.+

$*

BY RENARDD.HOOVER ffi
 PFEFACE

The materialcontainedin this book is the resultof countlesshoursof playing, observation,

andteaching. TheconceptevolvedwhilestudyingclassicalguitarandI beganto realizethat
the immensemusicalandtechnicaldemandsplacedon the righthandinclassicguitarwere,
generally, ignoredin modernmethodsfor pick-style guitarThesemodernmethodsassume
t h e r i g h t h a n d w i l l a u t o m a t i c a l l y f o l l o w t h e l e f t i n t h e ict u
sdr seevoefl o p m e n
Mf a n y om
f yown
students'musical andtechnicalproblems weredirectlyrelatedto the inability to executethe
righthand properly.

Thisright-hand tecnhique beganas anattemptto correctthesedificiencies, andresultedina

markedandrapidimprovement in mystudents'playing. On thisbasis,it is mycontention
that
the righthandin pick-styledeservesthe sameattention thatourclassicalcolleagues spend
timedeveloping withPaparraro, Pujol,andGiuliani.Practicingwiththesestudieswillimprove
clarityin single'lineimprovisation,
reading,musical phrasing,and chordmelodyplaying.In
short,the overallqualityof musicianship will be raised.

Thearrangement of thisbookassumesthe levelof beginnerAdvancedplayersmayf indthe

latterexercisesmoreappropriate to theirimmediateneeds.However.I cannotstresstoo
the needto practicethis bookfromthe beginning.
strongly, Therighthandmustbe allowed
timeto adaptto the appropriatemovesrequiredin eachset of exercises.

It is my hope that this book providesa meansfor all seriousstudentsof this beautiful
instrument towardsattainment of self-expression-regardless
of styleor idiom.
 THE RASIS

Whystudythe right-handof pick-styleguitar,independently fromthe left hand?Namely,it is

importantto developa technique(alwayswitha viewto a musicalstatement), whichwillallow
modernguitariststo playalltypesandstylesof music.lt becomesnecessaryto focuson the
righthandbecausethisiswheretheinstrument's soundis initiated.
Someoftherequirements
placedon the righthandare:dynamics,differencesin texture,repeatednotes,rapidscalar
and arpeggiatedfigures,wide leapsbetweenstrings.The handmustbe trainedto respono
accuratelyand quickly,accordingto a wide varietyof musicaldemands.

Thefollowingmethodis oneof severalmethodsfor righthandandrightarmmovement. Some

playersadvocateplayingwith the arm and wrist locked,with motionoccurringonly at the
elbow.Stillothersadvocateall threepossiblemotions,fingers,wristand arm.

Thesestudiesfall underthe last category.Approximately90%of the motioncomesfromthe

fingersandwrist(depending on whetheroneis playingchordsor singlelines).
Thistechnique
providesfor the most efficiencyand its usageis widespreadamongstprominentguitarists
today.

STARTNG POINTS

Two fundamentalaxioms must be rememberedin regardsto right hand movement:

1. The pick movesflat acrossthe pickedstring(noslicing).
2. The shorterthe stroke(distance)the pick travels,the better.
lnthef irstinstance,
thisinsuresgoodtoneproduction. Thelatteris a necessity
for eventually
attaininga rapidpickingtechnique.

Further,thereexistsa plethoraof pick gaugesand shapes.lt is recommended the student

use a heavygauge,jazz-stylepick. The heavygaugewill allow the guitaristto vary rne
hardnessor softnessof the attack.Thejazz-style
pickwillenabletheplayerto maintainbetter
controlof it.
 HOLDING THE PICK

The handshouldbe suspendedabovethe guitarwrthno anchoring of the second,third,or

fourthfingerson thepickguardor guitarbody.Thepickis heldbetweenthethumbandsideof
the forefinger.See PhotosA and B.

Thethumbandforefinger worktogetheras a singleunit.Forsinglelineplaying,

thearmand
thewristremainrelatively withthe movement
stationary, comingonlyfromthesetwofingers.
 PICKINGTHE STFINGS
Next,initiatethedown(l'l)stroke onthef irst(orE)string.
Position
therighthandso thatthepick
will moveflat acrossthe stringand only movea shortsidtance.Do nof rest the pick
on the
stringpriorto attack.Thepick is thenpushedacrossthef irststring(E)withthe collapse
of the
thumbknuckle.See PhotoC, below.

To initiatetheup (t7) stroke,thethumbknucklearcheswiththeforefingerpushing

upward;this
movesthe pick back up, and acrossthe string.See photoD, berow.

This is a subtlemovement,
so observeit carefullyand diligenilyin all of its apotications
To initiatepick attackson the remaining
open strings,the handshiftsto the aporoolate
positionfor eachstring.Thisassuresthatall six stringswill be picked
in the samemanne.
assuringcontinuityof soundand form,as well as accuracy.

In the followingexercises,beginpracticeby settinga slow tempo.Beginning

anc ^:e,-
m e d i a t es t u d e n t s h o u l du s e a m e t r o n o muen t i la n " e v e n "s e n s eo f r h y t h mr s d e . e : c e c
Concentrate on allrequiredmovements andthetwofundamental axiomslVhen.thiso.3cess
becomesaccurateand secondnature,velocitywill come automatrcaltv
 Thesenotes ore to be picked os indicoted,ploying eoch note os loudly qs pos-
sible.Rernemberthethumb knuckle collopseson ll , qnd orches on V. Don't
reoch for the nexl string with the fingers, shift the hond.

'1 '1 r r
- r r :i - _"'l i - -

lo'-
- n n - n - v v v v v V - | n n - v v v v V V

V V V V V V - n - - - ' r v - i t - - - f i
 Thisis the introduction to repeotednote picking. Groupsof two, three, ond
four rrcteswill hove on occent ploced over thJfirst note of eoch group.

rr ll
t >

n v n v - v - v I v r v l v - f - r / J Vt V - v r r v n ! r \ l

: > 3

- v - v n v n v r'l_f_! I rr v ! tl - I n tl rrln v n v n v -

2t.
n n v n n v n n v r']-l-l ! n v ! n v ! n v r.'l-l r - n V r r r
> 3
-e -C
>

- r
N V V - V V N V V - V V ! VV - V V ! V V - _ V V 1 1 V V r , ,

> 3 : > 3
= 7 a
> a

23.
V V n v V n v v n V _ I _ nI v nIri nIV n r lv - - a

: > 3 l > t
S -
> = = =
J > 3
 v n - V n - v n - v-n n I n - I n - I rr - V n n v r n v n rl

V V V V V V V V y V VI V
V V I V V I V V VV i V V V V V

27.
N V - V - V N V v n v"t:'

28.
V n V - V - V - V - V netc.

This exerciseis in preporotionfor the tremolo. Begin slowly, so you will be

oble to ploy the thirty-second notes in the lost meosure.
-'V - ,'i
! { V X f'l V f':l Yetc.
V - V i'l etc. V - y'l
Vetc.
V -etc.

t \ a + -
al\/fyetc.
V - V 1 e f c . rl'liI,I;i;:

ilv V l'l V l'l FVl f':l yetc.

- v - v v -etc.
: > >

Apply the obove formulo to oll strings.

Here, we encounter cross-stringpicking involving two odjocent strings. lts mostery is essentiol. Wotch for thr
different_demqrdsplocedon your hond. The llor V con be initioted on the"outsiderroron the t'inside'rof two odjocen
strings.The lotter tends to be more tricky. Not-e beginningwith No. 30, ploy eoch repeot four (4) times, then O.C
ord ploy stroight through without repeots. ln future, oppiy this procedure'to oll similorly noioted exercises.

30. 'V i V etc.

>

etc.

n V n V n! etc.
:> :> etc.

D.C

V 1 etc.

D.C
10

35. n ! etc.
etc.

V 1 etc.
etc.

-V-Vetc.
>

V - V -etc.
> etc.

-V-Vetc.

VnVletc.
 l1

Thissectioncombinescross-stringwith repeotednote picking. ploy oll notes

evenly, os there is o tendencyto speedup on the repeotednotes, especiolly
the sixfeenth notes. Remember, the shorter the stroke the better.

- V etc.
etc.

v n V l v l'1 etc.
:> :>

f
J . ! .

- -

4
t2

47A. n V - V n Vetc.

V n V tl V n e tc.
> >

- V n V n yetc.
:> :> etc.

V - V - V 1 etc.
> : > etc.
 l3

1..1 ! etc.
etc.

498. V n V nV 1 etc.
:> :> etc.

1 p.1! etc.
> etc.

1 1 !etc.
)> etc.

5 1 !etc.
:> etc.

N V ! etc.
> etc.
t4

55. V V etc.
etc.

=
-J
7 7

;1 V !etc.
:> etc.

V 1 etc.
etc.

V V - e etc.
tc.
> etc.

V ll etc.
etc

[51etc.

I I etc.
etc.
 'l '! etc.
etc.

V - -etc.

1 1 1etc.
:> etc.

1;1etc.

l'1 f''l l'1 etc.

:>

1.111 1etc.
r> etc.

V V etc.
etc.

D.C

-t-=
16

! etc.
:> etc.

v vetc.
> etc. D.C.

1 1V l ' 1V e t c .
V 11V f'l etc.
> etc.

! l \ / ! \ /
\Yi It \t iY! e tc.
l t e t c .
:> etc.

1..l V l. .l V etc.
V f'l V ll etc.
:> etc.

f ' lV l \ i e t c .
V ll V fl etc.
:> efc.

, J V r , , rV e t c .
V ll V l'1 etc.
r> etc.
 This section involves on owkwqrd configurolion between cross-stringond repeoted note pickings.

B 0 A. - v n \/ - ve tc.

V - V - V fl etc.
:> :>

V - Vetc.

1 1 , V- V n
>
 V etc.
etc.

V etc.
etc

- n V n - Vetc.
:> > ata

-l n v - - Vetc.
>
 V - - V - lletc.

V n - V I 1etc.

88. v v t t t / V I etc.
> >

89. V V - V V t'tetc.

- C - - a

- -
O t a
e a a - 1 )
20

|1 n n n - letc.

n - - n |1 |letc.

V V V V V Vetc.

V V V V V Vefc.
 2l

Thissectioninvolvesthe problem of the precedingone while oddingo new one:

skipping ocross the middle string in groups of ihree odjocent sirings. This
must be dme cleonly. Postion the hond so thot the reoch of the f-ingers is
equolly distributed in eqch direction. Do not move the hono.

>
?xvx
: >
ll V etc.
V l'l etc.

fVnViVetc.
VnV-Vlletc.

n V V l ! V etc.
> > e

N VVt'tVVetc.
:> etc.

-nVFliVetc.
:> :>

nnVt|FlVetc.
> > g

V n l V - n etc.
:> :> et
))

l 0t . V--V-netc.
:> :> etc.

V V - V V - e t c .

VV-VV-etc.

ll - - 11 l'''l ll etc.

nn---t'l etc.
> :> etc.

VVVVVVetc.

V V V V V Vetc.
:> :> etc.
 This is o voriqtion of No. 29; quintuplets qnd septupletsqre introduced. Ploy
oll occents os shown. Agoin, concentrote first on occurccy.

lV tI li fV v- v x ? x 3 - xv V
:>
N
n V etc.
V fl eic.
:>

;V v' t 1Vv -l vV f- ' Vt I

vV : - r \ i fV ' l- \ Vi f -\ / Vf V etc.
retc.

5 5

'':l
tV v- : V v - : Vv -l \V i ' : 1vV f - \ V/ fN ' V: r- \ / VfV-V'1
V - V - V'l
yetc.
V Fletc.
l> :> > : >

Apply the obove formulo to the following sets of odjocentstrings.

|09. It0. il1. | 12.

-
V
V
-
-
V
V
- 3 X ? X V ?
X x ? I etc.
I eTc.

v-
f'l
V
:>
r'':r
V
v- V I V i ? X -
- ? x ? ! etc.
I eTc.
:>

5 5 6 6

lV y - l lV l i' l V y l \ / - r \ / : ' / ; l rv - V''l f ' : V

l F V - V e t c .
- V F ] V ' Y - V - v V - V - V l'1 etc.
r > >

Apply the qbove formulo to the following sets of odjocentstrings.

| 14. It5. I 16. lt7,
24

I tB.
-
V
v
I
r
V
r
'
V
1
-
V
\
N
/ .
V
v l
I I
' j V
? x ? ! etc.
r I eTc.

3 X ? X ? X ? X ?? X
x ? xllI etc.
?
etc.

iV ' l\n / Vf ' \:- /r Vn v1 n1y Vn v- aVt n

vV f 'n tvV - ::l
\/ l'l v'1 \/ ''1 r/erc.
V I V '1 V |l V 'letc. D.C

Apply the obove formulo to the following sets of odjocent strings.

| 19. I 20. tzt.

:v vt ' f l " \ l / - 3 x ? x ? x Y I u i eic.

i l x 3 x ? x ? { ?lV r {- V VN nV V- - etc.

5 5 6 6

nV y- lV y I l Vy Nn vV : N t Vr \- i Vt \N / Vt \N / VXV r|
' 'r
V
!
/
V -
-
t
v -etc.
pin
"'"'

> > l>

Apply the obove formulo to the following sets of strings.

123. 124. t25.
 t26.
-
V
>
\
:
-
/
>
n
V n ? x ? x ? ?x x ? \/ etc.
l'l etc.
:>

l
lV V I f lV '
\ i : ]v a t v ' r \ /
] V - V - V I ? x ? x ? ! etc.
l'l etc.

I
.)
5 5 6 6

n v :'l v :'l v :'l \/ :':r \/ '':r

V I I V - V - V | 1 V . V
\/ :':r \/
1 - V N
Fi V - y n V - Vetc.
V - V - V '1 V r'letc.
: > > :> :>

Apply the obove formulo to the following sets of strings.

127. I 28. 129.

-
V
v
n
-
V
Y
- s X V X ? !X x ? ! etc.
fl etc.

- \ / - \ / - \ / - v - \ / Iv V I V i':l Yetc.
V - V n V - V - V - - V - V l'letc.

6
'l - v Vn - vV nr V\ /- -V Y n ! l Y n Yi V fl V f':tV - yetc.
- - V f ' l v - V '1 V - V - V l'letc.
I :>
,!

Apply the obove formulo to the following sets of strings.

t 3t . 132.
26
Theseexercisesore closely reloted to studiesfor right-hondin clossicolguitor literoture. All possible
pickingpotternsore not given. The student,olong with the guidonceof o quolifiedteocher,will hqve to
determinethose other possibilities.
- I
\Y / r I
\Y / av rr vn.
V - V t'ietc. n - - v - V V V
| 33. t E E
.
\ /
-
, l i
t
l v

:> :>

; ,, - !etc.
V - V lletc.
V V V n V V V - V V - V i t - -

- \ / - \/ etc.
| 35. V - V 1 etc.
:> :>

X V ! etc. | | eTc.

I 38.
3 X ? I etc.
ll etc.
 -,V - Vetc.
V - V lletc.

I V I yetc.
140. V - V 'letc.

Thesesextupletsshouldolso be ployedos follows:

o. b.

t 4t . v x ? x n
V
y etc.
ll etc.

> etc.

n \ / r.r V
v l l l.l Vetc.
V | l V I letc

>
28

| 43. :'l v :'l v :"1 !etc.

V i V - V l e t c .

r r V - \ /
\v/ rI ,.' V -
V rr ..' Vetc.

" 1
I 45. V - V - y e t c .
V I V - V l l e t c .

:] \/:':l \/-Vetc.
V : l V - V ' t e t c .

:>
etc.
 Alternote occented rhythmic potterns for this group:

> : >

These two voriotions ore opplicoble to previous ond future three-note figures.

- FVf n V - .!lee ttcc. .

t47. V v i V
"1 - V - -'/etc.

:>
- V - V \i etc.
t't v ll 1l etc.
V - V r I eTc.

- v -(V fllV)utc.
v - Vflv-)etc. |ln\/
n - \ / - - v n n v :>
V V N V V -

I50.
! I [fi?xnq N V
E

:>
I
E \
r l
/
v
-

i il!fi?$""'\ v - V V N V V - - l l v n i v 1 - v

n
>>
f ?rx?$:r::
u

- \ i - \ /
V - V - ? | etc.
| 53. f't etc.
V V V - -
30

Ploy os written.
The four sixteenth notes should olso be ployed os eighth notes ond occented os follows:
b.

! etc.
3XV fl etc.
etc.

n v n! etc.
V n V ll etc.
> eTc.

etc.
I 56. ? X ll!Vetc.eTc.

I5 7 . ?x? ! etc.
l'1etc.
etc. D.C

N V n ! etc.
V n V n etc.
> etc.

J -e
-

- \ / n ! etc.
V n Vll etc.
:> etc.
 Thesequintupletsshouldbe ployed os written in oddition to the following occentedrhythmic potterns:

This sequenceof potterns oppliesto qll future groupsof quintuplets.

- v r l v - 1\/ .
\
v
/ F
r,l \ i) e t c .
I60. V n V r V / F \ / l l Y ll)etc.
>

- \ / n \ / - (V n v
V n V n V (n V N 6 t/)etc.
V ll)etc.
:>

n V - V -
162. V N V - V (( nVn v 6 !) etc.
:> vn etc.

f\if_l\/f_l ( V n V ll )etc.
I5 3 . V l l V - V ( n v n v nV )e r c.
:>

- \ / - \ / -
v i vY ji ' \' i (v nv n y)etc.
(n V n V l.1)etc.
_

I V I V | r ( Vn V l"l V)etc.
V - V - V ( nv n v n)etc.
l>
32

This group is to be ployed os i n d i c o t e d . ln oddition,opply

the following potterns:
a.) 3 3 b.) 6

l ' : \r / f ' :yl - ! e t c .

|66. V-V-Vtletc.
:> > > etc.

, l V r . lV r . lV e t c .
I \ , I

V-V-Vlletc.
> :> > etc. D.C.

lV v- fV' lflv fVV e t c .

fl etc.
> > > etc.

?x!xix
> > > e f c .
etc.
etc.

lvFVlVetc.
\
Y / rl \l / v ! l\ l/ -Y l l e t c .
> > D.C.

lVV- 1: r V l Vetc.
V - V - etc.
:> > > etc. D.C.
 33

i'l tll'l Vi'irVetc.

t72. VnViVi'l etc.
> > > e t c .

l f " ly l r ! e t c .
l ' 'V
173. VflV-VI'letc.
> > > e t c .

f\ l/V- f\ '/ l!-n\ !/ e- t c .

174. Y t t y t t Y t t e l c .
> > > e t c .

nV V a!lJ!etc.
nV-Vlletc.
> > > e t c .

-V-y-!etc.
116. VfiVnVietc.

l ' ' lV f ' : !l - ! e t c .

V-VnVietc.
> > > e t c .
 Use the following odditionol occented potterns for this group:
3 r ' - . ? A 2

l> t> > > > > >

-
V f"l V I V n V -etc.
I 78. ll V - V t V I Vefc.
:> > : > > > e t c .

I \/ n \/ - \/ - V ietc.
179. v - \ / n v n V l ! e t c .
> > > > >etc.

| 80.
It \/ - v - \/ n V ietc.
V n V - V n V l V e t c .
> :> > > >etc.

f'l v f':l \/ - v r1 V l1 etc.

r8l. V - V - V |1 V - Vetc.
> :> :> > >etc.

f'l V I V n V lr ! -etc.
V - V l V l V - V e t c .
> > > :> > etc.

| 83. vx!
> >
v - v - V ietc.
- V n V n Vetc.
> > >etc.
 35

Proctice using previous occented potterns for five note groups.

n -\ /v - " v
F etc.
Y \,' -
V etc.
I 84.

; etc.
I 85.
n -\ /v - "v
Y ",' F
! etc.

\/ f.|1
'. ,' v I etc.
v f.! V etc.
- v '

\ i ' , -. ' V - etc.

v - V etc.
n v "

1 etc.
V etc.

f't \/
v - ! x n etc.
! etc.
36
Utilize the following occented pctterns:
b . 3

-y nv \ -/ -V - V netc.
V 11 Veic.
D.C.

> etc.

i_1etc.
t93. n V -
- \ / xi !
tt v eTc.

> etc.

n ! - etc.
- lt v eTc.
fi Vn

>
etc.

\/ n v -etc.
Y t -
lt - V rr V etc.
t95. - \ /

> etc.

N V - V l,l
I I V n etc.
V V - Y rr V etc.
D.C.

> etc.

- v - V r V n etc.
V - V n V ir ! etc.

> etc.

-
i v -v V- Y tl etc.
il V etc.
D.C.

> etc. -e
'J

\ / - l v - V 3 etc.
rr V etc.

> etc.
 37
Use these qdditional occented potterns:

- V - V - -VV- -V! t-l eV tec t .c '

200. -\/ n\/

l> l>
etc.

\/Y -I \/Y ll V etc.

- V N V --VnVrretc.
I

llvrrv

;'> > > >etc.

s J1 V etc.
V - V -
- 1V - V - \ / i V n e t " .
202. -

t'i > > >etc.

Y ,1 \i etc.
203.
|.lv-
V N V x !XV -!-etc.

> > >

: > > etc.

n V - V r v
204.
- V n v nfV V- Vn -v etc.
etc.

> > > > : >

?x?x N V- V l V e t c .
V - ll V - "t".

: > > > >

etc.

n\/-vltvf.t
V i l V, , v r r \ /
ttVlletc. !fy"t..

etc.

iV-\/ r r v l l
VttVn V-Vetc.
fl V - etc.
38

Proctice this group of eighth notes, occenting the first of two,

then os sixteenth notes.

208. rV vI i Vv -l 'V l I\ /V n V etc.

I I etc.

etc.
7ng ? J ? X ! J-lV etc.
V
etc.

2t 0 .
! X V X nV V etc.
I I eTC.
 39

f ' l \ / i r \ / - \ / l " l\/ elc.

2 tt . V n V n V I V- e t c .
: > > > > etc.

l ' lV l V l y l l y e t c .
v f ' lV - V l l V - e t c . D.C.

n V n \ /
2t3. n Vr-r - lI i nV ! e t c .
lletc.
D.C.

F V n V - V F Vetc.
V tr V n V n V ietc.

>

- V F l V r . l \ l
215. V N VF" r r
\ i -
v
- ! etc.
V ll efc.

2t6. f'lv: V:i V - yetc.

V - V - V - V netc. D.C.

etc.
l>

- V n
n y J ? -X ! etc.
V ll etc.
40

The studiesshouldbe ployed first os eighth notes, then sixteenth

noteswith opproprioteoccent plocement. Two more chollenging
pctterns con be opplied to these, qs well os oll previous
four-note groups.

vx!
> >
\/ etc.
l'1etc.
etc.

- \ / - y etc.
V n V 1 etc.
etc.

220. VXVny etc.

etc.
etc.

!xvx etc.
etc.
etc.

a-+

etc.
VJVX etc.
etc.

223. V J ! etc.
> >
X
etc.
etc.
 41

Apply oll previous five note occented potterns.

I V t,r V tl etc.
224. V - V l'1 Vetc.
> D.C.
etc.

I V f':l V ietc.
225. v - v - vetc.

l_l V f':l V ietc.

226. V i V - Vetc.
> etc.

I V n V -etc.
227. V - V - Vetc.

- V - V -etc.
228. V n V I !etc.
> etc.

229. n V - y letc.
V I V n !etc.
> etc.
42

Apply oll previoussix-note occentedpotterns.

-V-ViVetc.
230. VIV-V-etc.
etc.
D.C.
> :> >

I \/ | \/ - vetc.
V n V - V fletc.
> > > e t c .

l] V f':lV f'llVetc.
232. V - V - V l'letc.
> > > e t c .

f"l V f':l! - yetc.

233. v i v - Vnetc.

1.1v - u n uetc.
234. V-V-V-etc.
> > > e t c .

??( I V q''lV l.'lVetc.

V - V ll V lletc.
> > > e t c .
 43

Apply oll previoussix-note occentedpotterns.

? x ! x
1 etc.
V etc.

237.
v x ! x
l'l etc.
v etc.

? x ? x
ll etc.
V etc.

239. V X V X
I I eTC.
V etc.

v x ! x
ll etc.
V etc.

v x ? x
ll etc.
V etc.

! x v x
- etc.
V etc.

243. V J V X
l'1 etc.
V etc.
Tta
44

Apply oll previous six note occented potterns.

f'l V f''l V f'l yetc.
V ll V - V |letc.

n V I V n yetc.
V - V n V |letc.

246.
!xvx nv Y etc'
ll etc.

n V - V n Vetc'
v n V I v 1etc.
247.

I V i V t'l !e tc.
V - V - V l'letc.

Iv V f':l V I ye tc.
- v r] v l l e tc.

f,l V n V i ye tc.
V - V - V -etc.
250.

f'l V l-r V | !etc.

V - V - V lletc.
 4!

Apply oll previoussevennote occentedpotterns.

- v - \i - V'letc.
V - V - V - Vetc.

n V n V - V lletc.
V n V n V I Vetc.

. , r v i ' : l \/ | V '" 1 e tc.

V - V - V - Vetc.

- V ' 1 V - V 1 1e t c .
V n V I V - Vetc.
2s5.

il V il \/ I V 11etc.
V - V - V - Vetc.

:'l v I v l'1 V -etc'

V ff V n V I Vetc.
257.

f'l V t_l V f':l V ietc.

V - v - v - vetc.

f.] V f':1 V t_l ! -etc.

V n V - V - Vetc.
259.

===
>etc. + + + +
46

Apply oll previous six note occented potterns.

- V - V i Vetc. nV V f VV f 'Vl V e t c .
V n V 1 ! 1etc. - - l'1 etc.

l'1 v f] 17 l'"1 y etc. i ' l V l ' : lV i V e t c .

V n V i V -etc. V - V - V lletc.

fi v ll u; yetc. n V n V i V e t c .
V - V 1 !;etc. V I V t l V - e t c .

n V a \i fl yetc. r . 'V' l t ' " !1- ! e t c .

\i - v - v J1etc. V - V - V lletc.
267.

iV \/ f,r \/ f'l vetc. - V - V , - V e t c .

l'1 V - V lletc. V l V l V l e t c .
269.
 47

Apply oll previous seven note occented potterns.

|l VnViViletc.
\ / i \ / r \ / i \ /
Y r t Y t t Y l t v e T c . ?XVX?XV etc.
etc.

272.
!xvx3x? D.C. 273.
r.l \/ -
r t v r t
\/
v r
-
V - V - V - ! e t c .
r \/
v r
- r
etc.

D.C.

ivttv-\llletc. - V - V r V l e t c .
V - V - V - V e t c . VttV-V-Vetc.
274.

etc. '1
rV- N\ i lV\ ii l V' l\-/ Vf etc.
V-V-Vlletc.
\ / ; \ / i \ / - \ /
Y i l v l t v I v eTc.

> etc.

l ' 1V - V - V - e t c . -vl.lvnv1etc.
V n V n V - V e t c . VnV-V-Vetc.

_J-J
:> > etc. J