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MB30733 THE ANTHOLOGY OF CLASSICAL GUITAR TECHNIQUES BY STEVE MARSH MEL BAY PUBLICATIONS, INC.
$19.99
R
The Anthology of
Classical Guitar
Techniques
by Steve Marsh
© 2018 by Mel Bay Publications, Inc. All Rights Reserved
WWW.MELBAY.COM
THE ANTHOLOGY OF
CLASSICAL GUITAR TECHNIQUES
By Steve Marsh
The aim of this book is to gather together in one place a compendium of techniques specific
to classical guitar. Each technique has a written explanation, preliminary exercises and two
original compositions, providing the opportunity to use the techniques in a musical context.
The technical standard for the music in this book ranges from around the Lower
Intermediate to Higher Intermediate grade. The more experienced player may find the
technical explanations at the start of each new chapter unnecessary, but the rest of the
music will be useful as a supplement to their current studies. The explanations are there
simply to try to clarify things for those who have not come across these techniques
before. Some guitarists may not have the experience to play through all the pieces in this
book immediately, but they can begin working on the exercises which will both help with the
studies they are currently working on, and prepare the groundwork necessary for when they
are ready to tackle the more difficult pieces.
For maximum benefit I strongly recommend that the fingerings for both hands are followed
as closely as possible in every piece. It is assumed that a large percentage of fundamental
techniques and procedures are already understood and in place, such as: free stroke (tirando),
rest stroke (apoyando), alternation of right-hand fingers, and posture. Therefore, these are
not dealt with in detail in this collection.
Along with the main technique being covered, many of the compositions in this collection
use other techniques as well; therefore, some cross-referencing is necessary. A
particular technique may be used throughout the entire piece, or may occur in just a
few instances.
In this book, all natural harmonics are written at pitch; all artificial harmonics are written as
fingered by the left hand and sound an octave higher.
There is a Percussion Key on page 101; any slight deviations from this chart will be
mentioned in individual pieces.
Metronome markings should be used as a guide only. Always practice at a speed where you
can play without mistakes.
I have used English terms for the notation. Therefore:
Semibreve - a whole note; Minim - a half note;
Crotchet - a quarter note; Quaver - an eighth note; Semiquaver - a sixteenth note.
Finally, I owe an enormous amount of gratitude to two people who helped with this project.
First to my wife Nadia, who encouraged me to keep going, made many valuable suggestions
along the way and proofread the final manuscript. Secondly, I want to thank my good friend
Gary Spolding, who spent hours going through all the material with a fine-tooth comb, found
various errors and made numerous suggestions as to how I could have worded the technical
descriptions better – most of which I took onboard. Many thanks to them both.
I would also like to thank Graham Wade for taking time out of his incredibly busy schedule
to write the Foreword to this book. It is much appreciated.
Steve Marsh - 2018
2
4
859
ES
3
FOREWORD
By Graham Wade
I have known Steve Marsh as guitarist, composer, teacher, writer, and publisher over many years. His
dedication to the guitar since the 1960s has never wavered, keeping the musical flag flying in terms of
dozens of performances, inspired teaching of a wide range of students, the creation of countless
compositions, many years of reviewing for guitar periodicals, and (since 2000) the founding of his
publishing company specializing in guitar music.
It is a great privilege to write the Foreword for this book which communicates so much guitar wisdom and
experience. Along with an explanatory analysis of thirty-two techniques with appropriate exercises,
the author has provided no less than sixty-four pieces through which to practice those techniques.
These are imaginative compositions with delightful titles, not mechanical studies. The result is
a uniquely exciting project – a publication aimed at building technique but also concerned with
sheer musical enjoyment.
In the explanation accompanying each technical aspect Steve Marsh demonstrates his pedagogic
qualities of clarity and precision. It is never easy to describe these concepts in concise form but the
author has succeeded totally, without obscure jargon or excessive detail.
I am extremely happy to commend this book. For teachers and students, it will provide an invaluable
miniature taxonomy of technical requirements as well as a source of pleasurable repertoire. To create
such a publication is a tremendous achievement.
Graham Wade
4
ARPEGGIO
When the notes of a chord are played one after the other rather than at the same time it is
called an arpeggio (or broken chord). Arpeggios are played free stroke and mostly, the
objective is to let all the notes ring into one another to create a full-bodied, smooth flowing
effect. There are numerous permutations of finger patterns that can be played over a single
chord shape; below are three exercises which involve very common right-hand patterns
played over a chord of C major. To achieve fluency, play each pattern many times over
starting at a slow tempo and gradually increasing the speed, making sure that the overall
sound is one of smoothness and consistency with each note having the same sound and
volume as the rest. When practicing arpeggios keep the right hand as still as possible,
holding each finger over its designated string and making sure that the right hand
doesn’t jump up and down when plucking the notes.
5
Duende
Steve Marsh
Moderato = 80
p i m a m i
II i m a
4
3 p
1 p
3 III 0
4 4
3 3
1
5 II I
p i m p i m
7 II
3 4 3 1
2 1 4 2
9 II
4 2
4 2
1
11 II I rall. II m
6
Tigger
Steve Marsh
Allegretto = 130
p i m p i m p i m a m i p
5 3 1 4
2 2
p i m i m 3 2 1
3 3
p
13 i m
3 0 2
1 4
To Coda 1 4
17
3 3
21 m i m i m a m i m a
3
diminuendo poco a poco
rit. D.C. al Coda CODA rit.
25 2 3
7
BARRE - PARTIAL
One of the most important techniques for guitarists to master is the barre. This involves
covering anything from two to six strings with a single finger, usually finger one. In the
musical score, this technique is usually indicated with a capital letter: B or C (from the
Spanish word cejilla) above the stave followed by a Roman numeral indicating which fret
to place the barre. If fewer than six strings are to be covered, the capital C will have a
vertical line through it (to signify a partial barre) or the capital B will have a ½ sign written
in front of the letter. Note that this ½ sign does not necessarily mean half the strings; it could
mean anything between two and five. Occasionally, in partial barres, the letter B is used
followed by the fret number in Roman numerals and a superscript number to indicate how
many strings are to be held down. This is the method used in this book.
Begin by practicing the partial barre at fret 5 (which is easier than on the lower frets as the
strings feel a little ‘looser’) covering three strings only (Ex. 1). Keeping the first finger as
straight as possible, place it behind, and parallel to the 5th fret. At first try resting the finger
on top of the fret and then slightly ‘rolling’ the finger towards the left. All the notes should
sound clear without having to resort to immense pressure. Do not be tempted to
reinforce the barre by pla cing other f ingers on top of f inger one. When all the
notes ring clear, try extending the barre to cover four then five strings (Exs. 2 and 3). At all
times make sure the left-hand thumb is well behind the fingerboard and directly opposite
finger one.
PERFORMANCE NOTES
HALFWAY THERE
All the partial barre chords in this piece just require only the first finger (ie. all the notes are
covered by the barre, no other fingers are involved). When changing barre positions (as in bar
5) try to keep the first finger as straight as possible and make sure the left-hand thumb moves
in tandem with the finger. Note that in bar 7 the barre should cover four strings to include
the Fs. Keep the staccato chords as ‘tight’ as possible and contrast this with a legato sound
in the arpeggio section from bars 11 to 23.
(See also Staccato; Arpeggio)
LONDON 1859
With the exception of the barre in bar 8, which needs to cover four strings, all the barres in
this piece only need to cover the first three strings.
The chimes of London’s Big Ben are heard first in harmonics (bars 3 to 6) and then as ‘normal’
notes (bars 7 to 10). The three-note chords in harmonics at the beginning of bars 11 to 17
represent the chiming of seven o’clock and should be played strong and decisive. The
harmonic chord is achieved by laying the third finger lightly across strings 6, 5 and 4 at fret
12.
Play the slurs in bars 9 and 10 in time; do not rush them.
(See also Descending Slurs; Harmonics - Natural)
8
P
Halfway There
Steve Marsh
Allegretto = 110
BII 3 BIV3 BV 3 BVII3 BIV3
6
BIV 4
11 a m i a m i
m i
1 0
4 4
3 3
a
15 m i m a m i m
4 3
1
19
4
2
1
3 3
23
28
32
2
3
1
9
London 1859
Barre - Partial
Steve Marsh
Largo q = 60
normal
1
BII 3
1
4 0 1 2
BII 3
1
4
tasto
4
4
2
3
h12 h12 h7 h12
mp
3 4
BVII3 BV 3 BIII4
1
3
3
5
2
4
1
1
2
mf p
BIII3 BII3 BIII 3
3 1 4 1 2 1 3 0
9
3
0
0
3 2
h12
f
BVII3 BIII 3 BV3 2 BIX3
1
BV3
2
13
2
0
tasto BII3
3
BII3 BIII BII 3
17
0
4
2
mp
3
3
BII
normal
21
3 3
4
4
3 2
2
1
2 3
3
molto rall.
4 1
24
2
4
4
ppp
10
BARRE - FULL
(For tips on how to approach using the full barre, see the introductory notes for the partial
barre which precede this section.)
The full barre, as you may have guessed, involves covering and pressing all six strings with
one finger, and for this reason most players tend to find the technique more difficult to
master. It takes more strength and pressure than the partial barre, however, you should not
be squeezing the life out of your guitar – if your finger is turning a different colour, e.g.
purple or white, then it is probably time to rest! Eventually, you will get used to the
(surprisingly small) amount of pressure required to obtain a good sound.
Here are a few guidelines for a successful full barre:
• Keep the first finger straight and as near as possible to the fret it is barring.
• Apply pressure along the finger equally and avoid at all costs trying to strengthen
the finger by placing another finger on top of it.
• If there are any muffled/unclear notes try slightly rolling the first finger onto its left
side and/or extending or decreasing its length across the fingerboard.
• Keep the left-hand thumb behind the fingerboard directly opposite to the first finger.
Try the following exercise applying the previous suggestions. Make sure that the
semibreves in bars 2 and 4 ring clearly.
11
F
Hymn
Steve Marsh
Lento = 35
1 1
3 4 2 2
2 3 3 2
1
1
1
1 1 4
2 3
BII BII
1 4 4
2 2
5 2 3 2 4
1 2
2
1 4 3 1
0 2
1 1
BII
2 4 4 2
9 3 1
1 4
BII BII
13
0 3
BII
17 BII 4
4 4 3 1
3 1
3
1
1
3 4 BII 2 0 1
1 poco rit. 3
4 2 3 3 4
21 4 2 3 1 2 2
2
1
3
A tempo 2 2
2 2 2
25 2 4 rit.
3 3
1 2 1 3 1
3 4 1 1
1 0 0 3
1
12
Um Bala-Boo
Barre - Full
Steve Marsh
Allegretto q = 130
BV BV
m 3 m
simile
m
m m
p p
f f
gliss.
6
3 0 1
3 3 3
2
p
f
gliss.
11 3 0
0
3 3 1 0 3 2
2
1
0
3 3 3 3 3
gliss.
16
i i i
p p
p p
BII BIV BV BVII5
21
simile
ff
pp
26 gliss.
2
2 3 3
f
BV
31
f p
BV
rapid alternation of i and m
36
on the front of the guitar
below soundhole
f p ppp
13
CAMPANELLA
Italian for ‘Little Bell’, campanella is a very effective and attractive technique used
extensively on the guitar. It allows notes to ring over one another to create the effect of a
multi-layered melodic line or chord, comparable in sound to a piano using the sustain
pedal. To obtain this effect, notes should be played free stroke and on different strings.
Compare the sound of Ex. 1 (played in 1st position) to the sound of Ex. 2 (played in a
campanella style higher up the fingerboard).
14
Beadeca
(adapted from 'The Snow Village' by Steve Marsh)
Steve Marsh
Moderato = 135
Lento sostenuto = 70 BV 3
V m i
0 2 4 2 1 3
0 0 3 4
BIII 3 BV 3
14 4
4 3
3
4 4 1
21 V 3 0 0 3 0 3 3
0
2
p p 2
28 0 3 3 0 0 II 1 3 0
V 1
35 1 3
0 3
0 3 0
1
4 2
42 2 0 0
1 0 3 0
II V 0
0
0
`
49
Lento = 70
56
V
0 0
0 4 1
3
15
Canny Hill
Campanella
Moderato e = 200 Steve Marsh
gliss. gliss.
1
1 0 3
0 3 3 0
3 0 1 0 1 0 0
1 2 0
3 2 0 4 2 1 3
3 1
3 3
f gliss. f
gliss.
3 4 0
5 1 3 4 0 0 4 0 4 0
p f
gliss.
gliss.
9
gliss.
gliss.
1 3 1 gliss. gliss.
4 3 4
3 3 3 3 0
3 4 3 1 3
3 0 1
13 2 1
mp
gliss. gliss.
gliss.
17 1 2 0 0 0 2 4
h5
h12
21
1 3 0 h7
0
p gliss.
h7 0 3
4 0
25
h7
p i m i p i m i h7 ppp
pp
16
,
; ,
17
Charlie at the Seaside
Steve Marsh
Allegro = 200
m i m i
i
1 1
3
2 0 0
3 2 3 2
p p p p
p p p p
6 III I m m
i
1 1 4 1
0 0
2 2
3 3 3 2
p p p p 3 3
p p
p p
11
4
16
4 4
0
4 2
2
1
m
1
simile
21
26
31
36
18
Fingerlickin' Good
Fingerpicking
Steve Marsh
Presto q = 210 3
simile 1
2 1
2
i m i
= D p p
p mf p 2 1
6
f
2 1
3 1
3 1
11
16 2
21 1 0 3 2
1 2
mp
25
f
3
3 0 0 0
0 0 2 2
29 0 1 0 0 0 0 0 0 h12
p p m p i p m p p m p i p m p p p 4
19
GLISSANDO
Glissando is a way of connecting two melody notes together by sliding from one to the other
using the same left-hand finger. If the piece of music is of a slow character, the speed of the
slide may reflect this, and a more relaxed glissando executed with the tones in between
the two notes being heard far more clearly than if the glissando is being used in a fast
composition where the slide would usually be a rapid one.
In Ex.1, the slides are quite fast, and the second note of each pair is produced by the left-
hand finger sliding up to it. Ex. 2 is a slower affair and the absence of a slur denotes that
the note at the end of the glissando is articulated (with the right-hand).
20
Maddie Boo Boo
Steve Marsh
gliss.
Allegretto = 90 3
4 3
3 3
1 1
2 2
m
gliss.
6 3
3
4
4
3
m
11
0 4
1 4
2
3
gliss. BI2
16 4
4 4
4 1
1
3 1 1
2
2
1
3
22
gliss.
27 4 4
3 3 3 4
1
gliss. gliss.
32 4 3
3
4
3 m
gliss.
37 rit. 3 slow strum
3
m p
21
Toblerone and Tobias
Steve Marsh
Lento doloroso = 80
gliss. gliss. gliss.
3 3 2 3
1 1 2 1 1
3 2 1
6
0
1 4
1 3 2
0
2
1
3
BI
gliss.
12 gliss.
4
24 4 1 3
4 4
2 1
1 2
3 1
3
17
3 2
2 3 2
1 3 1
1 3 2 1
22
gliss. gliss.
3 3
3 2
27
gliss.
2 2 1 3
1 1 1 2
1 0
22
GOLPE
Golpe (Spanish for ‘knock’ or ‘tap’) is a technique used extensively by flamenco guitarists,
being a major part of that style of music. The following two pieces use two different types of
golpe, the first one requires a right-hand finger (usually m or a) to strike down onto the
front of the guitar below the strings somewhere between the sound hole and the bridge.
Flamenco guitars have a golpeador (tap plate) fitted onto the front of the guitar as a
protective cover against the nails striking the wood. Unless you have a golpeador fitted,
I recommend using the fleshy pad of the finger rather than the nail (unless you want
two sound holes). The second type of golpe used involves the side of the right-
hand thumb tapping the front of the guitar above the strings and above the sound hole.
In Ex.1 use i for strumming the chords and either m or a for the golpe. Ex. 2 requires the
right-hand thumb to perform the golpe above the sound hole. In both cases, keep the
rhythm tight.
PERFORMANCE NOTES
NEW PLANET
Emphasise the accented notes in bars 12-14 to bring out the different rhythmic pattern. Try
not to move the right-hand too much when playing the rather awkward bars from 17-19.
(See also: Strumming; Slurs)
ROBOT
The double-note chords with the curved line above them should be played with the left-
hand alone, ‘hammering’ down onto the strings rather than plucking the notes with the right
hand. Watch out for the three-note chords in bars 4 and 24 where the double-note chord is
‘hammered’ down at the same time as the golpe.
The whole piece should be played in very strict time with no deviations from the steady
beat; play very ‘mechanically’ – like a robot in fact!
(See also: Slurs; Glissando; Strumming)
23
New Planet
Golpe
Steve Marsh
Drammatico q=110 simile
m
ff
5
2 2
2 3 4 1 3 2 3
2
mf
f
2
9
3
mf
2
13
3 4 2
3
1 p mf
2
17
f
21
0 1 4
ff
24
Golpe
Robot
Steve Marsh
Moderato q= 120
mp
ponticello
4 1
a
4
5
m
i i
3 2 3
2 3 2
4
2
4
2 1 1 2
1
f
gliss.
4
9
4
1
normal
13
m m m m
4
p
p p p
pp p p
17
4
2
1
f ponticello
normal
21
ff
25
HARMONICS - NATURAL
Natural Harmonics are produced on any stringed instrument by lightly touching one of the
strings at certain points along its length; they are often denoted as diamond shaped. On
the guitar, fret 12 (half-way along the string length) is probably the easiest harmonic to
obtain. To do this, lightly touch the string directly over the 12th fret (not behind it as it
would normally be placed), but do not depress the string onto the fret. As soon as the string
can be felt by the finger, that is probably enough pressure; now, pluck the string with
a right-hand finger (try Free Stroke at first). A little experimentation may be needed to
find the correct left-hand finger pressure to produce the crystal-clear, 'bell-like' sound
which is characteristic of a harmonic. If the sound is not clear, try plucking the string with
the right hand closer to the bridge and/or check that the left-hand finger is over the fret.
Natural Harmonics can also be played at frets 5 and 7. Less common are the ones which
occur at 3, 4 and 9 (these are generally more difficult to obtain).
In the following exercise, use the left-hand fourth finger for all harmonics at fret 12 and the
first finger for all those at fret 7. For the final chord, lay the fourth finger across all the
notated strings,
PERFORMANCE NOTES
GENTLE LILY OF THE MILL
All the harmonics here are written at their ‘sounding’ pitch which may be a little more
difficult to read, but 'clues' are given as each new harmonic is encountered. For
instance, above the first note, string 5 is indicated by the number in the circle and
the 7th fret harmonic is shown by 'h7', and so on with the next few notes. Where the
same harmonic reoccurs, this information is not repeated. Try plucking the harmonics on
strings 4 and 5 with the right-hand thumb instead of a finger.
PETALS
The double harmonics in bars 11, 12 and 18 are produced by laying the third left-hand
finger lightly across the frets indicated following the same rules as given above. Try and
hold this finger parallel to the fret. If the first 'e' in bar 16 is difficult to hold onto whilst
finger two is playing the harmonic, try using left-hand finger four to stop the ‘e’ instead.
(See also Barre - Partial)
26
N
Gentle Lily of the Mill
Steve Marsh
Moderato = 90 h7
h5 h7
h7 h12 h12
h7
h12
6
h12
11 Fine
17
4
2
4 3 4
3 0
2 2 1
3
1
23
4 4
2 2 2
3 1
3
1
28 D.C. al Fine
27
Petals
N
Steve Marsh
Gently = 80
h12 h7
h7 h12
5 h12
h12
h7
h12 h7
9
3
h5
BVII3
13
1
3 1 2
1
2
h7
h7
h12 3
h12 h7
17 1 1 1 1
2 3 3
2
h7
h5
h7
h12 h7
21 slow strum a
28
HARMONICS - ARTIFICIAL
Artificial Harmonics (sometimes referred to as octave harmonics) enable every note to
be produced as a harmonic (unlike Natural Harmonics which are limited to just a few
frets - see previous chapter). Remember that a spot half-way along a string's
length will produce a harmonic; therefore, if the note F (string 1, fret 1) is held, a
harmonic will occur at fret 13. To produce this harmonic, place the left-hand first finger
on the F note as usual and keeping the right-hand first finger straight, place the pad of
that finger over fret 13 on string 1. This string is then plucked using finger a
and immediately afterwards lift the right-hand first finger away from the string. Any note
on any string can be produced as a harmonic in that way; just remember to add twelve
onto any left-hand held fret; therefore, a G (string 1, fret 3) will be played at fret 15; an A
(string 3, fret 2) at fret 14, and so on.
In the following exercise, the numbers underneath the notes are the frets at which the
artificial harmonics are obtained. Try not to look at your left hand whilst playing through
this exercise; all your attention should be focused on the accuracy of your right-hand finger
placement. rtificial harmonics are usually written at the pitch that the left-hand fingered
notes are played to make the music easier to read, but will sound an octave higher.
(Another way of thinking about where the harmonics occur is to envisage fret 12 as being
the nut position, therefore fret 13 is the equivalent of fret 1, fret 14 the equivalent of fret 2,
etc.).
PERFORMANCE NOTES
THE FAREWELL
As in the above exercise, avoid looking at your left hand too much; keep most of your focus
where your right-hand finger is being placed to get the best sound. Throughout bars 8 - 15,
keep the bass melody to the fore and the harmonics quieter. When the 'spread' chords are
played in the latter part of the piece, make sure that the top note of each chord can be
clearly heard as part of the melody. The final note is a tricky one! Ideally do not let go of the
chord in the penultimate bar and play the harmonic where fret 24 would be if the frets
carried on that far. You are aiming for the mid-way point between fret 12 and the bridge. If
you were to perform this piece for an audience, it would be a good idea to first mark the
string at the exact spot where the harmonic occurs with a felt-tip pen. As long as you do
not have to re-tune too drastically (thereby making the pen mark a complete waste of
time) everything should be hunky-dory.
The long, curved lines in the first part of this piece are called phrase markings. Play all the
notes contained in each phrase as smooth as possible.
(See also Barre – Full; Spread Chords)
THIN ATMOSPHERE
Through bars 13 to 19 artificial harmonics are intermingled with standard notes. To make
life easier, adopt a right-hand position over the fingerboard and pluck the strings close to
where the harmonics occur so, for example, when bar 13 is played, pluck the notes over the
fingerboard (around fret 14 so that the 12th fret harmonic is close by the right-hand finger.
Similarly, in bars 14-15 hold the right hand around the end of the fingerboard so that the
19th fret harmonic is close at hand, so to speak.
(See also Barre - Partial)
29
The Farewell
Steve Marsh
Lento y rubato = 60
0 3
2 1
2 3 0 3
1 1
4
4 4 4
1
1
3
1
9
2 2
1 1
3 1 2 4 2 4
3 2 3
BII
14
0
2 2 2
1 1 4
1 4
2 0 3
4
4 (ppima) (pima)
BII
19 4
1 4
2 0
4
3
1
(ppima)
h24
23
molto rit. 0
4
3
1
2
1
30
Thin Atmosphere
Steve Marsh
Lento = 80
0 2
1
4 1
3
1
4 3
6
3
1 2 4
2
4 h19
4 3
12 3 0
4
2
1
17
2 2
3 4
0
1
22
27
31
HARMONICS – RIGHT HAND WITH BASS
Single-note artificial harmonics should be mastered before attempting to play a right-hand
artificial harmonic at the same time as a bass note (see previous Chapter). If all is going
well, then try the next two exercises.
Exercise 1: For the first chord, prepare left-hand finger one on F and then position the pad
of right-hand finger i over string 1 at fret 13 and right-hand finger a held in readiness to
play the harmonic. Now place p on string 4, take a deep breath for courage, and pluck a
and p at the same time and immediately after, lift finger one away from the string. You
should hear a clear harmonic with the bass note ringing underneath. When this first chord
is conquered then the rest of the exercise should be a breeze, that is until the final bar is
reached. Occasionally, as in this last bar, you may come across a three-note chord with the
top note played as a harmonic. In this case, prepare everything as before but this time finger
m plucks the 3rd string at the same time as a and p play their respective strings.
Sound tricky? Well, yes it is, but like everything else, with lots of careful practice it
becomes second-nature.
Exercise 2: Operates on the same principal as the previous exercise, the main difference
here being that there are single-note harmonics integrated into this one. Remember to hold
onto the bass notes for their full value.
PERFORMANCE NOTES
PUFFIN
With the exception of a few bars in the latter part of this composition, all the harmonics are
plucked around frets 12-15; therefore, try to keep the right hand adjacent to these frets
most of the way through bars 1-15 (the ‘dusty’ end of the fingerboard).
THE WITCH’S WALTZ
Keep focused on promoting the harmonic melody line to stand out over the bass harmony
(play strong harmonics) and hold onto the bass notes throughout to obtain a legato
(smooth) sound. For tips on how to approach playing ‘h24’ notes, see the performance notes
for ‘The Farewell’ in the previous chapter. The final h24 on string 2 could be played at fret
19 on string 1, but as your right-hand will already be set up for playing the previous 24th
fret harmonic two bars previously, you may as well stay in that position (plus, it is extra
practice for this difficult harmonic).
32
Puffin
R H B
Steve Marsh
Lento = 70
h12 h12 h12
5 4 1
2
1 3
9 2
3
1 1
3
3
13 1.
h19
h24 h12
17 2.
h12 h19
rallentando poco a poco
h12 h19 h19
21 h12
h12 m
33
R H B
The Witch's Waltz
Steve Marsh
Lento = 80 h12
2 1
6 h12 2 2 4
3 2 1
2
11
3
1 3
2 4 1 3
1
16 1.
4 p p
21 2.
4
2
1
h24
h24
molto rall.
26 0
3 1 3 0
1
dim.
34
OCTAVES
Any note played on the 8th degree of the scale, above or below a given note, is called an
octave. When executing these intervals, make sure both tones sound at the same time
as there is a tendency to want to play the bass note before the higher note.
Exercise 1 is a ‘fixed-shape’ pattern, which means that once the first chord is in position
using fingers one and four, these two fingers can then slide up and down the fingerboard to
produce all the octave chords throughout in the rest of the study. Remember that the fret
distances get narrower as you ascend the fingerboard, so fingers one and four need to be
slowly closed up and the opposite applies as the exercise descends.
Exercise 2 is another octave study, but this time all written in a lower position and
involving much more left-hand movement as it's not a fixed shape. Keep in mind that all
the chords should be played ‘together’.
PERFORMANCE NOTES
MOONLIGHT TANGO
Keep a tight grip on the rhythm throughout this piece, making sure that the triplet quavers
are played ‘in time’ and that all the staccato indications are followed. Although the barre in
bar 27 needs to cover only five strings, you may find it easier to cover all six as indicated.
(See also: Staccato; Harmonics – Natural; Barre – Full)
ROCK SALMON
Throughout this piece, give emphasis to any note with a tenuto line underneath it (as in the
second note of bar 1). The quaver rest in bar 1 is accomplished by quickly replacing p, i and
m on the strings. To achieve the rest in bar 9, use the side of the right-hand thumb to
stop the chord from ringing. Through bars 37-41, ‘mute’ the 1st string with the back of
the left-hand fourth finger so that the chord can be strummed without worrying about
missing the 1st string. The glissando at the end is achieved by strumming the chord,
sliding the shape down the strings to position 1 and then playing the low E, staccato.
35
Moonlight Tango
Steve Marsh
Lento = 50
0
1 4
4 4
7 4 0
2 1 3 1 2 2 2
4 4 4 4
1 1 4 4
1 1 0
0
13 To Coda I
2
0 3
1 1 4
1 3
0 1 1 1 1 1
19
3 3 3 3
2 3
D.S. al Coda CODA BI
25 4
2 0 4 4
3 2 2
1 1 4 1
3
4 4 4 4 4 h7 h12
1 1 1 1 0
31 3 4
36
Rock Salmon
Steve Marsh
With a strong beat =100
m m
i 4 4 4 4
sim.
0
1 1 1
3 1
2
2
p p
7 4 4
1 1
13
4
4
1
1 2
19
2
3
1
25
3 3
3 3 3
1 1
1 1
31 VI
0 4
4 3
3 1
1
2
2
38 gliss.
37
ORNAMENTS
Ornaments (or embellishments) are notes which are added to the music to ‘decorate’ the
score, thus adding variety. They can be placed on any note but are most commonly found
on the melody. There are many types of ornaments including trills, mordents, turns,
appoggiaturas, acciaccaturas … the list goes on. For the purpose of the two pieces in this
section of the book we will deal with just one type of ornament, the mordent.
In the following exercise, the first line is written with the mordent symbol and the second
line illustrates how it should be played. Although the smaller notes are written ahead of the
bass note, in performance the first note of the mordent is played at the same time as the
bass note.
PERFORMANCE NOTES
HADDON
Try to bring out the various ‘colours’ of this piece by following the suggestions throughout
the score: sul tasto (pluck the strings over the fingerboard, say around frets 15-16, to obtain
a warm sound); sul pont (ponticello) (pluck the strings near to the bridge for a harsh, metallic
sound); loco (return to the normal playing position). The rapid alternation of i and m in bars
38-39 can be performed quite freely, without being too strict on keeping the beat. The
harmonics in bars 17 and 35 are written one octave lower than they sound for ease of
reading.
(See also: Staccato; Harmonics)
KILCHURN CASTLE
Keep a steady rhythm throughout this piece and do not allow the ornaments to affect the
pulse. All the strummed chords in the latter part are played with the right-hand thumb –
make sure that the top note of every chord can be heard clearly.
Kilchurn Castle is a 15th century Scottish castle (now only the ruins remain) at the north-
eastern end of Loch Awe.
(See also: Barre – Partial; Staccato)
38
Haddon
Ornaments
Steve Marsh
Maestoso q = 100
sul tasto
2 4
1
mp
sul pont.
2
6
4
2
1
3
mf
loco
3 3
11
2 4 1
2
1
loco
sul pont. h12
sul tasto
16 h7
mp pp f
21
sul pont. sul tasto
3
26
1
4
2 0
ff pp
31
normal sul pont.
loco
sul tasto
1
mp pp mf
mf
molto rit.
*
36
loco
mf
*rapid percussion on bridge with i and m
39
Kilchurn Castle
Steve Marsh
Moderato = 60
4 4 2 2
2 0 1 2
1
i p p
cresc. poco a poco
4 4
10 21 24
21
14
2 1
3 4 3 4
1 2
18
molto rit. Maestoso = 50
3 3 BII 3
4 4 BVII BII 1
1 1 4 1 4 2 4
3 2 3
22 3
26
repeat ad lib and fade away
30 4 4
2
1 3
40
PIZZICATO
Pizzicato is an instruction to players of bowed string instruments to pluck the strings
instead of bowing. The term is still used in guitar music (although, of course, we are already
plucking the strings) but the strings are played in such a fashion that the sound imitates
the muffled/muted effect that violinists, cellists, etc. get when playing pizzicato. In the
music it is often abbreviated to pizz. and occasionally marked as etouffé or even palm
muting.
To play pizzicato, place the right edge (little finger side) of your right hand on the bridge just
behind the saddle and gently roll your hand to the left and onto the strings, just forward of
the saddle. Now pluck a few notes on the bass strings with your thumb. Each note should
still have a discernible pitch, but the tone quality of the notes should sound muted; a
little experimentation with the hand position may be called for before you get the effect
you are after. In the following exercise and the next two study pieces, all the notes
indicated pizzicato should sound short and detached as signified by the staccato dot.
Try the following exercise in pizzicato. As the notes move higher, slide your right hand down
to the treble strings area, bringing it back little by little as the exercise reaches the last bar.
PERFORMANCE NOTES
GOLEM
Throughout this piece all the pizzicato notes are played with the right-hand thumb, which
makes bars 24-29 quite tricky; the right-hand 'mute' position may have to be slightly
changed from the treble area to the bass area when playing notes on the respective strings.
In bars 8-14 make sure that the right hand is clear of the treble strings, muting only
the bass area.
(See also: Position Changing)
WAGON TRAIN
Probably the most difficult area of this piece is at bars 17-24; careful positioning of the
right hand will be paramount, so as to keep the single notes on string 2 clear.
(See also: Slurs - Ascending; Slurs - Descending)
41
Golem
Steve Marsh
Moderato =100
* **
pizz.
3 0
2
1
p p
1 3
1 3
pizz.
non pizz.
7
4 2
3 0
1
13
4 2
1 3 non pizz.
4
4 2
18 1 0 0 1 3
1 0 0 3 4 1 0
4 3 2 3
3
0
p
22 pizz. p sempre
p sempre
pizz.
VI VII 3
1 3
non pizz. 1 3
29 1
* ** Strum strings above nut
34
m
p
* Tap bridge with r.h. finger pad
** Tap side of guitar with left hand finger.
42
Pizzicato
Wagon Train
Steve Marsh
Moderato q = 90
pizz.
1 3
1 3
p sempre
1 2
mp
non pizz.
6
i m 4
4
f
V
11
3 3 1 3 0
1
non pizz.
0
17
3
m
mp
pizz.
4 4
23
1 3
4
2 3 1 1
2
f
non pizz.
29
3
3
mp
pizz.
35
43
POSITION CHANGES
Playing in position refers to the left-hand finger one being positioned (not necessarily
held down) over a given fret, and the rest of the fingers spread out so that they can easily
play the next three adjacent frets. For example, in first position (I), finger one will be over
the fret 1 area and is available to play all notes in fret 1 across the strings; the other
three fingers will be over frets 2, 3 and 4 respectively. Position II will have finger one
over fret 2, and the other three fingers over frets 3, 4 and 5 and so on. In theory, there
are as many 'positions' as there are frets, but most of the time you will find that you
don't stray much above position IX which allows finger four to reach high E at fret 12.
Spreading out the left-hand fingers is really only applicable to scale-type passages,
as when more than two notes are being played at the same time, the fingers
may need to come closer together.
One important aspect to keep in mind when changing to a higher position is
that the left-hand thumb maintains its 'normal' position, which should be around
the back of the fingerboard and almost opposite the gap between the first two
fingers. The thumb can easily be left behind a little when moving up to the higher frets
(this won't happen coming down the fingerboard).
Being confident when changing positions opens up many doors; it enables you to find high
notes more comfortably and also to explore different sonorities by playing lower-position
notes on different strings in a higher position, which gives a different, usually 'warmer' tone.
In Exercise 1, use the open E string to execute a smooth position change without any
alteration of rhythm. Exercise 2 does not offer the luxury of an open string, but instead
uses guide fingers to get from one position to another.
PERFORMANCE NOTES
FLODIGARRY
In the positions changes throughout bars 20 to 34, make use of any open strings and guide
fingers. For example, in the position shift from bar 20 to 21, the third finger can slide down
to the G, and in bar 31 the open B string rings through the change to position X.
Flodigarry is a place in the north of the Isle of Skye off the West coast of Scotland.
(See also: Tambour; Slurs - Ascending; Slurs - Descending; Strumming)
LOOSE CHANGE
All the previous tips apply to this piece. It is quite tricky at the end – so make sure you
play slowly at first. Good luck!
(See also: Harmonics - Natural; Slurs - Ascending; Slurs - Descending)
44
Position Changes
Flodigarry
Allegro q = 200 Steve Marsh
0
1
1
2 3
2 3
p i
m
3 1 p
p m
i
f p
8
m
V I
4
1 3
To Coda Tambour
15
3
3
1
p f
V I V I
23
X V
1
II
2
31
4 3
1 4
mp
4 4
38 4 4
46 D.C. al Coda
f
54 CODA rall.
45
Loose Change
es
Steve Marsh
Moderato 80
V IV
II 1 3 II V II 4 I
3 1
0 1 2 0 1 0
0 1 0
3 1
1
3 1
3
5 IV
2 1
II
4 2
2 3 4 3 1 4 3 1 4 0 3 1
3 1
h12
9 BII 4
4 2
3
1
13 V IV
II II V II I
17 IV
II
IX IX a m a m i p
21 BII 4 1
4 2 1 II 1
2 4 2 h12
0 0 3 3
VII V III II IX 4
25 p i m i p m p i m i p i 4
4 2 1
3 0 4 0 1 0
3 2 0 1 2
0 1
4
46
RAPID SCALES
Unlike a lot of techniques in this book, playing fast scale passages takes a long time and
lots of patient practice. In order to achieve the ability to play rapid scales you must strive to
be as efficient as possible, taking extra care over the following faulty aspects:
Left Hand
Fingers not being held close to the fingerboard and 'splaying' out.
General tenseness in the arm/wrist/hand.
Right Hand
Repeating the same finger instead of alternating.
Uneven nail lengths and/or rough nail edges.
Hand bouncing up and down when speed increases.
General
Trying to play too fast, too early.
Aim to build speed gradually by not playing too quickly too soon, and try to keep the body
and hands as relaxed as possible. Tension is the enemy of speed!
The following two exercises use speed bursts - that is, concentrating on brief passages of
notes rather than lengthier ones which can be tiring. Begin each exercise using i and m at a
slow tempo, say around crotchet=70-80 and set a weekly target to aim for. When the faster
notes begin to feel uncomfortable or sound uneven, slow down a little and spend a few
practice sessions at this slower speed before increasing the tempo.
PERFORMANCE NOTES
A DAY AT THE SEASIDE
Use the speed burst method described above to get through the lengthier speedy scale
passages.
(See also: Barre - Full; Barre - Partial; Position Changes)
MISS TILLY’S WELCOME HOME
All the bars containing semiquavers should be practiced slowly and separately and the
tempo increased bit by bit. The suggested right-hand fingers work for me but may not be
best for you - work out (and write on the score) the fingering which suits you best. Tilly is a
tall and elegant retired greyhound who came to live with us mid-2017.
47
A Day at the Seaside
Allegretto = 100 Steve Marsh
BVII 3
BII 3
4 3
1 4 2 1 4 2
0 1 4 2 1 1 2 4
1 = 1 3 1
3
p
V 1 3 3
6 1 3 4
i m i i m i im i m i m
11 m i m i m i m i m i m i m i m i m i m i m im i i
3 3
1 p p p
2
16
p p
21 4
2 3
1 4
2
1
rall.
BVII3
1 4
2 1 3 BII3 Moderato = 70 BII BII
27 a 0 3 2 3 3
m 4 1
i
1 2 2
p
32 3 1 1 molto rit.
2 1
3 2
2 1
48
Miss Tilly's Welcome Home
Steve Marsh
Maestoso = 100
4
4
2 4 2
3 1
( on repeat) 3
0
5 4
4
2
1
m a m i a i m i m i m i
9 m i m i a i m i m i a m
2
V CIII
i m i m i
13 m i m i m a i m i m i a m i m a m i m a m i m i Fine
2
17 1 2
1 1
21 3
1 2 2 1 3
3 1 2
i m a
m a m m i a m a
25 i a m a i m a i m m i m i
4 4 2
3
1
i a m i a m i m
D.C. al Fine
27 i m a m i a m i m i
a m i m
4 2 4 2 1
1 3
3
49
RASGUEADO
Rasgueado is a distinctive style of strumming primarily associated with flamenco music.
There are many different types of rasgueado and the two used in this book are possibly two
of the simplest patterns to grasp. If you wish to delve further into more advanced rasgueado
techniques, I would recommend finding a good flamenco teacher or, as a second choice, use
the many instructional videos on the Internet.
In Exercise 1, the wavy line with an arrowhead at the top and the right-hand fingers a, m
and i beneath indicates to strum down the chord (from 6th to 1st string) quickly with a, m
and i in succession. It should be quite aggressive and loud. Try strumming the chord with
just one finger and then try using three fingers, there should be a very clear difference. If
they both sound the same or very similar, you are not spreading the fingers out as evenly as
they should be. If you find it difficult to hear any difference, try muffling the strings with the
left hand around fret 6 or 7 (or stuff a cloth underneath the strings) in order to better
focus on the rhythmic aspect of this technique. The sounds like bar in this exercise is not
strictly accurate, but it should give some impression of what you are aiming for.
In Exercise 2, rest the right-hand thumb on string 5 for stability. Play very slowly at first
keeping the beat as strict as possible. I refer to the strummed triplets in this exercise (and
also in the following two compositions) as a triplet-rasgueado; follow the right-hand
fingering exactly as written and keep the strumming even. It may be a good idea to get to
grips with bar 1 before moving on as the technique becomes more difficult as further
triplets are added. Play very slowly at first and gradually increase the tempo.
PERFORMANCE NOTES
ILUSORIO
Throughout all the strummed passages, keep it in mind that the highest note on string 1
must remain audible. There should be an obvious difference between the strum with just
one finger and the a, m and i strummed chords. Refer to the Percussion Key (page 101)
when bar 13 is reached if necessary.
(See also: Barre - Full)
PICARO
When strumming the first few chords, aim for just catching the bass strings but don’t worry
if the 3rd string is also heard occasionally. After the first chord in bar 4 is played, you will
need to shift your right hand more towards the treble strings for the rest of the bar. The
bass melody in the 9/8 bars needs to be played loud and at the same tempo as the previous
quavers. The Lento rubato section should be free and expressive. In bar 19, the G and A in
the first chord are played together and the following A is produced with a quick slur.
(See also: Glissando; Slurs)
50
Ilusorio
Steve Marsh
Maestoso = 100 sim. BII
4 3 4
1 2
0
2 3
m m
m a
m
i
sim. BII
5
m i m m m m
m
sim.
9
m i m m i m
BII
11
13 a m i p m
17
51
Picaro
Steve Marsh
Maestoso = 85 sim.
II III II III II III
4 4
3 3
1 1
m m i m m m m m
II p i m
4
3 4
1 4
2
6 II
4 2 2
1 4 1 1
2 2
8 II III II III II I Fine
m
Lento rubato = 60
4 4
13 4
m m 2
1
1 1 1 3 4 3
a D.C. al Fine
m
20 i
p m
4 1
4
2
2 4 4 2 2 4 3 3 1
3 1
52
REST- STROKE MELODY WITH BASS
Rest stroke (also known as apoyando) is so-called because after plucking the string, the finger
comes to rest on the adjacent string, giving a slightly richer, fuller sound as opposed to the free
stroke (tirando) technique. It is a valuable technique to have in your arsenal as it can be used to
project a melody. Initially, however, playing a melody note rest stroke simultaneously with a
free stroke bass note can be slightly awkward. In Ex. 1, the thumb (p) plays the 6th string free
stroke whilst m plucks the 1st string rest stroke (coming to rest against string 2). It is a similar
action to snapping the fingers. If this doesn’t come naturally – and it may not at first – try
practicing Ex. 2 where the thumb plucks the bass note half a beat earlier than the rest stroke
note. Play this a few times and then try Ex. 3 where the rest stroke note is played
almost simultaneously with the thumb note. Keep on playing the melody note closer and
closer to the bass note and after a while, the right hand will catch-on to the idea of
playing both notes together. Aim to keep the right hand as still as possible when executing
this action, with all the movement being in the fingers.
PERFORMANCE NOTES
CORINNE
Bring out the melody notes on the first string with finger a playing rest stroke whilst fingers
m and i play free stroke on the accompaniment. After coming to rest on the 2nd string, the a
finger must be quickly lifted out of the way to allow finger m to play this string. Note the use
of guide lines in bars 3 and 4 for example; these indicate that the same left-hand finger
is used to move from note to note. Make sure all the position changes are done smoothly
without any notes being clipped when moving the left hand.
Corinne was a lovely black cat.
(See also Position Changes; Arpeggio)
ONE WARM EVENING
All of the melody line on string 1 should be played rest stroke. In bars 2 and 4, be careful
that the two notes held down with fingers one and two do not slide over the fret when
stretching up to Gs with the fourth finger. The double notes with the small dot underneath
should be played staccato each time to give the piece a Latin flavour; (to achieve this,
just quickly replace i and m back onto the strings, thus stopping the sound). It is not
necessary to use the rest stroke on the melody in bars 16 to 20 as this tune will project well
enough played free stroke. For an explanation of ‘slap’ in bar 20, refer to the Percussion Key
on page 101.
Note that when the rest stroke is played over a tied chord as in the first bar, the top note of
the chord will naturally be stopped by the finger playing the rest stroke. Don’t worry about
this; it is a compromise and written this way to make the score easier on the eye.
(See also Slapping; Staccato)
53
Corinne
Steve Marsh
Moderato = 80
a m i 3 3
3 1 1
1
2 2 2
3
2 4 2 4 poco rall.
5 1 3
3 2
2 1
A tempo 4 0 1
9
3 3
0
3 3 4 1. poco rall.
13 2
2
1
17 2.
2 2 1 1
3
21
rall. 4
4
2 1 2
0
1
0
4
1
54
One Warm Evening
Steve Marsh
Moderato =70
3 4 3 4
1
2 2
1 1
6
1 3
11
16
0 slap
4 4 3
2 4
1
0
1 1 1 1
21
26
31
3 4 4 1
1
1 3
55
RHYTHMIC PERCUSSION
It is only in relatively recent times that composers have begun to incorporate percussive
effects into classical guitar compositions. Of course, there has always been the odd ‘bang’
and ‘thud’ now and again but nothing to the extent to which it is utilised nowadays.
Flamenco guitarists on the other hand, have always included percussion as part of their
music and players such as Carlos Montoya created lengthy percussive solos, but in general,
it is only a recent innovation in classical guitar music. There are lots of different types of
percussive sounds used in contemporary guitar music and the same technique can also
generate different sound qualities depending on where the guitar is tapped. The following
exercise hopefully illustrates my point. (For an explanation of tambour, see the relevant
section in this book).
56
Ruby Newby
Steve Marsh
Allegretto = 175-200
slap * simile
m m m
2
1 p m
m
simile
4
4
m m m m
1
2
m
m
10
muffle strings with left hand fingers around fret 7
13 ** slap
m x4 m m x4
m p
m p
***
16
slap
m
*Damp strings with l.h. 4th finger
**Use left hand pressure to obtain staccato chord
***tap front of guitar above soundhole with p
57
Rhythmic Percussion
Tap Dance
Steve Marsh
Allegretto q = 100
i m i m i m i m i m
4x
4x
p m p m i m i m i m
p mf
3 4x 2x
p
p p i l.h. i l.h. i l.h. i
p m p m i m i m i m
f p
5
2x 2x 2x
f
tambour tambour tambour
gliss.
2
2
1
1
0
1 2 0
f
8 2x
p
1 0
2 0
tambour
4 0
3 0
p mf
11
Repeat ad lib and fade away.
(l.h. taps 'up-stems')
3 3 3 3 0
3 0 2 0 1
(r.h. taps 'down-stems')
Key to percussion symbols
iand mtaps front of
p taps front of guitar
p taps lower bridge
p taps upper bridge
tap front of guitar below
guitar underneath soundhole above soundhole neck with l.h. fingers
(using flesh, not nails)
58
SLAPPING
Slapping is a percussive effect whereby the strings are forcibly struck by the right-hand
thumb or fingers hard enough to drive the strings down upon the higher frets thus obtaining
a sound best described as a ‘thwack’. In the following two exercises, I suggest using your
right-hand thumb to produce the slap. To do this, hold your thumb reasonably straight over
the strings and quickly twist your wrist (like turning a door knob anti-clockwise) bringing the
left side of your thumb into contact with the strings (it doesn’t matter if all the notated strings
are hit as long as you get a percussive sound). A good place to strike is around the end of the
fingerboard because the strings feel looser at this point.
In Exercise 1, aim to strum and slap the bottom two bass strings but, as mentioned
previously, it won’t really matter if other strings are caught. Begin with fingers two and three
in position on strings 6 and 5 and then after the slap slide both fingers down to reach the
next chord.
Throughout Exercise 2, keep a rock-steady beat making sure the rhythm is not disturbed
when the slapping occurs.
PERFORMANCE NOTES
A MINOR DOODLE
When executing the tambour in the first five bars, make sure your right-hand thumb bounces
quickly off the strings enabling the sound of the chord to ring through. A strong slur is needed
in bars 14 to 17 if the open E is to be heard amidst all the strumming.
(See also Tambour; Slurs)
PARADE
Begin the piece with the chord needed for bar 1 already held down and then try to do the
same in bars 5, 9 and 13. Aim to bring out the B on beat 2 (played with p) with a strong
accent, holding on to this note until the end of the bar.
(See also Slurs; String Bending)
59
A Minor Doodle
Steve Marsh
Allegretto =100
tambour m p p sim.
6 1
2 3 4
p 0 2
p 4 1 4 1
3
9 4
3
slap
12
15
Presto =160
18
20
Key to percussion symbols
p taps front of guitar
m taps lower bridge p taps upper bridge above soundhole
60
Slapping
Parade
Steve Marsh
Allegretto q = 100
4
3
slap
1 4 1
0 0
1
p i m p i
2
5
3
2 0
2
9
3
13
Fine
3
1
1
1
17
bend
i i
note
p p p
21
D.C. al Fine
61
SLURS - ASCENDING
Slurs are an essential part of guitar playing. They produce a different sound to a plucked
note and can be used to shape a musical phrase by providing variety in emphasis and tonal
colour. They can also be used to make difficult fast scale passages a little easier due to
several notes being able to be produced by just one pluck from the right hand (see Multiple
Slurs). There are two types of slurs – ascending and descending - and each is indicated by a
curved line joining two or more notes together.
Exercise 1 makes use of all four left-hand fingers and is an excellent one for strengthening
these fingers. Pluck the first note of each pair and produce the second note by ‘hammering’
the left-hand finger down. The slurred note will be strong and clear if the very tip of the left-
hand finger comes down vertically onto the string fast and hard. You will need to be
accurate.
When slurring from a ‘held’ (fingered) note as opposed to a note on an ‘open’ string, hold
the lower note while the slurred note is played, ending up with two fingers on the same
string. This happens in the second exercise in bars 2, 4, 5 and 7. As mentioned previously,
aim for accurate finger placement and keep a consistent tone.
PERFORMANCE NOTES
JASMINE TEA
Aim for a consistently even tone throughout the melody line. Bar 19 may present a problem
initially due to the low G having to be held on throughout the bar. Just isolate this bar and
practice until perfect!
SPRING LOADED
Aim for a consistent sound from all the slurred notes; the ‘hammered-down’ ones should be
as near as possible in volume and tone as the plucked notes. Ascending slurs tend to
be louder on the bass strings, so extra effort may be required when the higher notes are
reached, in bar 7.
62
Slurs - Ascending
Jasmine Tea
Steve Marsh
Moderato q = 100
II
2 2
1 1
mp
4
7
2
mf
3 4 1
V
13 II 1
3
1
2 2
f p
3
19 3 3
3
2
1
1
f
2
25 1 3
2
1
4 poco rit.
3 3 1
2
31 1
2
p
63
Slurs - Ascending
Spring Loaded
Steve Marsh
Moderato q =100 0 2 3
0 2
1
2
2 3
3 3 1
mp f mp
1 4
1 3 3
6
0 2 3 3
0
3 2
f
4
2 1 2 4 2 2
11 II
V IV 4 I
1 3
3 1 3
f
3 1
1 2 2
p
mf
4
2 3
2 1
1 3 3 3 1 3 3
17
4 4
2
1
24 0
1 3
1
1
mp f
0
28 4
1
0
sfz
64
SLURS - DESCENDING
Descending slurs are indicated in exactly the same fashion as ascending slurs, i.e., a curved
line joining two or more notes together. The obvious difference is that the note being slurred
to is lower than the plucked note.
Exercise 1 uses a descending slur from a ‘fingered’ note to an open string. For each slur the
open string is sounded by the left-hand finger plucking the string sideways (parallel to the
frets) and this same left-hand finger coming to rest onto the next string (except when
slurring on string 1). Repeat the exercise but this time with the left-hand finger gliding at an
angle over the top of the next string. Do not just lift the finger up; the string must still be
plucked. This second method usually has a less forceful sound than the previous one. Play
slowly at first and make sure that tone quality and rhythm are even throughout.
Exercise 2 focuses on playing a descending slur which uses two fingered notes. Both left-
hand fingers need to be placed in position pressing on their respective frets before the first
note is plucked. As in the above exercise, first try coming to rest on the adjacent string and
then play once more, but this time gliding over the next string.
es
65
Slurs - Descending
Elsa
Steve Marsh
Lento q = 60
4 2 4
4 1 2
4
1
2
0 1 2 3
3 1 3
mp
5
4 2
9
4 4 2
2
3 1
mf 1
p
2
4 1
13 2
4 4 4
2
1 1 3 1 3
mf p
poco rall.
4
17
3
2
mp 1 pp
66
Slurs - Descending
Gaelic Bread
Steve Marsh
Allegretto q. = 100
4
3 1 4
2
3
f
4 1 1 4 3
4
2
4 1
3
3
3
3 1 3
7 1 2
2 2 2
mp f
4 1
10 4 1
3 2 0
2
13 2 2 1
1 3 3 1 3 3 3 2 2
3 1 1
3 1
0 3
ff mp
1 2 1
f mp
4
1
16
1
3
ff
67
SLURS - MULTIPLE
The previous two chapters on ascending and descending slurs involved performing notes in
pairs; multiple slurs make use of the same techniques but involve three or more notes and
often combine both ascending and descending slurs.
The following multiple-slur exercise is designed to strengthen the left-hand fingers. Begin by
placing fingers one, two and three on string 1 on the notes F, Fs and G respectively. Pluck
the G with the right-hand and produce the rest of the first bar using ascending and
descending slurs keeping the rhythm even. Repeat the same procedure on string 2 and
gradually work across all six strings. Start slowly and eventually try for a faster tempo.
PERFORMANCE NOTES
BANNOCKBURN
Multiple slurs are used extensively in this composition and careful, slow practice will be
needed to execute these and still maintain an even beat. Bar 18 needs special attention: the
first chord must be held for its’ full duration whilst all the other notes up to bar 19, beat 1,
are played by the left-hand fourth finger slurring. The first G in bar 19 is obtained by pulling
off the third finger which is still holding down the note A.
TALKIN’ PUFFY FLAP-FLAP BLUES
This piece was inspired by the ‘Talkin’ Blues’ styles of such as Woodie Guthrie and early
Bob Dylan. The melody, such as it is, is all in the bass line played with the thumb, so this
should be projected strongly over the accompaniment. Watch the rhythm in bars 6, 12 and
13 where the multiple slurs occur – keep everything even. The ‘B’ in bar 14 is
reached by bending/pulling the As on the 3rd string to the side and keeping the pressure on
throughout.
(See also: String Bending)
68
Slurs - Multiple
Bannockburn
Steve Marsh
Maestoso q = 90
4 BI 2 4
2 4
1 4
f 3
3 1
4
4 4
1
1
3 1 4
5
3
9 2
3
3
13
2
4 4 1
4
3
17 0
*
0
** 2
3
0
2
4
1
*Hammer 4th finger down to get the D then pull off to produce the following 'B'.
**Pull off with 3rd finger on 'A' in the chord at the start of the previous bar.
69
Slurs - Multiple
Talkin' Puffy Flap-Flap Blues
Steve Marsh
m
Allegretto q=110
i
2
4
3
f
2 1 0 1
3 2 2 3
0 3 0 2 3
p
m
0
4 0 0
0 0
3 0 2 0
p p p 0 2 0 3 4
p 0 2 3 2 0 1 2
0 1 2
4 4
2 0
3 1 3
7 3
1 0 1
2 3
m
10 0 0 0
0
3 0 2 0
p p p 0 2
p
molto rit.
*
13 0 2 4 0 2
4 0 0
3 3 0 1 2 0 3 4
*bend note
3
70
SPREAD CHORDS
A chord can be made to have more variety or colour by the technique known as spreading or
rolling the chord. This can be a very effective way of highlighting the important part of a
phrase or can be used as a gentle ending to a slow piece of music. To produce this effect the
right-hand thumb and fingers are placed upon the strings they are about to pluck, but
instead of picking the strings simultaneously the notes are played one after another (usually
from the bass upwards) like a very fast arpeggio. It is probably best to keep spread chords to
a minimum in a performance as they can lose their special flavour if overplayed. It is usually
up to the individual as to where and when to use this technique but if the music calls
specifically for a chord to be spread, then a wavy line is the customary sign for this.
The quickness of the spread is often governed by the type of music being played (or the skill
of the performer of course).
In Exercise 1, all the spread chords consist of three notes only. Always have p, i and m in
place on their respective strings before starting the chord. Each bar uses a quicker rhythm,
thereby making the spread quicker.
Exercise 2 is exactly the same principal as exercise 1, but deals with four-note chords. Just
remember not to release a right-hand finger until that particular finger is due to pluck the
string.
There are occasions when five- and six-note chords are to be spread and Exercise 3 illustrates
one of the ways used to perform this. The right-hand thumb runs through the three bass
strings whilst fingers i, m and a wait their turn on their respective strings.
l)
71
Spread Chords
Saudade for Daisy
Steve Marsh
2
Lento q = 70
4
4
4
1 4
3
mf 3
3 1 0
1
6
BII To Coda
11
4
16 2 2
3 4
1
p mf 2
BII D.C. al Coda
BII
2 4 4
21
3
f
h19 (r.h.)
CODA BI
26 4
4 (slow arpeggio)
1
1 1
1
pp ppp
(Capo 2 - optional)
72
Spread Chords
Tilly's Lullaby
Steve Marsh
Lento q = 60
1 0
BII3
2 0 4
2 BII3 3
2
1
mf 3
3 1 2
2
BII 3
2 4
4 BII3
2 1 1
p mf
BII4 BII 4
4 4
4 4
7
f
BII BII
10
3
1
2 1
0
3 4
BII
h14(r.h.) h15(r.h.)
13
3 3 4
2
2
3
2 1 1
4
h19(r.h.)
3
h12(r.h.) 0
3 3
16 0
3
4
2 1
2
p 1
19 1 BI
43 41
4
2
2
1
0 1 3
4
2
4 pp ppp
73
STACCATO
A dot placed above or below a note indicates that the note should be played staccato, i.e.
short and detached. The effect is of a very brief period of silence between the staccato note
and whatever follows. One method of obtaining this effect is to immediately release the left-
hand pressure of a fingered note after it has been plucked just enough to stop the note
ringing. Care must be taken not to raise the finger too much as fret-buzz may occur,
particularly on the bass strings. This method can also be used to great effect on bar chords
by simply releasing the pressure of the whole left hand after the chord has been strummed.
Unfortunately, this won’t work with open strings, but the following two methods will.
Another way to produce a staccato effect is to keep the fretted note down and after plucking
the note use the tip or the side of any convenient spare left-hand finger to rest on the string
(or several strings if a chord is involved). This way of stopping a chord from ringing is
sometimes referred to as ‘damping’ and is used in Ruby Newby elsewhere in this book.
A third way is to touch the string just plucked with a finger of the right-hand; it can be the
same finger just used or an alternate one. When more than one string needs to be played
staccato, the fingers (and thumb) are just simply replaced onto the strings. This third
method is the one used in Automaton and Tapping Nettie.
In Exercise 1, first play all the staccato notes with i, stopping the note with the same finger,
then repeat but alternating between i and m, each time using the same finger to stop the
note.
The indication m/i in Exercise 2, means that the string is plucked with m but stopped with
i, similarly a/m means to pluck with a and stopped with m. The chord is played staccato
by placing p, i, m and a quickly back onto the strings. Note that the third beat is not
played staccato.
PERFORMANCE NOTES
AUTOMATON
Note that the first two notes in bar 5 are played by finger one sliding up from the As to the
B. Also note that in the same bar, the G on string 6 is produced by the left-hand third finger
‘hammering’ down onto this note. There are extremes of dynamics in this piece so be sure to
bring them out clearly.
(See also: Slurs – scending; Glissando)
TAPPING NETTIE
Make a clear distinction between the staccato notes and the legato ones. The final chord is
played by plucking the A bass note at the same time as the two smaller notes, which then
slide quickly up to the A and E.
(See also: Position Changes; Barre – Partial/Full)
74
Automaton
Steve Marsh
Allegro =100-120
1 1 2 0 0 3
l.h.
7
1 1 3 0 0 2
l.h.
13
1 1 4 0 0 2
l.h.
19
1 1 2 0 0 3
l.h.
25
33
75
Staccato
Tapping Nettie
Steve Marsh
Allegretto q =145
m
i a m i
i m i m
ma
i
3
3
1 1 2
2 2
f
2
4
3 2
5 2 2
3 2 1
1
9 BII
2 2
1 1
p 3
3 4
13
2
2 1
1
a m i
4 3
1
3
2 4 2 1 4
IX VII
1 4
17
3
2
mp
a m i 4 4
rall.
4
2
21 BV3
2
2
2
p
A tempo
m m m
25
p p p p p p
ff
2 2
2 1 1
29
1
p
p p p
76
STOPPING BASS NOTES
There are many occasions when it is not desirable to have a bass note ringing more than its
given length. This can be due to a rest indicated in the score or maybe the bass note doesn’t
belong with the following harmony. Perhaps the simplest method of preventing the note
from ringing is to place your right thumb back onto the bass note just played.
Exercise 1 is a simple practice piece for the right-hand thumb to get used to stopping a bass
note. After the first note is struck, place the thumb back onto the same string at exactly the
point where the second and fourth beat rests occur. Repeat this procedure for the rest of the
line keeping a very strict time where the rests are concerned.
Exercise 2 requires the bass notes to be stopped at the same time as the melody note is
played. In bar 1, beat 3, place the finger plucking the A onto the string ready to play and
place the thumb back onto the bass string at the same time (as if they were about to play
together). Keep the thumb resting on string 5 and pluck the A. Repeat this process over the
rest of the piece, once more making sure that the thumb stops the bass note precisely on
the beat.
PERFORMANCE NOTES
CHRISTMAS MORNING
Before tackling the piece as a whole, you need to play slowly through the 1st bar repeatedly
ensuring that both bass notes are stopped at exactly the correct time. Once this technique
is mastered, you should not have too much difficulty with the rest of the piece.
(See also: Barre – Partial)
STROLLING THE PROM
This piece extends the difficulties contained in Christmas Morning where the bass notes are
stopped at beats two and four. The main differences are that there are a lot more bass string
notes to be stopped; even though the majority of these are fretted notes rather than open
strings as in the previous piece the same stopping technique applies; do not just lift the
finger off the bass string as fret buzz may occur. The second main difference is that this
piece is to be played in swing rhythm (sometimes known as jazzy quavers), where the first
note of each pair of quavers is played in performance twice as long as the second of
each pair resulting in a lilting triplet rhythm of unequal notes.
77
Christmas Morning
Stopping Bass Notes
Steve Marsh
Moderato = 100
4 3 4 3 4 3
4 3
2
4 0 0 4
1
2
1 4 1
1. 4
8 1 4 0 0 4
1 3 3
3 1
m i p a m i m a
12
0 3 2 To Coda
BII3
16 2. 3 3
3 1
D.S. al Coda
19 2
1 4
21 CODA rit.
78
Stopping Bass Notes
Strolling the Prom
Steve Marsh
Moderate swing rhythm q = 90
p i m i
2
mf 1
4
2 1
4 3 3 2
4
1
f 1 3
1 2
mf
2
4 1
12 1
2 3 4 2
3 3 0
f 1 1
a
16 3
3
mf
20
f mp
79
PRACTICE
STRING BENDING
String bending is part and parcel of electric and steel-string acoustic guitar playing, but is
less common on the classical guitar. However, it does crop up from time to time. The effect
is achieved by playing a fretted note as usual and then pushing it sideways up along the fret
to obtain another note, usually one semi-tone higher; the same effect can be obtained by
pulling the string downwards along the fret. (One tone higher is just about possible when the
fretted note is high up the fingerboard due to the strings feeling looser, but this can be
tricky to do accurately.) It is important to hear the note you are aiming for when bending the
string, so it is best to first play this ‘target’ note normally to get accustomed to the sound.
In Exercise 1, play the D on string 3 at fret 7 with finger three, then play the ‘target’ note,
Ef, on the next fret. In the next bar, play the same D with finger three and bend the note up
to the Ef without plucking again (note the curve to indicate this). Rather than using just
one finger to bend, reinforce this finger by adding finger two, one fret below on the same
string, this gives a little more strength to the bend. Also, try to rotate the forearm to assist
with the bend.
Exercise 2 uses the ‘Pre-Bend’, where a note begins already bent. Once again, play the first
bar as normal to hear the ‘object’ note. In the second bar start with the third finger already
bending the note up to Ef, then pluck the note and release the string tension (unbend) back
to D (remember not to pluck the second note). The downward-sloping curve indicates this
technique.
Exercise 3 uses the bend and release technique, where the note D is plucked and then the
finger bends up to the Ef and unbends back to the original note. The first note only is
plucked. Note the sign used here for this. Remember to first play the ‘object’ bar.
PERFORMANCE NOTES
BEND IT
The instruction at the start – jazzy quavers – is an indication to play the piece in swing
rhythm. (For details of this technique, see the notes to Strolling the Prom.) After a short
while, the rhythm will hopefully become instinctive. Remember to play the triplets in
Bend It evenly. All the bent notes in this piece are of the bend and release type; be careful
to retain the swing rhythm throughout these bars.
(See also: Slapping; Slurs – Multiple)
SUMMERHOUSE BLUES
The Pre-Bend and Bend and Release procedures are used right from the beginning of this
piece so practice the above exercises until you are proficient. The final two notes in bar 1 use
the glissando technique, i.e., pluck the A and slide finger one up to the C, producing
this note solely by the slide; do not pluck again. In bar 8, play the Ds grace note (the
small note) at the same time as the open 1st string and slide this finger up to the E on the
5th fret as fast as possible. Make sure the beat is kept as rigid as possible
throughout. (See also: Glissando; Position Changes; Staccato; Slurs – Ascending, Descending
and Multiple)
80
String Bending
Bend It
Steve Marsh
Jazzy quavers q = 100
*
4
3 3
2 1
f 3
**
3 1
5 0
0 3 3
9 3 3
13 3 3 3 3
17 3 3
f
3
21 3
* Slap strings against fingerboard using side of right hand thumb
** bend note up from D to Ef and release back to D
81
String Bending
Summerhouse Blues
Steve Marsh
Andante q. = 70
gliss.
*
3 (3) 1 3 3
**
3
1
1 1 1
f
1 3 4 1 2
gliss.
3 1 3
4
V 4 1
4
1
5 3 1 3 2
4 3
0
7
3 3
2
2
3 3
1 2 1
3
gliss.
9
gliss.
11
13
4 3
3 1 3 4 1 4 1
15
*pre-bend note: begin with note already bent up to Ef and release to D
**bend note up from D to Ef and release back to D
82
STRING BRUSHING
String brushing is an effect that guitarists obtain by lightly strumming the strings, usually
quite rapidly, with the pad of a right-hand finger; the consequence can be eerie and
ghostlike.
The two ‘slash’ lines above the chords in the exercises below are an abbreviation used in
music notation to indicate repeated notes (in this case, semiquavers). Prepare for these
exercises by hovering your right hand over the sound-hole of your guitar with the fingers
held straight; chose a single finger and lower the pad of that finger onto the strings; now,
begin lightly ‘brushing’ up and down. Work with a metronome to keep the beat as steady as
possible and listen for a consistency in sound quality. Play slowly initially and then try to
gradually increase the speed, aiming for a tempo of crotchet=120.
In Exercise 1, follow the dynamics as closely as possible, increasing and decreasing the
volume throughout the five bars.
Exercise 2 requires the right hand to shift position over the six strings, from treble to middle
and lower strings, and back.
PERFORMANCE NOTES
THE GAME’S AFOOT
Even though the first 8 bars are marked at a slow tempo, keep the brushing rapid (note the
three slashes to indicate this). Make sure the accents are obvious through bars 10 to 18.
Note that this composition has the 6th string tuned to D. (See Fingerpicking for instructions
on how to do this.)
THE NINE LADIES
Although this piece should be played very slow and solemn, keep the brushing fast but still
maintaining the unhurried tempo of the beat. Throughout all the brushing segments, don’t
worry too much about not catching enough or catching too many notes of the shown chord;
just an approximation will suffice. Note that the chord in bar 8 should be spread (using p, i,
m and a) but the chords in bars 12 and 21 to 24 should be strummed with p. In bars 13 to
16 the chords are to be strummed upwards (towards the bass strings) with m.
83
String Brushing
The Game's Afoot
Steve Marsh
Lento q = 65
3
2 1 2 1
3
f f 3 2 1 f
=D brush
4
pp 3 1 1 pp To Coda
3
4 1 3
2
4
3 3
1
Allegretto q = 75
0
8 1 0
1
4 2 4 3
2
f
4
m m
p p
pp
11 2 1 3
13
2 1
3
15
3 1 4
1 2
3 3
17
D.C. al Coda
1
4
CODA 4
3
4 4
3
3 brush 3
19
Ø
ppp
84
The Nine Ladies
Steve Marsh
Grave = 35
brush simile
5 sostenuto
4
2
2
1 3
1 1
9
0
2 3
3
1 2 4 0
brush
13
m
17
4 1
0 0
1 4
2 2
brush
21
2
4 4 4 3
3 1 1
2 1
1 3
2
p
85
STRING CROSSING
This technique creates a snare drum effect by crossing one string over the top of another
and holding both strings down together; the effect can be quite astonishing. In the next two
exercises (and the following two pieces), the 5th string will be crossed over the 6th string at
the 7th fret. There is no standardised notation for this effect and composers generally explain
their notation in a key.
To go about crossing these strings the obvious method would be to grip and lift string 5 just
above the 7th fret with the right hand and twist the string over string 6 and then press the
two strings down together with a left-hand finger. This is cumbersome, however, and highly
impractical in the middle of a piece; therefore, we go to plan B. Place your left-hand first
finger on fret 7 between strings 4 and 5. Keeping it in contact with the fingerboard, slightly
flatten this finger and slide it underneath string 5 (thereby, lifting the string up and letting it
rest on top of your fingernail) until your finger touches string 6. Lift this first finger up about
half a centimetre and with string 5 still positioned on top of your nail, place the tip of the
finger onto string 6 just behind the fret as you would normally. Nearly there! Next, the
second finger of the left hand pushes string 5 over string 6 at fret 8 and holds both strings
down tightly; finally the first finger can now let go and then be immediately replaced on the
7th fret holding down the two strings whilst the second finger lets go. The pressure needed to
press the strings down will be more than normal; otherwise, the strings will flirt apart.
After all that, you are now ready to play the snare drum effect. This all sounds very
complicated and waffly, but it does work!
PERFORMANCE NOTES
GESENAI
The first three lines are unbarred and should be performed quite liberally with regard to
rhythm. Begin the piece with the strings already crossed and hold them down until the end
of the third line. The notes connected by the three lines feathered beams are to be played
gradually quicker when the lines expand and progressively slower when the lines contract.
Make certain to follow the dynamics.
(See also: Harminics – Natural)
PATROL
This piece begins with the strings already crossed; once finger one is holding down these
two strings, it should stay there all the way through the piece - which requires a bit of
stamina! However, once you become proficient at setting up crossed strings, finger one
could be removed throughout bars 24 to 27 and then during the crotchet rest, reset the
crossed strings in preparation for bar 28 onwards.
86
String Crossing
Gesenai
Steve Marsh
Slow and free q = 60
3
ami p 2 3 2 4 (indeterminant length)
3 p m
**
p * ***
ff pp ff p
tap front of guitar below soundhole with rh fingers (indeterminant length)
i m
pizz.
m i m i m i m i m i m
2
i m i m i m i
4
2 3 2 2
h7
pp pp f pp
ff pp
r.h. r.h.
h12 h19 h19 h12
pp f pp
pp
Andante q = 70
1
4 4 2
1
1
2
mf
4 2
2
4 1
m i m i m i m
0 3
7
1
2
3
0 4 2 4 3 0
1
h12
h12
molto rit.
10
0 1
2
p ppp
*cross string 5 over string 6 at fret 7and hold down **tap front of guitar ***tap front of guitar
both strings with finger 1 until end of line 3 below soundhole with rh fingers above soundhole with p
87
Patrol
Steve Marsh
Maestoso = 160
* p m
6
m i
11
p a m i
16
a m i
21 ponticello
3 2 4
normal
m a m a a
26 m i m m
30
34
niente
*cross string 5 over string 6 at fret 7
and hold down both strings with finger 1
88
STRUMMING
Strumming is the action of sweeping across several strings producing a unified sound; this
can be done by using a right-hand finger, the right-hand thumb, or a combination of both.
For the purposes of this chapter, I am suggesting only using finger m.
When strumming most of the action should come from your wrist; therefore, you need
to maintain a relaxed right arm. One way to think about this motion is to imagine that
there is an annoying bit of adhesive tape stuck to one of your fingers and you are trying to
flick it off – it is that type of action, although perhaps not as vigorous.
Strumming usually involves creating various rhythms using down- and up-strokes, where
‘down’ means literally to strum towards the floor and ‘up’ towards the ceiling. In the
following three exercises, an arrow pointing upwards (to the 1st string) indicates a ‘down’
strum and an arrow pointing downwards indicates an up strum. When strumming
upwards it is usual to catch only the first three or four strings for a lighter sound (even
though sometimes the whole chord may be written).
PERFORMANCE NOTES
CLICHÉ-OLÉ
Keep the beat steady when strumming the triplets in the first seven bars. If in doubt, tap or
clap the rhythm out before attempting to play the strumming pattern. Through bars 9 to 15,
it is a good idea at first to just play the right-hand thumb notes (stems down) to
become familiar with the melodic line and its various positions.
TOPLEY PIKE
The first eight bars have the same rhythmic pattern as Exercise 3 above. Bars 9 to 15
introduce a slur and a slap (see the appropriate chapters on these if in doubt). Make certain
that the slurred notes can be clearly heard above all the strumming. When going from bars
5 to 6, 21 to 22, and in the final two bars, simply slide the same chord shape up
without removing any fingers.
89
Cliché-Olé
Steve Marsh
Moderato =100 1
3
2
m m m m m
m
1
3
5 2
III I
9 m
4 3 1 3 3 1 0
p p p 2 2 3
V
X
V 3 1
1 2 4 1
12 1 0 3 0 III II I
3
p m p m p m 3 1 3 1
3 1
14
16
m m m m
m
20
90
Strumming
Topley Pike
Steve Marsh
Allegretto q = 125
3
BII 3
12
m
f
BIII 3
BI3
5
2 2
p
$ slap
3
9
2
1
p
f
13
To Coda
BII3
4 3
17
4
D.S. al Coda
4
BI 3 BIII 3
21
CODA
25
1
0
III V
1
Ø
2 32
1
2
3
3
91
TAMBOUR
Tambour (often abbreviated to tamb.) is a drum-like effect obtained by striking the strings
just to the left of the bridge with the side of the right thumb. As soon as the thumb strikes
the strings it should immediately bounce off them, the consequence being the subdued sound
of the vibrating strings together with a percussive thud. If the thumb is not lifted rapidly
enough all that will be heard is a muffled effect.
In the following tambour exercise, ensure that the differences between the three chords can
clearly be heard. Don’t be too concerned about catching other strings which are not indicated
in the music, just aim for a generalisation of what the score is showing.
PERFORMANCE NOTES
COCHISE
The accents in bar 3 (and similar bars throughout) should be exaggerated and strong. The
golpe used in this piece is the same as the one described in Exercise 1 in the chapter on
golpe.
Cochise was a chief of the Chiricahua Apache tribe; he died in 1874.
(See also: Golpe)
MIAKODA
The strummed chords should be quite brisk and aim for a sharp contrast between these loud
chords and the following quiet tambour. Bar 27 has a rather awkward stretch, so whilst
playing bar 26, prepare left-hand finger two over the fingerboard in the proximity of the
sixth string. If the rhythm is not clear in bars 26 through 28, tap these bars out first before
trying to play them.
The word, Miakoda is of Native American origin and translates as ‘‘Power of the Moon’ ’ .
(See also: Golpe)
92
Cochise
Steve Marsh
Allegretto = 110
tambour
5 tambour golpe tambour golpe
2 4
13
1 0
17
21
24
tambour
93
Tambour
Miakoda
Steve Marsh
Allegretto q =100
Tambour
p
pp f
5
3
1 3
11
3
3
2
3
m
2
Tambour Tambour
f pp f pp
17
a
Tambour Tambour
f pp f pp f
VII
22
1
ff
Tambour Tambour Tambour
27
1
2
m
Tambour f Tambour
m taps lower bridge gradually fade away
32
Tambour
94
TREMOLO
Some of the most beautiful and memorable compositions written for the guitar involve the
tremolo technique, so this is definitely worth all the required effort. The tremolo is a method
where the right-hand thumb plays a bass note followed by three other notes, usually on the
treble strings, which are played with a, m and i in that order. The key factor here is
evenness; the rhythm should be rock steady with no irregularities between the four notes.
Play the following exercise at a slow tempo initially (around a crotchet=60), and then gradually
build up the speed as you get more technically proficient. If any unevenness begins to creep
in, slow down. As the three repeated notes are all on string 3, you are required to keep the
left-hand fingers close to this string for economy in movement. Sometimes when the tremolo
is on string 1, there is a tendency for the fingers to splay out too far away from the string, so
practicing on an inner string is a better introduction to this technique. Make sure that
your right hand is kept very still, with no ‘bouncing’ up and down as the notes are plucked
and that your wrist is held fairly flat with no excessive curve.
PERFORMANCE NOTES
BUNDLE
The tremolo section at bar 13 uses only a three-note, triplet version as a preparatory study;
this should also be practiced a and m as a separate finger development. When you think you
are ready, move on to the four-note version. ‘‘Bundle’’ is written in a Theme and Variations
style where the first four bars – the theme - are heard throughout the piece in different guises.
Bars 5 to 8 have an added bass line; bars 9 to 12 feature the theme in the bass; and bars
13 to 21 are in the tremolo style with the melody back on the treble strings. The final eight
bars have an arpeggio accompaniment and the piece ends with a slight dissonance.
(See also: Barre - Full)
CAMEO
Here we encounter small ‘clusters’ of tremolo in the melody line moving back and forth
between strings 1 and 2. Keep the beat steady, particularly when transferring the tremolo
between strings.
95
Bundle
Steve Marsh
Lento = 70 2 4
1
4 2 4 4 4
1 2 1 2
1
2
4 4 3 3
7
4
2
4 BII
4
1 1 2 1
3 1 1 1
4
13 pm i pm i pm i pm i 1
1
2
4 4
15
1
2 1
3
4
17 4 2
0 0
1 1
3
4
19
2
1 1
3
21
1
2 3
molto rit. BII
25 1 1
2
2 4 3
1
96
Cameo
Steve Marsh
Moderato =100
p a m i 4
a a a
2 3
3
10
13
16
19
4
3
0
97
VIBRATO
Vibrato comes from the Italian word vibrare meaning to ‘‘vibrate’’. When a note is played with
vibrato the sound is altered by a left-hand finger rocking back and forth on the string. In
effect, the string is being slightly stretched and loosened, be it ever so subtly. Several
different sorts of vibrato are used and these are dictated by both the kind of music being
played and the performer’s musical taste. The effect can vary from slow and mournful one,
through to rapid and intense. This technique, not normally written in the score, is
usually left to the individual’s musical taste, but for the purposes of this book I’ve
suggested places by a wavy line.
As vibrato is easier to achieve higher up the fingerboard where the strings feel looser the
following exercise is based on notes at fret 7. Play the first bar of each pair of bars non-
vibrato and listen carefully to its usual sound. To achieve vibrato, pluck the string then
gently rock finger two back and forth parallel to the string using your left wrist to reinforce
the movement and keeping the finger in a firm position behind the fret. You should hear a
marked difference between the normal sound and the vibrato sound. Be careful that your
finger does not relax and slips over the fret. The left thumb should still be gripping the
back of the fingerboard, although sometimes, for a more powerful vibrato, it can be
released. Try playing this exercise with all four left-hand fingers, and experiment with
different ‘rocking’ speeds.
PERFORMANCE NOTES
IT’S OUT THERE!
In this piece, aim for a strong, intense vibrato sound. Sustain each chord for the full length
of its bar and make sure you use the suggested fingers to slide up the fingerboard. Pay
particular attention to the right-hand fingering in bar 11.
(See also: Glissando)
SEAGULL
Due to this composition being of a melancholy character, I would suggest going for a slow
rocking motion for the vibrato. The piece can be played very freely, with relatively lengthy
pauses between phrases. The left-hand fingering is intentional to produce a specific sound,
so please follow it carefully!
(See also: Barre – Full/Partial; Position Changes; Spread Chords)
98
It's Out There!
Steve Marsh
Moderato = 120
4
4 1 2
i i p i a m
p m i
p
4
1
7
4 1 1 4 2
10
0
2 V 4 3 0
0
1 0
3
a
0 i p m i m i p i
p 1
13
16
19
22
2 2
gliss
99
Seagull
Steve Marsh
Lento e pensoso = 50
BII3
1 2 2 4 1 1 2 2 4 1
1 1 2 2 1 3 4 1 1 3
5
3 0 1 2 2 4 2 4 1 4
3 4 4 3 3 4 4 3 1 2 3 1
10
4 3 4 1 2 2 4
2 1 4 1 2 4 2 3 2
4 4 3 3
15 II 2 BII3 1 4 4
3 0 3
1 2 4 1 2 4 2
1 1 4 2
4 3 2
3
0 2 2
1 2 4 2 4 BII
3 4
20 4
4 4 1 4
25 2 3 2
2
1 0 1 2
1 4
3
4 4 3 4
4 2 1
29 1
1 1 4 3 3 1
1 0 3 3 3 2 3
100
PERCUSSION KEY
The symbols below refer only to the pieces used in this book; the equivalent percussive effect may be notated differently
when encountered in other music.
Slap: Smack the strings where the fingerboard ends over the sound hole by twisting
the wrist and using the side of the thumb to obtain a satisfying 'thwack' sound.
Golpe: Tap the front of the guitar above the sound hole with the side of the right-hand thumb.
Golpe: Tap the front of the guitar below the sound hole with a right-hand finger.
Rapid alternation of i and m on the front of the guitar below the sound hole.
Muffle strings with left-hand fingers.
p taps lower bridge
p taps upper bridge
m taps lower bridge
Tap front of guitar below neck with left-hand fingers.
101
MEL BAY PUBLICATIONS, INC. • www.MELBAY.com
102
About the Author
103
Other Mel Bay Classic Guitar Technique Books
Diatonic Arpeggios for Classical Guitar (Meyer)
Classical Guitar Pedagogy (Glise)
Complete Giuliani Studies (Grimes)
Complete Sor Studies for Guitar (Grimes)
Complete Warm-Up for Classical Guitar (Vardanyan)
Crystal Harmonics for Guitar (Vardanyan)
Eduardo Fernandez: Technique, Mechanism, Learning
Giuliani Revisited (Berg)
Guitar Technique Through Repertoire (Reilly)
Killer Technique: Classic Guitar (Vardanyan)
Mastering Guitar Technique: Process and Essence (Berg)
On Competitions (Azabagic)
Reaching the Next Level (Masters)
Ricardo Iznaola: Kitharologus - The Path to Virtuosity
Ricardo Iznaola On Practicing
Right-Hand Studies for Five Fingers (Postlewate)
Summa Kitharologica Vol. 1: The Physiology of Guitar Playing
(Iznaola)
The Art of Rasgueado (Anastassakis)
The Art of Tremolo (Anastassakis)
The Guitar Gymnasium (Hill)
Tuning the Guitar by Ear (Klickstein)
Velocity Etudes (W. Bay)
WWW.MELBAY.COM
104
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