26 Elude No.1 Careful alternation of (i) and (). PPR e___# FPPPrelude No. 6_ to the nearest note up or down. For ¢ the nearest fret either up or doy: 28 HALE AND WHOLE STEPS A HALF-STEP is the distance from one note from an open string to the first fret, or from any fret t© A WHOLE-STEP consists of two half-steps: THE CHROMATIC SIGNS (Also called ACCIDENTALS) A CHROMATIC SIGN raises or lowers its note one half-step. The chromatic signs used jg SFEZE nich raises i nove one halt-step. ‘The SHARP ‘The FLAT The NATURAL SSe= which restores its note to the natural pitch after ‘ NOTES ON THE E or Ist STRING (Open and first four frets) it has been raised or lowered. NOTES ON THE B or 2nd STRING (Open and first four frets) tee te —— ¥# e—e tebe» SSeS o t i 12343 210 o 123 3210 ° nt q 4 = ep beef 9 oe The numbers 0, 1, 2, 3, and 4 between the staffs indicate both fingers and frets, i In playing the above examples the student will quickly observe that some notes are identi- call in sound but have two names, e.g. F# is Gb, Db is CH, etc. In fact, any note which has « "sharp name" also has a "flat name" and vice versa. It is recommended that the following CHROMATIC SCALE exercise be played ten or more | times at the very beginning of each practice session, EVENLY: LEFT FINGERS CURVED (see Fig. 10) RIGHT TIP-SEGMENTS RELAXED! Ex. 16 When ascending on any scale, the left fingers, must remain down until changing to the next higher string; NEVER LIFT OR PLACE A FINGER UNTIL NECESSARY,THE EIGHTH-NOTE An eighth note, 2) (or rest 7 ) receives one-half the time value of a quarter note. In instrumental music the stems of consecutive eighth notes are usually tied together: instead of each appearing with a flag: )N) SS meee ee A ee ee Musical notation for the guitar is not always written as it sounds; it is done for convenience in reading ana writing. Prelude No.7 introduces an example of this type of notation. Each quar- note in the melody (treble part) has a stem also pointing downward to take the place of an eighth note in the accompaniment or bass part. In playing the bass notes, the student may ob- serve that each eighth note will actually sound for the duration of a quarter note. In sounding the G string, where (i) comes to rest on the adjacent D string, the finger must be permitted to bounce outward in order to allow (p) to sound the D string immediately there- after. See measures 2, 4, 6, 8, 10, and 12, SLOWLY and EVENLY Prelude No.7 cont 1 & 2&8 3&8 4% 1 & ete. $ Ce Ger oo a HOW YOU PRACTICE is the one most important factor in your study of music and the guitar, Thoughtful practice habits applied regularly each day with enough time will assure you of suc- cess, Cultivate the enjoyment of knowing you are correctly learning to play one of the most beautiful and personal of instruments.30 FREE-STROKE WITH THE FINGERS Ke, dk ‘The term FREE-STROKE means that the finger, in making IS ST7OK®, 2068 n0% come og 4 against the next lower string but glides freely above it Free-stroke with the fingers must generally be employed in Playing @xPeEBI08 ty pe, tones of adjacent strings to be sustained, Figure 12 Rest-stroke position is indicated by the broken line, the new free-stroke position by heayy continuous lines, Figure 13 Figure 7 (Same as under Rest-stroke) PLACING THE HAND FOR FREE-STROKE 1, Begin with the hand in position for rest-stroke, (i) resting on Ist string. 2, With elbow as pivot, lower hand in direction of floor (Fig. 12) until (i) assumes a con- siderably sharper angle at first joint, X, (Fig. 13) and (p) is comfortably extended to the side (Fig. 7) and placed on 2nd string. 3. DO NOT CHANGE TILT OF HAND (Fig. 7) OR CURVE OF WRIST! General position of hand to arm must remain the same for both rest-stroke and free-stroke, 4, TIP-SEGMENTS MUST REMAIN RELAXED! The "brush action" explained under rest- stroke, page 13 is to be carefully initiated and maintained in free-stroke.31 EXERCISES FOR THE FREE-STROKE Begin each of the following exercises very SLOWLY, CAREFULLY! Ex17 First with i, many times over, then m, then a. 1, Is tip-segment relaxing? If not, hand should be lower. Also, it may be necessary to Prepare finger on string and press across as in beginning study of rest-stroke. Prac- tice until tip will relax when finger is correctly "flicked" across string. 2, Does finger tend to touch next lower string (in this case the 2nd) instead of gliding freely above it? If so, the hand has not been lowered enough and probably the finger is not being directed sharply enough upward toward palm of hand from the first joint at X. 3, Does the first segment tend to "kick outward" from knuckle during stroke? Some stu- dents possess this very harmful natural tendency. THE FIRST SEGMENT MUST EXE- CUTE A DEFINITE "FOLLOW-THROUGH" immediately after finger sounds string. TAKE TIME NOW TO DO IT CORRECTLY! Thoughtfully analyze each step, study specific problems and practice slowly, Do not expect to perfect the free-stroke movement in one or two sessions, It will generally become habit within a few days of good study, You will be richly re- warded for your patience in terms of tone, assurance, fluency, and volume, Ex, 18 then, m-a Ex, 20 Place (p) on 3rd string. mis then, m-a then, m-a then, m-a F.C.193732 ‘RINGS FREE-STROKE ON ADJACENT STI then, meg Ex, 24 ee When a reasonable degree of relaxation and fluency have been attained with the foregoing exercises, thoroughly study Exercises 22, 23, and 24 WITHOUT THE SUPPORT OF (p) REST. ING ON STRING, This is in preparation for the following where free-stroke with both (p) and the fingers is required. IMPORTANT! Spare no effort to perfect the coordinated free-stroke movement of (p) and fingers introduced in the following exercises, Study each exercise thoroughly until the fingers extend as (p) makes stroke and (p) lifts to playing position as finger makes stroke, similar to the movement for Prelude 7. ‘The problem here which requires most careful attention is that of holding the RIGHT HAND STEADY, since all movement for each stroke come from (p) or the fingers. The student will find this increasingly difficult as (p) and the fingers become farther separated. Keep hand in Position for fingers to execute free-stroke with maximum ease; then train (p) to perform the required lift in reaching lower strings. DO NOT LIFT HAND! Ex, 26 also, p= m, then, p- a. also, p - m, then, p- a.Do not attempt at this time to stop vibrations of strings where rests appear. Elude No.2 (All FREE-STROKE) a ps aS Etude No. 2a The student is advised to review carefully and continuously the material presented on this page until the right hand fingers and thumb move with a reasonable degree of accuracy and freedom. Progress will be faster and easier if the fingers are properly trained from the begin- ng.34 SLOWLY until thoroughly earned. Only then can the fingers Jcly with relaxation and ‘smoothness. g VERY SLOWLY AT Always play any new material be properly trained to move quic FIRST. Etude No. 3, in 3/4 time is counted 18, 28, 3 Etude No. 3Half-Steps on the G or 3rd String ‘The following CHROMATIC SCALE EXERCISE includes G# and A¥ on the G-3rd string; these notes may also be called what flats? Begin each practice session by playing Ex, 29 ten or more times, The REST-STROKE is used here as in all scale exercises and studies. LEPT FINGERS CURVED, HELD DOWN IN ASCENDING; RIGHT TIP-SEGMENTS RELAXED. Ex. 29 Etude No. 4 includes G# and A on the 3rd string, ‘A CHROMATIC SIGN is effective for the rest of the one measure in which it appears: e.g., G# is played throughout measures 3, 4, and 12, First with (i) and (m), then (m) and (a); DO NOT NEGLECT (a). COUNT SLOWLY and EVENLY; RIGHT HAND RELAXED and STEADY. Etude No.4 (Free-stroke) Hold fingers down as shown by broken lines, AA 24 4ON (F) line ofthe staf in Prelude no, F sharp is played instead of 36 Observe the sharp (f) just after the clef sign on the fifth 8. It indicates that whenever the note "F” appears in this piece natural, ‘The sharp signs in parenthesis have been included as mere reminders and are not ordinary ly found in music. Do you know the meaning of "C" used as a time signature? (See P. 9) Rest-stroke with fingers; free-stroke with (p) as in Prelude No. 4. Prelude No. 8 Strict alternation of (m) and (i). fa ARPEGGIO: USING (p), (i), (m), and (2) CONSECUTIVELY ‘The following example and prelude are in arpeggio form, that is to say, the recurrent fig- ure that occupies each measure contains the three notes of a complete chord. They should, therefore, be played by using: FREE-STROKE with fingers, and (p). The student should observe | the following points of importance: ! 1. Fingers (i,m,a,) must NOT be placed (rested) upon strings before strokes are made, The fingers should be in playing position, each suspended above its string, until time for the stroke, then flicked across executing a full "follow-through", 2. After playing the arpeggio figure (one measure), the fingers should return to playing position at the time (p) makes its stroke. SLOWLY: HAND RELAXED AND STEADY Ex. 30 imo i REPEAT. until this figure can be | played WITHOUT watching fingers. TIP-SEGMENTS RELAXED!Nambera by notes indicate left fingers. (F# on Ist- string is played with 3rd finger, G with uh finger. SLOWLY with EYES ON MUSIC! Prelude No. 938 CARE AND USE OF THE RIGHT HAND NAILS son wiht World's finest and most widely recognized classic guitarists use nails in conjunc. tion with the fleshy part of their finger-tips to sound the strings of the guitar. Due to the nature of their work or for other reasons, some students are unable to keep thelr nails in good playing condition; they should not be discouraged in their efforts to play the guitar. Much pleasure may be obtained from playing the instrument well without nails. How. ever, the serious and aspiring student of the classic guitar must consider use of the nails ab. Solutely necessary. Without them there exists a lack of brilliance in execution and volume; ang most important, the tonal resources of the guitar, to a great extent, remain dormant If the student has properly developed the first principle of correct finger-action (i.e, relaxed tip-segments), very little difficulty will be experienced in using the nails. The strings Should be struck with the fleshy part of the finger tips exactly as previously described in de. tail; when the nails have grown to proper length, they will automatically sound the strings ag each stroke is executed. No attempt will be made here to set down definite or precise rules regarding the shape of the nails because their characteristics vary with the individual. By studying the following figures the student will acquire some knowledge as to how different types of finger-nails are shaped; then through practice he will soon learn how to shape his own for best results. ‘The important points to keep in mind are: 1, With the hand in correct playing position (previous Figs. 6 and 7) only the left tip of nail will strike strings, 2, Nails must not be too long; not more than 1/16 in, of the nails should strike the strings, 3. Nails should be shaped by holding a fine file or emery board at somewhat of an angle and underneath (Figs. 14 & 15) so as to form a flat or straight surface for striking the strings, (a)Nails which tend to grow in a hook or curve will assume an angled shape (Fig. 17); those which are straight will become rounded (Fig. 16). 4. After shaping from underneath, rough top edges should be lightly smoothed, 5. As required, in accordance with the texture of the nails, the striking edges may finally be polished with very fine emery cloth, sandpaper, etc, 6. With the tip-segment of the finger relaxed the correctly shaped nail will glide freely across the string, If there is a sensation of "hooking" or "catching" dur- ing the stroke, the nail has not been properly flattened from underneath, is too ong, or tip-segment is not properly relaxed, 7. And most important! Listen to the tone; if it is harsh or unpleasing to the ear in some respect, alter the shape of the nails slightly. Experiment until you ob- tain a beautiful tone; this is a prime essential for the concert guitarist,40 reful alternation of (m) and (, ed, Ca Name each note a 1& is played until thoroughly 162" then (a) and (m). Ex, 31 ae SEGMENTS RELAXED! SLOWLY, EVENLY; LEFT FINGERS CURVED, RIGHT Te Ex, 32 pint ‘The two following Etudes No, 5 and No. 6 are played free-stroke with BOTH (p) and fingers, IMPORTANT! Carefully check to see that right 1, wrist is practically flat (not arched). 2, hand has been lowered to free-stroke position. 3, hand is being held very STEADY. SLOWLY at first! With (i) and (m), then (m) and (2). Etude No. 541 Etude No. 6 Prelude 10 introduces a new time signature; how is it counted? (See p. 9) (m) must execute a follow-through movement as (i) makes its stroke; both fingers extend to playing position when (p) makes its stroke, Also practice with (a) and (m) applying the same principles. Prelude No. 10 is played free-stroke with both (p), and fingers. Carefully observe left hand fingering; the 4th finger is used for G on the Ist string and D on the 2nd string. SLOWLY until learned; then practice for more speed, Prelude No. 10 Popet 4in 42 treble part before attempting Carefully practice measures 4, 8, and 16, separate from th to play both together. we to make the strokes. Left Right hand RELAXED and STEADY; only thumb and nee ee escery. finger CURVED and HELD DOWN; they should move only SLOWLY until learned, then faster. Use metronome and count, MOORISH DANCE = t43 ‘The (p), (@), (m), (i) movement introduced in Prelude No. 10a is used in playing the beautiful tremolo compositions often heard in recitals and recordings. In a similar manner to that explained in Prelude 10, (a) and (m) each in turn must execute a follow-through (the follow-through with (i) is only slight). Emphasize the extension of (a) as (p) makes its stroke, (m) and (i) will normally follow out to playing position. CAUTION: (a) must attack with sufficient force to maintain a balance of volume with the stronger fingers (m) and (i). Prelude No. 10a Pei pom Half-Steps on the D or 4th String ‘The following chromatic scale exercise (No. 33) includes the notes, D# and F# on the 4th string; what are their "flat" names? The chromatic exercises are a most important part of the student's daily study. A concentrated effort should be made when ascending, to hold ALL left fingers down until changing to the next higher string. At the beginning of each practice session, play Ex, 33 ten or more times, until fingers are thoroughly free and invigorated. Ex, 33NOTES ON THE A OR Sth STRING ‘As Open 2nd Fret re 2nd Finger Name each note as it is played until all are thoroughly learned. Free-stroke with (p). LEFT FINGERS HELD DOWN IN ASCENDING. Ex, 34 COUNT SLOWLY, EVENLY. With (m) and (i), then (a) and (m). Etude No. 7 F.C.1937LLL LLL 45 Exercise 35 is first played with (p) until the LEFT HAND fingering is executed with confi- dence; then thoroughly practice with (i) and (m) rest-stroke always alternating. Bx, 35 ‘The measures containing 8th notes in Prelude No. 11 should be practiced separately, espe- cially where (1) and (a) are used, COUNT SLOWLY, EVENLY Prelude No. 11 dete Fre rr HOW YOU PRACTICE is the one most important factor in your stulyof music and the guitar, Thoughtful practice habits applied regularly each day with enough time will assure you of suc- cess, Anyone can learn to play the guitar well who sincerely desires to do so,46 NOTES ON THE E in studying Exercise 36. Name each note until all are learned. Ex, 36 ‘The bass part of Etude No. 8 should first be and evenly; then the treble part may easily be inc! fully observe the chromatic signs (accidentals): 41 sure; 5th string C# in sixth measure. Etude No. 8 J F.C.1937 on 6th STRING G, 3rd Fret 1" 3rd Finger SaaS studied alone until it cal ued to form 1 th string D# and Lst str sxercit full ‘The instructions given on the preceding page for Exercise 35 should be carefully followed in be played very freely he complete composition. Care. “ing F# in second meas.If the rhythm of Prelude No. 12 is broken by difficulty encountered in the third measure, practice it separately until it flows, Prelude No, 12ee yxcxe a 48 THE RIGHT HAND IN LONG SCALES e when crossing the strings in long* Maintaii o ion for rest-strok taining the correct hand position for rest-st Concentration on two func scale passages requires careful analysis and training. This demanls tion 1, Crossing the strings at an angle: a sli 2 : seri slight ee ee When THE ELBOW IS USED AS THE SOLE PIVOT POINT, and (ht Do hand-to-arm is maintained. Crossing the strings in this manner “CONT tt a plicated, unstable piston-like action of the arm sliding Tack anc [0 of the guitar. 2. When playing a descending scale the hand must be lifted suffcsently to maintain i correctly extended rest-stroke position with the fingers: pasar ae we epchen strong tendency not to lift the hand enough when the Sth and 6th THES A Eee lay forcing the fingers to curl under the hand in an awkward, tension-inducing J sion of natural notes and observe carefully the exercise every day, constantly striving cossing the strings. Memorize the following scalewise progres: points of technique just explained. Use as a warm-up to perfect a smooth and accurate right hand and arm movement In c¥ Ex, 38 (i) and (m), then (m) and (a) LEPT FINGERS CURVED, HELD DOWN IN ASCENDING Ex, 39 (i) and (m), then (m) and (a)Euale No. 9 is an excellent study of the natural notes on all six strings. ‘The coordinated action of (p) and (i) is especially im in g the type of figure found in the first (i) is especially important in playing the type © first and second measures: as (p) makes its stroke, (i) must extend dounward to playing position; as (1) makes its stroke, (p) must lift back to playing position. Employ free-stroke with both (p) and the £ HAN E STEADY! a ingers, RIGHT HAND RELAXED AND STEA SLOWLY until learned, then practice for speed.” Etude No. 950 Etude No. 9 (cont.) TWO NOTES PLAYED TOGETHER (Bingers, rest-stroke; (p), free-stroke) ‘The following five studies are examples of two notes played simultaneously. In Ex. 40, the fingers and (p) work closely together separated by only one string. (i) and (p) must not bump together causing one to restrict the stroke of the other; this tendency is eliminated by extend- ing (p) slightly farther forward (toward the fingerboard), and the fingers slightly backward. CORRECTLY RELAXED FINGER AND THUMB ACTION IS EXTREMELY IMPORTANT! Repeat each study until the individual fingers and (p) coordinate smoothly and with areason- able degree of relaxation. First with (p) and (i) together, then (p) and (m), then (p) and (a). REMEMBER, fingers, rest-stroke; (p), free-stroke,Ex, 40 Ex, 41 oa eee if First apply strict alternation as ‘ked; the with (m) te (m) and (i); OaGy catered marked; then begin with (m) and alternate (m) and (i); then SLOWLY; RIGHT HAND RELAXED AND STEADY 4 F 4, Etude No. 10‘The student is cautioned to not hurry through this material. The coordinated movements of the thumb and fingers must be carefully and thoroughly developed. Half-Steps on the A or Sth and E or 6th Strings Figure 18 (of Left hand) The new notes are Af and C$ on the Sth string, and F# and Gf on the 6th string; what are their flat names? It is interesting to observe that in playing the chromatic scale exercise below, the 4th fin- ger is used on all strings except the 3rd. Ex, 43 should be played from memory many times at the beginning of each practice session; it is an excellent study for both hands, LEFT FINGERS CURVED, HELD DOWN IN ASCENDING; RIGHT HAND INSTRUCTIONS FOR Ex. 38 MUST BE APPLIED HERE; EXTREMELY IMPORTANT! Ex, 43 F.C.1937Sign; locate them on your guitar, REMEM Her of these three notes appears in this composition it is a sharp, except in measure 12 where "G is marked with a natural sign, Play the melody (treble part) alone until thoroughly familiar with the notes and rhythm; then both treble and bass parts together as writen, Strictly alternate (i) and (m) using the rest-stroke. “D.C. al Fine” at the end of the fourth line means to repeat from the beginning of the compo- sition to "Fine". (For full meaning and Pronunciation consult a music dictionary.) SLOWLY, COUNT EVENLY Moderato M.M. ¢ =92 Folk Song a 4 53 ing The Folk Song below includes the three sharps: Ist string Ff, 2nd string C#, and 3rd stri Gfas indicated just after the clef i é » when either tT? FF |54 ‘Another method of sounding two notes together is with the fingers, while (p) again assumes @ Position of rest to support the hand, The student will observe that only the FREE-STROKE is possible when playing two notes to. Sether ON ADJACENT STRINGS, First with (m) and (i) together—(m) for the higher string, (1) for the lower—then practice thoroughly with (a) and (m), for the higher and lower strings respectively. SLOWLY; carefull 'y observing the basic principles of finger-action, RIGHT HAND RELAXED AND STEADY! Bx, 44 REMEMBER! A chromatic sign is effective for the rest of the one measure in which it appears, AAsain the student is advised not to rush the process of learning the guitar. The speed of ting Progress depends upon the amount of thoughtful practice you apply each day. Still it takes time to develop the mind and muscles correctly for playing this responsive instrument. The Student should experience much enjoyment from good practice; already you have been richly Tgtardedt Have faith that the full extent of your aspirations can be realized with time and pa. tient effort. Prelude No. 13 a3 2 2 F.C.1937COUNT SLOWLY, EVENLY Country Dance _ F. Carulli Allegretto M.M. 4 = 100 1770-1841 ee pied 7 Cer D.C. al Fine ‘The RIGHT HAND MUST REMAIN RELAXED AND STEADY. These compositions were in- tentionally written to be played slowly so that the student can concentrate upon relaxation and accuracy. Prelude No. 14 (p), free-stroke. (Remember to play F¥ throughout the entire composition)