VOLUME 1 by Mel BayCLASSIC GUITAR VOLUME 1 MEL BAY This Method has been created forthe fulillmentof a great need. That need is a simple direct approach to good classic guitar playing ‘Aihough he author has been elablished as a modem gui sli, he hasbeen associcted with the classic lar since he age of foureen when he became a doveod stucent of the music and methods of Carcass, Sor, Kovado, Caroll Tereger Mertzcand mary a danse quiet moses The Mol Bay methods for the modern guitar have bee’ received enthusiasicolly all over the world, Teachers using these methods have noted the volume of classic guitar music used in those methods. “the mary requests fore clessie gular melfod carly graded and easly undesiood hos been the prime reason for he creation of this course of study q €D CONTENTS: [1 frre Up 8 roduc (2:35) The Bulder/Poge 233) sonorin/Foge 37 1103) [2] Spuiira Selo /Pone 12 (25) Sell Cherd fda/Fege 23 (26) BY SanonFoge 7 (58). [3] The Thi inger/Poge 194 Bas Sol Poge 2484) 1 dow 38 1.22 [a] The Merry Me Page 13 [9 ) Une iirua/Pape2 5) EB The Couche Pere 39 (1 06) [5] How Gon’ leave Taee/Page 1758) 21, MisetrPage 271.5), (Be A Serena Page 40 (0) ‘sdonin/Poge 17 (56 Deyeyhage 27 (107 ‘ration rai Toge A 20 (ZT freSera WaPo 01.00) BR A Thy gy a9 157 Theil Pine/ Page 2 108) SicFencoPage 18 (45), wate/Page 31 (97) By the Moorig/ege 42 (1.0) 1B] The Peay Nee /Page 19 [189] BE Reine Foye 22 (124) he Foggy. Fay Dow/Poge 45 48) Eado/Poge 19 [48 BB eclon Nahe /tece 722-19) AYN by Sov Pope do 3) ‘ASindy by Aguede/Page20(1:14) BF Ran Dupn/Poue 3 4d). BE Andone/Foge 40022) Fal Loader/Pege 21 (131) rode Sogo 25 |48) BBL Anal Modea/Pope 47 (58) Alpine Ethon/Poged” (39, “oe Ge Ta Foye 24 44) Song by Rgroce/Poge 47 (113) ‘levPage 21 f03, Bal holon hefPoge 3811.2) Vlakein= Nn ege 8 (108) I] Th Tio Webe/Page 22 ($9) ClssicDevee/ fogs 35 [1.01] Conshioge 4 (123) TES The Chen Wee Pog 2557) FB) A Coning Ne Fo th Ak (12) (©1970 8 NEL BAY FUBLICATIONG, INC, PACIFC, MO 62b60, ALLPIGHTS RESERVED NTERMATIONAL COPYRIGHT SECURED & Al MADE AND PRINTED NUS & Visit us on the Web at http://www.melbay.com — E-mail us at email@ melbay.com 1234567890For centuries the guitar has been the king of the fretted instruments. At no time in is today. At no time in the life of the guitar has there been so many styles played as proficiently 05 today. is history was it as great in prominence as We have the moden plectrum, the electric spanish, the country-western, flamenco ‘and classic, The classic guitar is at the height of its popularity today. The style of instrument, type of music and technique of playing has not changed radically in the past hundred years. The music of Careassi, Aguado, Carulli, Sor and Torrega is stil tops in literature and is played beautifully by the leading artists today. The greotest difficulty for the beginner has been the - lack of an effective approach to that literature. The Eun Clank Guitar Sotp creation of this method of classic guitar playing has been to make the road to great literature an easy one. It is essential that you employ the companion folio to this volume. “The Mel Bay Folio of Classic Guitar Solos” and play the designated selections as recom- mended throughout this first volume of the Mel Bay Classic Guitar Method. Cooma 1870 ty Mal Bay Pabitins, ie hrnavonal Cepynget Seuree <= Pred in USATUNING THE GUITAR The six open strings of the guitar will be of the same pitch as the six notes shown in the illus- trotion of the piano keyboard, Note that five of the strings are below the middle C of the piano keyboard PIANO. NOTATION GUITAR NOTATION staves etm STH 4TH 980 2ND 157 ANOTHER METHOD OF TUNING 1. Tone the sting anion to the B ot wath wie ter EI OOEGIC) E A DG 8 E Jo the LEFT of MIDDLE C on the pianc. 4. Place the finger behind the fifth fret of the éth sting. Ths will give you tho rene or pitch of the Sth string, (A) = 7 mr 4 + 3. Place finger behind the fifth fret of the Sth sting to get the ich of the 4th aring, (D) 4. Repeat some procedure fe obtain the pitch of the 3rd string. (6) 5. Place finger behind the FOURTH FRET of the Std string to get the pitch of the 2nd string. (B) 6. Place finger behind the fifth fret of the 2nd string to get the pitch of the Ist siring. (E) PITCH PIPES Pitch pipes with instructions for their usage may be obtained af any music store. Each pipe will hove the correct pitch of eoch guitar string and are recommended to be used when a piono is net available. Copyright 1870 by Mal Boy Publications, In, > Inerainal Coyrigt Secured =~ Plinked in USA,THE RUDIMENTS OF MUSIC THE STAFF: Music is written on a STAFF consisting of FIVE LINES and FOUR SPACES. The lines and spaces are numbered upward as shown: Sa a ara act am Ne EO meta! no ace Main Vet FPACk ‘THE LINES AND SPACES ARE NAMED AFTER LETTERS OF THE ALPHABET. The LINES are named as follows: ae =, 08 <= if ' a) Does ©) Boy Good The letters can easily be remembered by the sentence — Every The letier-names of the SPACES are = 3 .— — 1 They spell the word FA-C-E The musical alphabet has soven letters A B C D E F G The STAFF is divided into measures by vertical lines called BARS THE CLEF: THE SECOND UNE OF THE TREBLE CLEF IS KNOWN AS THIS SIGN IS THE TREBLE Thc LINE. MANY PEOPLE OR G CLEF, CALL THE TREBLE CLEF THE G CLEF BECAUSE IT CIRCLES AROUND THE G LINE. ‘AUL GUITAR MUSIC WILL BE WRITTEN IN THIS CLEF.NOTES: THIS IS A NOTE: e e The HEAD A NOTE HAS THREE PARTS. THEY ARE The STEM | The FLAG NOTES MAY BE PLACED IN THE STAFF ABOVE THE STAFF, e 7 o AND BELOW THE STAFF A note will bear the name of the line or space it occupies on the staff, dicate the Pitch The locetion of a note in, above or below the stoff wi PITCH: the highness or lowness of @ tone. TONE: o musical sound. TYPES OF NOTES THE TYPE OF NOTE WILL INDICATE THE LENGTH OF ITS SOUND. Oils is A WHOLE NOTE THE HEAD |S HOLLOW © = 4 BEATS IT DOES NOT HAVE A STEM. A WHOLE-NOTE WILL RECEIVE FOUR BEATS OR COUNTS. THIS IS A HALF NOTE i THE HEAD IS HOLLOW | = 2 BEATS IT HAS A STEM, A HALF-NOTE WILL RECEIVE TWO BEATS OR COUNTS THIS IS A QUARTER NOTE =| THE HEAD 1S SOLID = 1 BEAT IT HAS A STEM. ‘A QUARTER NOTE WILL RE- CEIVE ONE BEAT OR COUNT. THIS IS AN EIGHTH NOTE an THE HEAD 1S SOLID = %s BEAT IT HAS A STEM AND A FLAG. AN EIGHTH-NOTE WILL RECEIVE ONE- HALF BEAT OR COUNT, (2 FOR 1 BEAT)6 RESTS: ‘A REST is c sign used to designate o period of silence. This period of silence will be of the some duration of time as the note to which it corresponds. Js 0 som me 8 «our Tis Is A HALF REST. NOTE THAT IT LAYS ON THE LINE, TH _ Tis 1s a WHOLE REST. NOTE THAT IT HANGS DOWN FROM THE LINE, NOTES WHOLE HALE QUARTER EIGHTH 4 COUNTS 2 COUNTS 1 COUNT 2 FOR \ COUNT RESTS THE TIME SIGNATURE = = = THE ABOVE EXAMPLES ARE THE COMMON TYPES OF TIME SIGNATURES TO BE USED IN THIS BOOK. THE TOP NUMBER INDICATES THE NUMBER OF BEATS PER MEASURE BEATS PER MEASURE THE BOTTOM NUMBER INDICATES ‘A QUARTER NOTE RECEIVES THE TYPE OF NOTE RECEIVING ‘ONE BEAT ONE BEAT. SIGMIPIES 50 CALLED “COMMON TE AND 1s SIMPLY ANOTHER War oF orsienanne 4 1HLEDGER LINES: 7 When the pitch of a musical sound is below or above the staff, the notes are then placed on, or between, extra lines colled LEDGER LINES. THEY WILL BE LIKE THIS: ‘The vertical lines are the STRINGS, The horizontal lines are the FRETS. The encircled numbers are the number of the STRINGS. STRING STRING-NUMBERS: The encircled numbers 6 5 4 3 2 1 will be the numbers of the STRINGS. CHARTS: ®©OO OOOO The charts used in this book will have the VERTICAL-LINES as the STRINGS and the HORIZONTAL-LINES as the FRETS. Reading from left to right the strings will “@@O@@OOOThe Correct Way To Hold the Guitar (TWO WAYS SHOWN) 1, The Left Leg Crossed 2. Placing the Left Foot ever the Right. on a Small Stool: ~*~ 7 ) 2d’ 4 THE RIGHT HAND (R. H.) THE RIGHT HAND FINGERS WILL BE DESIGNATED AS THE NAMES OF THE R. H, FINGERS ARE: (English) (ABV) [Sponish) Ist — Index Indl 2nd — Middle (MM) Medio ard A) Anulor Thumb — (Ph) PuloarPlucking the Strings THE LEFT HAND (L. He) =’ —-... Place your fingers firmly on the strings directly behind the frets.10 NOTES ON THE FIRST STRING (OPEN) 1ST FRET RD FRET 1ST FINGER 38D FINGER o— PRESS THE FINGERS FIRMLY BEHIND THE FRETS. NEVER PLACE THE FINGER ‘ON THE FRETS, A WHOLENOTE (©) receives FOUR BEATS. Slow i m f oF COUNT, 1-2-3-4 A waizwore 1d) meses 1WO seas i o i a B coun? 203 4 S28 Beer? eeNOTES ON THE SECOND STRING THREE NOTES ON THE 2ND STRING (OPEN) «IST FRET 3RD FRET 1ST FINGER 3RD FINGER COUNT:12 34 imim imio imimimim imim imtm imim imi COUNT:1 2.3 4NOTES ON THE THIRD STRING RD TWO NOTES ON THE 3R0 STRING A STUDY ON THE THIRD STRING m im i mim ijmiim i mim 4 COUNT: 123 4 Sparkling Stella im ss omRight Hand Study 7 min imim imim imim imim imim i imim imi Mim imim imim imio imim imim imim imi Repeat the above study until mastered. Introducing the Right Hand Third Finger (a) TF THREE-FOUR TIME DOTTED | - HALF NOTES ne so 3 — BEATS PER MEASURE 4 — TYPE OF NOTE RECEIVING ONE BEAT (quarter nate) “ d = 2 COUNTS a =3 counts) gee ase ent es tor \" In THREEFOUR time, we will have thru beats perm: The Merry Men1 NOTES ON THE FOURTH STRING am THREE NOTES ON THE 4TH STRING rer) (OPEN) 2ND FRET Ro Fer 2ND FINGER 3RD FINGER COUNT. 123.4 COUNT; 12.94 1213 4) a oe COUNT: 1 20030 4NOTES ON THE FIFTH STRING STH THREE NOTES ON THE STH STRING (OPEN) 2ND FRET SRD FRET 2ND FINGER 38D FING! = COUNT: 1234NOTES ON THE SIXTH STRINGTwo Solos The following solos will be played on the 6th, 5th, and Ath strings. Play slowly at first keeping the time as evenly os possible. Do not raise the left hand fingers from the strings until absolutely necessary. How Can | Leave Thee Slow p COUN: 1 2 3° @ Andantino $2 SSS a ae ee eoINTRODUCING THE A NOTE e cae sm FRET Tf fF fF pom Da Cape al Fine (D.C. al Fine): Go back to the beginning and play to FINE. (The End}Other Tempo Terms ALLEGRETTO . ... Lively ADAGIO.... Slower than Andante VIVANCE..... Very Fast ANDANTINO |... Faster than Andante PRESTO .....As fast os possible LARGO... Slower than Adagio ALLEGRO MODERATO ...... Moderately fast LENTO ....As slow ot possible Play the RIGHT HAND DEVELOPMENT ETUDE using each of the Six Patterns throughout the entire ‘Onn mam aumber, ami cami See the “MEL BAY FOLIO OF CLASSIC GUITAR SOLOS”The following Solo introduces the note: : =] done by playing the note D wi ond playing the note B with th SenoritaSee the “MEL BAY FOLIO OF CLASSIC GUITAR SOLOS” 36 ANDANTE F CARUULEThe Key of G The Key of G will hove one shorp. (F3) 2 fy © a It will be identified by this signature: The F-notes will be played as shown: ay , 2 A? Es | | ots tween Faia! 2nd frat ‘th finger 2nd finger Ind finger The G Scale Note that in order to hove the holf-steps falling between the seventh and eighth degrees of the scale the F must be sharped. ‘Our major scote pattern is then correct, (1,1, ¥%, 1, 1, 1, 5) (steps) A Daily Drill i_m im i imimiminm Mimimim imimimim i, fd) Festededzslaurrsssir eee aS os GUITAR SOLO CARCASSIBAY Allegro TE SeowCHORDS IN THE KEY OF G c A Scale Study na imi a imi im see pp derere AS oe 2 counts 1 28s mim; imi™ jmimi imimi mi mi ™ = tes sae seed A = oa! : = imimim imimiM@gm ;Mingmi ™ imimim 4 ts in A Serenade Moderato | QS TrSTRPER FOWSS Hopes Race win, the tue The following combinations should be mastered before ploying the AUSTRIAN HYMN. OF mi 1 4 7 er q WI! - tt. " . \_» alt hls svi “Pp ee PPT F Austrian Hymn # a Ss a 4 rr Pep rr pr rper eter rere Gi eS SS Teper le ttre seep reer peer rep: Wl, 41 ‘|The Little Prince m By da = 1 im jy add _ t ze ee eee wp Per etre weet te te pe @ ste = i See repro opr rrp reer er er 6 —— rose Frere rerrr =F See the “MEL BAY FOLIO OF CLASSIC GUITAR SOLOS”THE KEY OF E MINOR 7 (Relative to G Major) The Key of € Minor will have the some key signature as G Mojor. Two E Minor Scales Harmonic Melodic — i dll The above scales should be memorized, THE CHORDS IN THE KEY OF E MINOR The Chords in the Key of E Minor are: Accompaniment Styles in the Key of E Minor Em Am BT _— Em “= An BI Em EE eel Agee | tS An Emi Em j mi SmDotted Quarter Notes ‘A DOT AFTER A NOTE increases its Value by ONE-HALF, Dotted YA-Note The count Three Eighths tual of GE | dotted quarter-note is os follows: $e er etl et COUNT: 124348 128348 128348122348 A Dotted Quarter-Note Etude z agae Bolter 4g re E MINOR ( t oy ae oa ourRight Hand Technique Held third finger on the D note throughout. ? 6 te eee seer I= sececd (ed, a a eee Co a oe pa = 4 = + SSS zr et Pt tte $ SSeS a PPR prer Ce er RR? $ Ree aaa ak; we re fo tet prereset sA Waltz By Sor - FP a or a r Trae OF z 7 a oie f = SS of = £ — e oY r a a ANDANTE 1K, MERTZ: roe draw 7 t pt oor Spa ey rie r rrr pe a z. I 4 HLA ¢ ics ae: I oh TWIN) Fe “vl wi ? i at ||| ateA Night In Madrid tr L My. & ah q I | PHP Il. ‘ in TRS Al} je +. ne ey -P ue s & Ay) | “| i ~ [pe ia at ee Ain hy tt It al) Me i) . He wo 2 b i i ae I 3 ] | | {I a Tne > Fill fe te Ty Hl I} 2 I fmm TMU time pla & Te IR |) { aie il a itl ue i ty |R iN 5 WN] TLS @ CS ee 4. We . HH} iil i. . lll | Ate HR IR I os a ft. | All Ine me | | ayiet tWaltz in E Minor “ail a | a =~ all ut | ah 7 7 r srl