First Notes (Classical Guitar Study)
2 3 © Strings Attached Music 4 5 Contents Page 4. Foreword 6. 7. 11. 18. 21. 25. 29. 30. 37. 41. 42. 43. 44.
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2
3
© Strings Attached Music
4
5
Contents
Page 4.
Foreword
6. 7. 11. 18. 21. 25. 29. 30. 37. 41. 42. 43. 44. 46. 48. 49. 51. 52. 54. 55. 56. 57. 58. 60. 61. 62. 64. 65. 66. 68. 70. 71.
The open strings Lesson 1. First three open strings Lesson 2. The three bass strings Lesson 3. Preparing the left hand fingers Lesson 4. First tunes The bass notes on strings 6-5-4 Review of all notes covered Lesson 5. First tunes revisited Harmonising with open notes Waltz. (Carulli) Andante in C Major (Carulli) Lesson 6. The key of G Major Scale study in G Major First chords. Harmonising in 3rds Introducing two new sharps Two short scale studies Scale review All notes in first position First tune using G sharp Malaguena Short arpeggio study 1 First study in C Major (Carulli) Study in C (Sor) Arpeggio study 2 Moving from 1st-3rd position Waltz (Aguado) Final Part Waltz in C Major (Carulli) Allegro No. 13 (Giuliani) Conclusion. Final part Andante in A minor (Carcassi) Romance (Molino) Reference page - Musical signs List of composers
6 THE OPEN STRINGS
Each string on the guitar has a named note; these notes are not so easy to remember in the early stages as the open strings do not appear to be in logical alphabetical order (i.e. a b c ...) although at a later stage when we form a scale they will make alphabetical sense. To give the strings and notes more meaning and to make them easier to remember, it is often a good idea to give each string an image: images have a greater impact on the imagination and the memory than words do. You may want to make up your own 'Nemonic', below is an example: The 6th string (the thickest) The 5th string The 4th string The 3rd string The 2nd string The 1st string
(E) Elephants (A) And (D) Donkeys (G) Grow (B) Big (E) Ears
There are two basic techniques that need to be addressed before starting the exercises: THE REST STROKE: (apoyando) THE FREE STROKE: (tirando) The 'Rest Stoke' or (Apoyando) is a method of plucking the strings to produce a rounded prominent sound: This technique is the first and most important concept that is sometimes overlooked in the early stages. Place the fingertip on the open E string and play the note bringing the finger to rest on the next (B) string. The 'Free Stroke' or (tirando) literally means to play the notes in a free flowing way with the right hand fingers being relaxed and not curled under; the wrist of the right hand should also be relaxed with a slight arch, think about what action this arch produces: If the hand is flat, the result will be that the fingers will point away from the strings: Create an arched wrist and the fingers will be poised above the strings where we want them to be. Right hand fingers will be indicated as follows: English: 1st. Index 2nd. Middle 3rd. Third Thumb -
Spanish: Indice - (i) Medio - (m) Anular - (a) Pulgar - (p)
7
Lesson 1 The Top Three Open Strings: The First String
The open (E) on first string > E
E
0
0
0
0
0
0
0
Thick string (6th) >
The first note on the first string is E. 4/4 indicates the number of beats in each bar
fret 1 fret 2
fret 3
(Important reminder)
fret 4
The 'Rest Stoke' or (Apoyando) is a method of plucking the strings to produce a rounded prominent sound: This technique is the first and most important concept that is sometimes overlooked in the early stages. Place the fingertip on the open E string and play the note bringing the finger to rest on the next (B) string
Play these open notes using 'Rest Stroke' and say them out loud. Count or tap out the beats 1. 2. 3. 4........ simile - (proceed in the same way) E 1
1
4
i
0
2
3
m
i
0
m
i
i
m
i
0
m
i
m
i
0
m
i
m
4 simile.....
m
i
0
m
i
m
i
0
m
i
m
i
0
m
i
m
Repeat signs
8
The Second String
The open (B) on the second string > B
B
0
0
0
0
0
0
0
fret 1
The first note on the second string is B
fret 2
fret 3
fret 4
As with the first exercise, play these notes using rest stroke: Repeat using (m) (a) fingers, count and name the notes.
B
1
i
2
3
m
0
1
5
i
0
m
i
i
m
0
4
i
m
i
m
i
0
m
i
m
i
0
m
i
m
simile.......
m
i
0
Repeat this exercise using fingers (m) (a)
m
i
m
i
0
m
i
m
i
0
m
i
m
9
The Third String
G
G
0
0
0
0
0
0
0
The first note on the third string is G
G
1
i
m
0
1
5
i
3
i
0
2
m
i
m
i
0
4
i
i
0
m
i
m
simile.......
m
m
i
0
m
i
0
m
m
i
i
m
i
0
m
i
0
m
m
i
i
m
m
Repeat this exercise using fingers (m) (a)
E
1
i
2
3
m
0
1
i
m
i
0
4
m
B
i
m
i
0
m
i
m
i
0
m
i
m
simile.......
All three strings, name the notes aloud
5
G i
0
B m
i
m
i
0
m
i
m
i
0
E
m
i
m
i
0
m
i
m
10
Open String Exercises On All Three Strings
All three strings: Name the notes out loud keep your eyes focused on the notes (not the names of the notes above!).
E
1
i
0
1
5
G i
0
9
E
i
0
2
3
m
i
m
0
4
G
i
m
i
i
m
i
i
0
m
0
i
0
m
i
0
m
m
i
m
i
0
i
0
m
i
i
m
i
0
B
m
i
E
m
i
0
i
m
i
0
m
i
0
i
0
E i
m
i
m
G m
B m
i
B
m
G m
i
E
m
m
B m
B
13
i
G
m
B
m
simile.......
B m
i
m
i
0
m
i
m
m
i
m
11
Lesson 2 The Three Bass Strings This is how the three bass notes look on the staff: Play the exercises below with thumb (p) Pulgar. Name the notes out loud as you play.
E A D 0
0
0
0
1
0
1
4
E
0
A
E
0
0
2
0
0
3
A
0
0
D
A
E
0
0
4
0
simile.......
D
0
D
A
E
0
A
D
A
8
0
0
0
0
12
0
0
0
0
0
12
Lesson 2 (con') Combining Bass & Solo Strings
Open string exercises putting bass & treble strings together
E
1
E
9
A
A
17
D
21
B
G
G
13
B
E
G
5
B
13
Note Values
These notes > q are called crotchets and receive one beat or count for each note: 1
1
2
3
4
These notes > h are called minims and receive two counts for each note: 2
1
2
3
4
Play these notes using rest stroke:
3
1
2
3
4
14
This note > w is called a semibreve or full note and receives a count of four:
1
2
3
4
Play these notes using rest stroke:
1
5
1
1
2
2
3
3
4
4
1
1
2
2
3
3
4
4
1
1
2
2
3
3
4
4
1
1
2
2
3
3
4
4
15
Bass & treble strings con' Make sure you use correct fingering with these open notes: Play slow and evenly
Play these notes using 'Free Stroke'
1
1
5
p
p
p
m
i
i
i
m
a
a
i
m
p
i
p
P
i
i
m
m
a
a
i
m
p
i
p
P
i
i
m
m
a
a
i
m
These exercises will not make much musical sense at this stage: They are the ground work on which we will be building on: Be patient and learn these patterns thoroughly and the benefits will tell when we bring the left hand into play on page 21.
16
1
2
3
1
Introducing a new time signature:
Introducing a new note and its equivalent rest This new note > e is called a quaver: two quavers > iq = 1 > q crotchet:
(quaver rest)
2
1
3
+
1
2
2
+
3
+
The quaver in 3/4 time:
3
1
5
9
Introducing the crotchet rest The rests are not played but are counted
3
1
3
1
1
1
2
+
1
2
2
3
3
2
+
2
3
1
+
1
1
2
+
3
2
+
3
1
3
+
+
1
2
+
2
3
3
+
1
2
1
3
+
2
+
+
i
2
+
m
a
3
+
simile....
p
13
1
+
2
+
3
+
1
+
2
+
3
+
1
2
3
1
+
2
+
3
+
17
1
+
2
+
3
+
1
+
2
+
3
+
1
2
17
3
Back to 4/4 time
In this exercise, use thumb for the bass notes, (i) for notes on third string (m) second string (a) for top E string. Play these notes using 'Free Stroke'
1
1 + 2 + 3 + 4 +
5
9
13
1
2
1
1
2
3
+
4
3
1 + 2 + 3 + 4 +
4
1
1
2
2
+
3
4
4
2
+ 3
+
3
+ 4
+
+
1 + 2 + 3 + 4 +
+
+
1
1
+
3
2
2
3
4
+
2
3
+
4
2
4
1
2
1
1
1
+
4 +
3
4
3
+ 2
1
+ 4
+ 3
2
3
4
+
18
Lesson 3 Preparing the left hand fingers Open E > E
Learning the first three notes on the first string: E. F. G.
0
First finger (index) on first fret. Third finger on third fret.
1 - fret 1
F
fret 2
G
3 - fret 3
Play these notes rest stroke: Play the notes with the finger tip placed behind the metal fret: Place right hand thumb on 6th bass string to add stability: keep (i) (m) fingers fairly straight, don't bend or curl inwards
E
i
0
5
9
m 3
13
i
0
i
0
m
m
m
i
i
F
i
m
1
m
3
m 1
i
i
1
i
m
m
m
i
i
i
1
i
m
m
G
m
3
i
m
0
i
i
i
m
i
m
m 1
m 3
3
m
i
i
1
m
i
m
i
m
i
0
i
m 0
i
0
m
19
The second (B) string Open B > B 0
Learning the first three notes on the second string: B. C. D. Use first and third fingers.
C
A (B) note can also be played by holding a G string down on the fourth fret
D
B
1
i
0
5
m
0
9
D
i
3
m
i
m
m
i
1
m
i
1
i
m
m
i
i
3
D
m 1
D
i
m 3
m
D
i
i
m 1
C
i
i
m 3
D
m
i
3
i
m
i
C
m 1
C
m
i
1
fret 3
fret 4
i
B
i
m
B
i
0
fret 2
B
m
m
fret 1
m
Playing the six notes over two strings: 1
B
i
0
5
F
i
1
m
m
i
i
C
1
3
m
m
i
G i
F
m
i
m
i
1
D
m
m
i
3
E
i
m
i
D
m
i
3
m
E
i
m
C
m
i
1
i
m
B
m
i
0
20
The third (G) string Open G > G 0
Learning the two notes on the third string: G. A. Second finger off left hand on second fret.
2
A
fret 1
fret 2
fret 3
Play the (A) note with 2nd finger Count out the notes as you play: 1, 2, 3, 4.......
A
G 1
i
0
5
m
simile..
i
2
i
2
i
m
simile..
1 0
5
3
9
1
0
0
A 2
1
B 0
0
0
i
m
B
m
0
A
m
2
2
1
3
A
i
2
0
21
Lesson 4 First Tunes We are now ready to start making music with the notes learned so far: We will later build on these simple one-string melodies making them full-sounding by harmonising the melody lines. Play these tunes slowly keeping the timing even: Don't start off quickly with the first two bars because they are easy to play, then slow down and fumble your way on bar 3. Count the note value as you go along keeping the whole piece even.
Jingle Bells
English Trad:
Play rest stoke to bring out the melody keeping thumb on 6th string bass
Andante q 100 (see reference page 70 for expression signs) 1
1
0
5
9
13
1 1
2
2
1 1
2
1 0
2
3
3
3
3
4
4
4
4
1
1
2 0
4
3
3
1
4
3
2
1
3
2 0
1
2
1
4
4
2
3
2 3
1
1
3
3 1
2
2
3 1
3 1
0
1 3
4 3
2
2
4 3
1
4
3
3
3
4
1 0
1 1
3
3
3
2
2
4
4
3
3
4
4
22
Good King Wenceslas English Trad:
As with the preceding Christmas carol, the idea of playing these one-string melodies is to gain practice in using the rest stroke: 'Largo' means fairly slowly. The tunes at this point are less important than getting the timing and technique right.
1
Largo q 80
i
1
5
m 3
9
m
i
i
1
m
3
0
m
i
2
i
1
i
i
m 3
m
m
m
3
i
1
i
m
i
3
i
0
m
2
m 1
i
0
i
2
0
i
i
1
m
i
m 1
m
m 3
i
m
m
0
m 1
i
i
1
i
1
m
m 1
23
Au Clair de la Lune French Trad: Translates to 'By the light of the moon'
Count as you play the notes: Be sure to play the minims & full notes for their full value
Allegretto q 100 1
1
2
3
1
4
3
1 0
2
3
4
3
4
3
1 1
2 0
3 3
4
1 1
2
3
4
Play rest stroke alternating fingers (i) (m)
5
9
1
2
1
2
3
1
3
4
3
4 3
1 2
1 0
2
2
3 3
1 3
4
1 1
2
1
2 0
3 0
3 3
4 2
4
1
0
1 1
2
2
3
3
4
4
24
Yankee Doodle American Trad:
Introducing our first quavers and a tied note: This is a tied note: the first note is played, the second note is counted but not played + 2
1
1
0
3
3
1
4
1 3
2
0
3 1
4
1
2
3
4
+ 2
1 0
1
3
3
4
don't play this note
5
8
3
1
1
1 1
2
12
1
2 0
3 1
3 3
2 0
4 0
4
0
3 3
1
1 1
4 1
2
0
2
3
3
1 0
3
4 0
2 0
+
4
1 1
3 2
1
2
1
3 0
4
2
4 0
1
1
1 1
3
3
2
2
0
3
3
3
4
4 0
4
Part 4 The bass notes on strings 6-5-4 The four tunes that we have covered so far will be re-visited later. The choice of these tunes are not unique and crop up in other books of this kind. The reason for this is that they are popular well known traditional pieces. The problem with these tunes and many others like these that are written in a one line melodic form is that after the initial feeling of being pleased about playing any kind of tune has worn off the pieces have a limited shelf life in terms of personal satisfaction. The reason for this is that the tunes are really just a sketch of the of the real thing, rather like picking out a one fingered tune on a piano or any other kind of instrument. Not very interesting to listen to or satisfying to play. To get over this and go beyond the one line melody, we need to look at ways of turning these tunes into full sounding pieces that provide their own accompaniment that can stand alone: This is the 'classical style' of playing that requires working on the bass parts and harmonising the upper voice. We will begin by extending the bass notes covered in Lesson 2 into a full scale that covers all the notes that we will need in the first position. It will take time and a lot of repetition before your eyes become familiar with these new notes, probably the hardest notes to memorize in first position: Be patient and set a short goal of learning these first three notes before moving on to the next string.
Notes on the 6th string First three notes on the 6th string Naming the notes out loud will help in memorising Open E 0
1 F
1st finger fret 1 >
0
G
3
1
E
F
G
3rd finger - fret 3 >
fret 2
fret 3
fret 4
25
26
First three notes on the 6th string (con') 1
1
2
0
E 5
1
2
E
3
4
1
1
2
1
1
2
3
4
1
2
3
3
4
1
0
G
2
3
4
1
2
3
1
G
0
3
4
1
3
1
2
3
4
1
3
4
1
2
3
1
4
1
2
3
4
1
0
G
F
2
3
4
+ 2 + 3 + 4 +
1
+ 2 + 3 + 4 +
1
+ 2 + 3 + 4 +
1
2
3
1
4
0
G
F
3
combining crotchets & quavers
1
0
E 21
4
F
E
3
Using quavers
0
17
2
1
F
E
1
Using minims
0
13
4
Using crotchets
0
9
3
2
1
3
F
G
4
1
1
0
+
2
+
3
4
3
1
1
1
0
2
1
3
4
3
1
2
1
3
4
0
Using full notes
1
0
E
2
3
4
1
1
F
2
3
4
1
3
G
2
3
4
1
0
2
3
4
27
Notes on the 5th string Open (A) 0
0
2
A
1
B
3
fret 1 (B) 2nd finger fret 2 >
2
(C) 3rd finger fret 3 >
3
C
Using crotchets
0
A 5
0
A
0
A
2
3
C
0
3
0
C
B
B
2
0
0
2
3
0
C
B
0
3
2
0
3
2
2
2
0
0
C
B
A
Using full notes
17
2
Using quavers
13
Using minims
9
0
A
2
B
3
C
0
Notes on the 4th string
28
2
0
D
1
0
3
F
fret 1 (E) 2nd finger fret 2 >
2
(F) 3rd finger fret 3 >
3
Using crotchets
D
0
5
0
9
E
Open (D)
E
2
2
3
F
2
3
0
2
0
Using quavers
2
3
0
13
2
3
2
0
Using minims
0
2
3
0
29
Review of all notes covered 6th string
5th string
4th string
3rd string 2nd string
1st string
2nd string 3rd string
1
0
1
3
2
0
3
0
2
3
0
2
0
1
3
0
3
1
1
0
3
1
0
2
0
The notes we have covered above span the first position covering all notes (excluding sharps and flats, which, we will cover later) over the first three frets: from this, we can pick out a scale of C Major which has a total of 7 notes. The eighth note is the top C. The most important notes of this scale are the 1st (Root) 3rd and 5th. Think of this scale as a step-ladder in which we name the steps: First step is the first degree of the scale: we are looking for the 1st, the 3rd and the 5th step from the steps of 1-7 (C)
1
1
2
3
4
1st (C) (Root)
3rd (E)
5
6
7
8
5th (G)
We are now going to take some of these bass notes we have just covered on the 6th, 5th and 4th strings and re-visit our first four tunes.
Lesson 5
30
First Tunes revisited Jingle Bells English Trad:
I have used minims in the bass: these bass notes should provide a sort of pulse that carries the melody along. A good general rule is, if the top part is relatively busy, keep the bottom or middle parts relatively simple.
Andante q 100 3
0
2
3
7
1
2
0
11
0
3
15
1
0
2
3
2
1 0
3
0
3
1 0
2
2
0
3
2
3
2
4
1 2
4
4
1 2
4
0
4
3
3
4
0
2
3 1
1 0
0 3
4
4 0
0
2
0
1 2
1
1
31
Good King Wenceslas English Trad:
These pieces have been revisited at an early stage of development: If they appear difficult, procede to page 37 and carry on with the development exercises. Revisit these pieces at a later stage and they will be easier to play.
1
Largo q 80
i
m
1
2
5
m 4 2
9
3
i
1
i
m
3
4
0 0
m
i
2
1
i
1 2
i
i
m 4
m
m 0
m
i
1 2
i
4
m
i
i
0
2 1
m 1 2
2
i
0
i
2 1
i
0
m
1
0
i
i
4
3
m
m
m 4
4
2
m
i
1 2
m 0
m 1 2
m
3
i
1 2
0
m 0
i
1
i
m 1 3
32
Au Clair de la Lune French Trad: Translates to 'By the light of the moon'
Count as you go making sure the minims and full notes receive the full count
Allegretto q 100 1
1
2
1
2
5
1
2
4
3
9
1
1
2
3
2
2 0
4
3
3
3
4 0
0 1
4 2
1
2 3
4 4
1
2
4 0
2
3
3 1
1 0 1
2
4
1 2
4
1
1 4 0
3 4
3
4
0
2
1 2
1 1 2
2
3 4 2
3 0 0
2 0
4
3
4 2 0
3 4 2
1 0 3
4 0
1
1 2
2
2
3
3
0
1
2
2
1 2
4
4
4
3
4
33
Yankee Doodle
American Trad:
This is a tied note: The first note is played, the second note is counted but not played Intro'
1
0
3
1
3
0
1
0
1
3
don't play this note
5
3
8
1
2
0
0
4
3
12
1
1
0
0
4 2
0
1 2
1
0
4
3
0 3
0
0
1 2
2 0
0
1 2
0 3
0
1 2
1 2
4 2
3
0
4 2
0
34
Introducing dotted minim >h. & the dotted crotchet > q.
This > h. is a dotted minim: a dotted minim receives 3 counts
1
1
2
3
This > q. is a dotted crotchet: a dotted crotchet receives one and a half counts: the dot increases the length of the note by half
2
3
8
1 + 2 + 3
1+ 2 +
1 + 2 +
4
3
2
3
4
+
1
1
2
3
4
1
3
+
2
4
1
1
3
1+ 2 +
3
2
3
2
4
3 +
1
2
3
4
1 + 2 +
The dotted minims & crotchets are going to crop up in lots of music: Spend a little time tapping out these rhythms though they will make more sense when we use them in some familiar tunes.
3
35
I Saw Three Ships Trad:
6/8 time is doubling up the time of 3/4 counting notes as quavers (six to each bar). This timing is normally found in upbeat tunes that move along fairly quickly. Play the top line first then add the bass part. Play slowly to get the rhythm then raise the tempo.
1
4
1
4
0
2
0
1
2
1
2
3
6
1
4
4
3
0
4 2
0
4
3
1
0 3
4
0
0
2
3
3
0
2
3
1
0
4
2
3
1 2
0
36
Silent Night
Franz Gruber(1787 -1863) Arr: D.P.
Introducing some expression markings: mp - mf - f - p Soft (p) (f) loud (see ref'page 70) These markings are extremely important to bringing the best out of any piece of music.
Adagio q 80
1
2
0
3
5
4 2
2 3
mp
0 3
mf
9
2 3
13
2 3
17
1 2
1 2
4
0
21
1
2
4
0
0 2
3
0
2
2
2
1 2
2 3
0 3
2 3
2 3
0
0
0 0
poco rall.
3
1 2
p
3
f
cresc.
1 2
0
0
0 2
1
2
37
Harmonising with open notes & chord building
A chord is made up of 2, 3 or more notes played at the same time: a broken chord (arpeggio) is the same notes played as individual notes: In a C chord as many as six notes can be played simultaneously to sound this chord: However, sometimes 'less is more' and the same chord can sound more effective by just playing three notes. Chord symbols are rarely illustrated in many classical scores: Being able to identify clusters of notes as chords can help to read and play more efficiently.
1
0
0
5
0 0
9
0
0
13
0 0
17
0
0
38
Open notes con' with added bass notes
Play free stroke
21
0
0
0
29
0
33
0
37
0
0 0
0
0 0
0
0
0
0
0
25
0
0
0
0
0
0
0
0
0
0
0
39
Bringing the left hand into play
1
0
1
5
0 1
9
0
0
0
0
13
17
0 1
1 0
0
1 0
1
1 0
1 0
0
1 0
0
1 0
1
1 0
1 0
0 1
0 1
1 0
40
With added bass notes
This exercise is a warm up preparation study to the Carulli piece on the next page: Play free stroke evenly throughout
1
0
1
3
5
0 1
3
9
0
3
13
1 0
3
17
3
0 1
0
0
1
0
0
0
1 0
0 0
3
0
0
1 0
0
0 1
3
0
0
3
0 1
0
0
1 0
3
3
0
0
0
0 1
1
0
0
3
0 0
3
0
1
0 1 3
0 1 3
0
41
Waltz
Ferdinando. Carulli (1770-1841)
Andante q > 80 1
0 1
3
5
0 1
3
10
2
1 0
2
1 0
18
2
1
0
0
0
1
3
0
22
2
0
1
0
1 0
1
0
1 0
0
14
0
3
1
0
3
2
0
3
0
3
0
0
3
0
1
1 3
0 1
1
1
0 1
3
3
0
2
0 0
3
0
0 0
Fine
1
0
0
0
2 0
0
2 0
1
0
D.C. al Fine
42
Andante in C Major
F. Carulli (1770-1841)
Andante q > 80 1
0
1
0
0
3
4
0
0
3
4
0
2
3
1
0
1
4
0
3
0
2
3
0
1
7
1
0
0
10
3
4
0
2
0
3
3
13
0
1
0
2
2
1
0
0
0
3
0
0
2
4
3
0
0
1
1
0
43
Lesson 6 Introducing F# & The Key of G Major The sharp sign (#) before a note makes it one fret or semitone higher: Slide the finger from F first fret to F# second fret: Practice the scale with correct fingering
fret 1
fret 2 fret 3
fret 4
These (F) notes are now played on the second & fourth frets
3
0
2
3
0
2
0
2
0
4
3
1
0
2
3
2
0
0
2
1
3
3
0
1
2
0
2
3
0
44
Scale Study in G Major
This scale study should be broken down into 'chunks' or small phrases: The arched lines indicate phrase marks and create a sort of punctuation or a short pause that will give you time to think about the next 'chunk' or 'phrase' before continuing: These phrase marks allow music to breathe and the audience time to take in the sound before you 'feed' them the next bit of information: Good speakers use this technique, it prevents communication from sinking into a one line monotony.
1
3
5
0
2
9
1
13
2
0
1
3
0
2
1
3
0
0
0
1
2
3
2
0
0
1
2
4
0
0
2
3
0
0
0
0
2
3
1
0
0
0
1
0
2
2
3
2
3
0
0
0
0
45
Scale Study with added bass Scale Study In (G)
III
1
3
5
0
2
4
3
9
1
2
13
2 0
0
0
1 2
3 2
1 2
4
0
0
1 2
2
4 2
3 2
0
0
1
2 0
4 3
0 0
0 3
3 1
4 2
0 2
2
0 2
0
2
4
3
0
4
2
3
0 2
0 0
0 2
0 3
1
0 2
3
1
1
2
4
0 0
0 0
0 0
0 2
46
First chords Harmonising in 3rds These chords (or shapes) will crop up in lots of pieces of music: Spend some time on these shapes using correct fingering: Use thumb for the bass notes: Use alternating fingers (i) (m) for top line
1
1
2
5
0
0
9
1
2
13
4 3
17
0
0
0 0
1 2
3
0
4
0
1 2
2
4 3
0 0
1 2
1
4 3
0 0
0 0
0 0
4 3
1 2
2
2
1
1
47
Broken chords (arpeggios)
1
1
1
0
2
2
0
0
1
0
2
5
1
0
0
0
4
2
0
3
9
4
1
2
1
0
3
2
0
13
0
4
4
1
0
3
3
2
17
0
4
1
0
2
3
0
0
1
2
48
Introducing two new sharps
The G# can be found in three different locations: The first fret of the third string: The fourth fret of the 1st & 6th strings
G# & C#
C# can be located on the second fret of the second string & on the fourth fret of the fifth string
These new sharp notes can revert to a natural note through the use of this § sign: It looks very similar but it is slightly different from a sharp sign: With time your eyes will get used to the subtle difference between the two signs.
fret 1.-3rd string
fret 1
fret 2
fret 3
fret 4
fret 4
Many people become confused when hearing about sharps # and flats b for the first time: Putting things simply, when we move up the fretboard from F - to F# or G - G# we are moving just one fret or a 'half step'. We call these notes 'sharpened': Coming back down we use the word 'flat' illustrated with this > b sign. These notes are referred to as 'flattened'. An F# will sound exactly the same as a Gb. We name the notes differently depending on which way (up or down) the fretboard we are moving.
49
Two short scale studies
fret 1
fret 2 fret 3
fret 4
The harmonic minor scale will create colours in your music, it has a Eastern, exotic sound that is used in all sorts of music including 'heavy metal' lead guitar riffs.
The harmonic A minor scale: This scale has a G#
1
0
2
3
0
2
fret 1
3
2
1
3
2
0
3
2
0
This scale has two sharps: C# located on the fourth fret of the fifth string and the second fret of the second string The F# located on the fourth fret of the fourth string
1
4
0
fret 4
2
4
0
2
fret 2
0
3
2
2
0
2
0
4
2
0
Practice this short scale keeping 1st finger on the G# throughout: This finger will act as an anchor: Place the finger before you start the exercise
5
4
2
3
1
0
0
4
0
0
1
3
2
4
0
50
Two short scale studies using all three sharps
fret 1
fret 2
fret 3
fret 4
1
fret 4
1
0
4
2
3
4
0
4
3
2
4
0
4
2
3
0
4
These two new sharps are used in this typical 'rock n roll' riff:
5
0
3
1
3
1
3
1
3
0
3
1
3
1
3
1
3
51
Scale review covering all the notes learned in the first position
1
0
6
2
0
4
2
0
2
10
2
4
2
0
4
0
4
1
4
2
1
1st string
0
1
2
3
2
6th string 3
2
3
0
4
3
2
0
4
1
4
2
0
3
Chronological scale: practice each string separately
4th string
3
2
1
0
3
2
0
1
1
3rd string 1
5th string
2
4
3
2
0
3
2nd string
0
3
2
4
0
2nd string 1
3
2
3rd string
1
2
1
4
4th string
0
3
2
1
0
4
2
52
First tune using G#
Malaguena Play all notes with (p) thumb
Theme:
1
p
p
1
2
p
0
p
2
p
1
simile... 0
2
1
0
2
0
3
5
2
Study 2 using quavers: Play bass notes with thumb: Play all top notes using (m) middle finger
1
P
2
5
m 0
p
1
p
m
m
simile..
0
2
0
1
0
0
2
1
0
0
2
0
3
53
Malaguena (con') Study 3 with added tuplet: Play bass with thumb: Play top notes (m) (i). Play slowly and build up tempo
1
p m
i
p m
i
simile...
3
3
3
3
3
3
3
3
3
3
3
3
5
This popular little theme has many variations and is open to lots of improvisations: Try playing the theme on the bass
1
0
5
0
9
0
4
2
0
4
2
0
3
2
0
3
1
0
0
3
2
4
4
0
1
0
2
0
3
2
54
Short arpeggio study 1
Arpeggio translates to 'harp-like' broken chord playing individual notes: Play free stroke throughout using correct fingering.
1
0
1
2
1
3
1
2
1
3
2
2
0
0
mp
5
0
0
0
1
0
1
0
0
1
2
2
0
1
3
0
9
2
1
0
4
2
0
1
2
3
2
0
13
1
1
2
0
0
1
0
0
1
4
poco rall.
0
2
1
0
0
(poco rall)> slow down towards the end
1 3 2 0
p
55
First study in C Major using F# & C#
F. Carulli (1770-1841)
Before playing this study, review preparatory exercises on pages 45 & 46
1
1
2
0
5
0
0
3
9
0 1
13
3
0
1
0
1
2
0
0
0
0
0
3
21
17
0
1 0
1 4
0
1 0
0
3
0
0 3
4 3
3
0 2
0
0
0
0
0
3
4
0
0
0
4
0
1 2
0
1 4
1 3
0
4
1
0 0
0
3
1
2
56
Study in C F. Sor (1778-1839)
Moderato q > 60
1
0
1
0 3
2
5
0
1
0 3
2
9
4
0
2
1 0
4
0
2
1 0
1
0 3
2
21
1
0 3
2
3
17
3
4
13
4
1 2
2
0 3
4 3
3
0
0
0
0
1 2
0 0
0 3
2 3
2 3
0 0
1 2
4
1 2
2
0 0
4
0
3
0
1 0
0
0
3
2 3
4 2 3
1
1
0 0
0 0
4 3
0
4 3
1 2
1 2
1 2
0 0
4
4
4 0
0 0
0 3
0
0
2
1 2 3
0 3
2
0
4 2
0
3
3
0
0
4
1
0
57
Arpeggio study 2
1
1
0
1
0
0
3
0
0
0
2
9
0
3
0
4
0
13
3
17
3
4
0
0
0
0
1
0
2
0
3
4
0
1
3
0
4
1
1
0
0
1
0
2
1
4
3
5
1
0
1
0
2
1
0
0
0
0
0
2
1
0
0
0
0
1
0
0
0
0
1
1 2
rall.
3
2
0
1
2 3
58
Moving from 1st to 3rd position
1
0
5
1
1
0
0
13
1
17
2
1
1
2
9
2
1
1
2
2
1
1
3
1
1
1
1
1
3
1
1
2
1
1
2
0
59
1
0
0
1
1
1
1
5
1 2
9
0 0
2
0 0
1
1 2
1 2
1 2
1
1
13
1
2
2
1 2
1 2
2
1 2
0 0
1
0
1 2
1
0
1 2
1 2
0
0 0
0 0
1
0
2
0
0
1 2
1 2
1 2
0
0 0
0 0
60
Waltz D. Aguado (1784-1849)
Andante q > 90
I
1
0
0
0
I
5
0
0
1 2
0
9
1
0
0
0
2
I
1 2
1
0
0 0
gliss. 2
1
0 0
0
I
13
0
1 2
III= > (3rd fret) gliss.
gliss.
2
1
0
1 2
2
1
0
2
1
4
0
1
0
4
0
0
0 0
1 2
2
1
0
0 0
2
1
0
4
I
gliss.
I gliss.
III=
0
0 0
61
62
Waltz in C Major
F. Carulli (1770-1841)
Allegretto q > 100
1
4
0
1
0
3
1
0
4
0
3
2
5
4
0
3
1
4
0
3
1 3
9
1
4
3
0
0
2
2
13
4
3
0
4
2
1
4
0
3
1 3
17
2
1
4
2
1
2
21
2
1
4
2
2 0
63
gliss.
25
0
1
2
1
1
2
1
0
0
1
gliss.
29
2
0
1
1
2
2
2
0
33
4
1
4
0
0
3
2
37
4
0
3
1
1
4
1
0
3
3
41
1
4
3
0
2
45
4
3
0
4
0
2
2
1
0
3
4
1 3
64
Allegro Op. 50 No. 13 M. Giuliani (1781-1829)
Before starting this piece, place the first and second finger down in preparation: From bar 1- 5 keep the second finger down as an anchor: Play free stroke throughout.
Allegro q > 130
1
0
1
2
1
3
2
0
2
0
3
1
0
4
0
2
3
1
0
2
1
2
3
1
7
0
1
2
4
3
2
10
0
2
1
3
1
2
1
0
0
1
3
2
2
0
1
0
3
13
3
2
1
0
3
1
0
3
2
0
16
1
0
0
2
0
1
1
0
0
2
0
1
0
1
0
2
0
65
66
Andante in A minor M. Carcassi (1792-1853)
The Roman numeral > III= slide to 3rd fret
Andante q > 130 1
0
2 0
5
1 2
0
mp
9
0
1
0 0
1
3
0
1 3
2
0
0
1
1 2
0
f
0
0
0
17
mf
0
13
0
0
1
1
0
0
1 3
0
3
1
0
0
0
0
1
3
1
III=
0
0
0
0
2 3
3
3
2
gliss.
1 2
3
0
0 1
s. glis
0
1
0
0
0
0
1 2
0
2
2
67 21
0
2
1
0
25
0
29
0
0
1
3
3
2
0
0
0
1
0
2
0
3
1
2
2
3
0
2
3
rall. 3
0
1
0
0
2 0
0
2
1
2
p
On the final piece, Romance by Molino, try and make good use of the hairpin This sign indicates a chort crescendo (dynamic rise in volume) There is lots of scope to turn this piece into a good little concert piece: Take time to look at all the expressive possibilities such as 'ponticello' (use sparingly) crescendo and dynamic ranges, the use of rubato, - f, p mp mf pp ff
68
Romance F. Molino (1768-1847)
Expressively use rubato throughout
Moderato q > 100
1
1
0
3
1 2
0 2
f
5
p
0
3
1
2 3
0
0
0
1 2 0
0 1
1 2
1
3
3
1
1 2
mp
9
4
0
3 0
p
0
4
1
3
2
3
1
0
1 3
3
0
13
p 4
1
1
0
1 3
1 3
1
0
2
0
0
0
3
III=
f
1
1 3
ponti................
1 0 2 3
1
0
1 2
III=
3
p
3
1
0
0
0
0
1
1
0
3
2
0
III= 17
1
2
3
0
0
2
0
3
1
3
1
0
1 3
1 3
0
3
1
0
0
69
21
p 1 2
4
1
1
0
1
0
0
p
f
1
0
2
p
f
2
3
0
0
29
III=
1 2
0
1
2
3
0
1
1 2
2
0
0
2
0
1 2 0
0
3
2
1
0
0
3
0
1
0
rall. 2
1
1
accel.
III=
1
0
3
accel.
25
0
0 1
1 2
p
70
71