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REUISED EDITION

GTIT]CARLORtr

fuou-) gThe studies contained in Guitar Lore by Dennis Sandole are in my opinion to be considered as the poetics of the instrument; invaluable!" PAT MARTIiIO

o

1976, r981 hy

Theodore Presser Company

O

1976 !y Theodore Prsser Gompany @ 1981 by Theodore Presser Gompany lnternational Copyright Secured All Bights Beserved Printed in U.S.A.

Bevised Edition

Unauthorized copying, amanSing, adapting, or re@rdin8 is m infrinScmcnt of copyright. Infringers are liablc undcr the law.

IOREWOBD

This book will appeal to any teacher taking a student into the advanced stages of guitar study. Students are advised that the assistance of a qualified teacher is essential to obtain the best results from the study of this text. The approach and goals of the text are twofold: to reaffirm existing capabilities and to further the student's learning process. These goals are obtained by the study of: (1) sight-reading and ear training in the initial etude section, (2) shifting, overlap and stretch concepts

in the following scale section (including the combinations and extensions of scale fingering), and (3) chord theory in the final chordal section. Lessons should contain material from each of the three sections. ln the time I have spent teaching from this text, I have found the content thorough and well-suited for both the teacher and student dedicated to furthering the concept of guitar performance as a legitimate and exalted medium.

Joan Pinney

NOTE TO THE TEACHER

This text should be approached on the basis of performance (a controlled tempo at slower than maximum speed)which will eliminate mistakes in fingering and the resulting frustration. (See page 34.) The student will eventually develop a perspective and

control which will enable him to present a consistently su perlative performa nce. Each lesson should include material from each of the three sections of the book: the initial etude section, the middle scale section, and the final chordal section. For example, a lesson might include:

NOTE: Though the book contains three sections, the initial and middle sections do not end on a specific page but overlap into the next section.

The instructor should use his discretion, based on the student's capacity, as to the amount of material from each section. The basic principles of guitar technique are established in the initial etude section and are developed and expanded in the subsequent scale and chordal sections. The etude material is based on a comparison of response, length and strength of the fingers. This principle is carried over into the scale fingerings and then to the chordal approach.

Some of the etude material from page 6, Dennis Sandole Some of the scale fingering from page 19, Some of the chordal material from page 34.

414-41142

4

THE TECHN!OUE (OH ART) OF PLAYING

While technical mastery is an indispensable requisite to eventual virtuoso performance, it should not be approached as the ultimate objective. Maturation of concept should be stressed, rather than technical brilliance. Musicianship, as differentiated from instrumental prois the ability of the ear to immediately identify and categorize the melodic, harmonic and rhythmic factors in music. Concept is stressed permitting the literature to be approached pick or f inger style.

ficiency

Emphasis is on expressionism, and assuming the student displays an aesthetic potential, the literature will develop the sensitivity of the ear combined with an intellectual awareness of the logic and cogency of the musical principles in the literature.

This literature represents a graduated extension of musical principle rather than a mathematicaI format. is therefore imperative that the student extend all studies in order to derive maximum benefit from the principles.

lt

BlGHT HAND

Right hand hanging at side, f ingers naturally assume semicurled position. Rest right upper arm on body of guitar (position varies with length of arm). Place regular size hard pick on 1st finger (top of pick parallel to 2nd joint of 1st finger). Place thumb f lat across pick (do not stiffen or bend thumb). Pull back 1st finger sufficiently to avoid touching strings (pick protruding slightly more than 1st finger). Do not grasp pick too firmly (just sufficient to avoid dropping pick). lnverted V is formed. As 1st finger is pulled back slightly to the right of the pick, the bottom tip of the pick and tip of f inger protrudes beneath thumb. (Notice tip of pick protrudes slightly more than tip of 1st finger). Pick from elbow

with wrist, fingers and thumb fused into one unit (thus all movement is from elbow). As right hand glides across pick guard, fingers retain slightly curled natural position (do not close or open fingers from natural semi-curled position). Do not anchor right hand on pick guard or bridge. Eliminate unnecessary movement of right hand in picking procedure. Hold pick flat and parallel to strings, use tip of the pick.

ln picking from elbow, the distance of pick entering between the strings is rendered constant. Digital mas-

tery

is achieved

thru synchronization of both hands.

LEFT HAND

ln stressing maximal expressionism with minimal digital manipulation, the objective is to eliminate all superfluous movement. To demonstrate: First finger bars 6 strings on F major at first fret. The position of the left thumb is behind the fingerboard approximately at the center. (Avoid pressing left palm to finger board).ln this position, the strings are accessible to tips of the fingers with minimal distance between the fingers and fingerboard. Thus, the powerful muscle of the left thumb becomes a secure base of operation for fingers.

lf thumb is moved upward or to the right, the position of the hand is disrupted, the fingers no longer poised above and close to the strings.

With the fingers being of unequal length, the 3rd and especially the 4th fingers traverse an increased distance to the fingerboard thus disrupting accuracy and solidarity of impact. The concentration of tone is also diffused and, with the thumb no longer a secure base of operations, the overall result is increased muscular exertion. With the hand in proper position, the principles of acquiring a touch are thus exemplified - just sufficient pressure to obtain f irm, solid sound. Emotion emanates from the aesthetic potential, not muscular effort. A larger hand or f ingers may have comparatively less difficulty in coping with these factors but the principles involving unequal length of fingers and the distance between fingers and board still apply.

5

ALTEHNATE PICKING

Mastering the technique of alternate picking (i.e. downup or up-down strokes) is an imperative requisite in establishing a flawless synchronization between the hands. The gravitational pull of the down stroke is a constant deterrent. The following exercises will assist

the student in overcoming this problem. Concentrate on touch and expressionism, performing the exercises as differentiated from practicing. Main-

tain a tempo that permits control (slightly slower than maximum tempo).

A primary requisite; the controlled tremolo is essential to the eventual synchronization of the hands. Perform the following Tremolo Exercise using 8 alternating down and up strokes to each note. Start the exercise with down picking, repeat starting with up picking. Minimize movement of down and up strokes (just suff icient movement to obtain a solid sound).

Tremolo Exercise

Finger

Pick - vn 4

V etc. V NV |..l etc.

o 4

@ A

@

R

Chromatic Exercise

( l'l V then

vn) etc.

everse

Studies on Diatonic and Chromatic Fingering

@@

@@ @@ Apply to every string using the above as a model. Concentrate on the notational aspect of each study. Avoid a mechanical approach.

etc.

etc.

etc.

etc.

etc.

Appty

JI]

.no I].

,o all 2 note studies.

Open String Gymnastics

o12020

@

Begin on oRen @

o

@

,I')

[, @

(Follow same fingering)

01402011

o23020a2

o2{o2042

0 3 it O .3

0 4

3

@ Extended Open String Gymnastics

ot202t

o13031

@

@

o@

o230a2

@@

@

@

o

2

ol3

0l8

o@ o 80

@

2 03

@o

@\o

t o I t

o l { o ri.{ I o { t

@o

@

o 2 3 0 29 2 0 3

o

o

o I 2 0 1,2 t o 2 I

@o

@

o 1303

@

o@

210{ etc. @

2AO

o@ 232

@

03

@

o 3 4 0 ad 3 0 {

o2{o2120t2

2

etc.

efc.

@

o 2 0I

o@

03no{3

It

o@

o I o 2 0I

@

o@

O2,t0Az :-etc

@

014041

o@ 30

@ 2

o@ a20

3

I Stopped String Studies

Begin on each string.

2142 2143 3132 4tg2 2142 2t{3

123 123 t23 123 tzt 121

l2{13142 12lt4142 13112142 134121{3 13113112 l31t{t42

2tt2t213 z4lB{814 2113{313 21128213 24134213 21134214

zBt2821{ 23124214 28121213 2At2{31{ 2lt2s2t4 211212t4

@

3{12{31 34t2t3l 3{t232t s{tza2t 3tl3{Ol

@

o

2

I I

2

al

I l3

@

4t232142 112312{3 11212148 {1213140 t12a3112

Student is encouraged to develop further exercises using open and stopped strings. The previous studies

will

serve as models.

3{10{312 sl131212 a113{321 3lt3{324 3{10{3{l 42tt

4

I I

1

{

12a2132 13{3143 r3l2l13 13ll2t3 l3{3132

I Studies on Diatonic and Chromatic Fingering

etc.

t2t3

t218

1213

o

@o

4t

11211

o

o 1232

o tlt2

o tl21

I

o l,

- Dt'

o

o

2112

.Dl

o l2

a2

o 131t

I

3r{

.Dt etc.

-€tc.

o t12t

o t1

^bt

o 1

o I

o

3rl

o

o

2321 etc.

o

2l

o

t3 etc.

@

3

o l21t

o 13

lrl

0t

10

o

o

2t3t

1t3l

o 213

o

o

@

2l

2313

2

o 3212 etc.

o 1212

etc.

o

1St2

2312

3l29

o

@

lt32

o

efc.

o

o etc

o

etc.

3{12 etc.

-

o 12A2

o

etc

o 21A2

o

:::


2A

@ 2)

1

@

5)r ,@

1)

I

I

I

I

4

I

@

@

@

@

@

o

3

I

I

I

I

2

@

@

@

o

@

e

2

4

4

I

@

@

1

4

4

I

4

4

2

4

2

4

2

2

1

@

o

1

1

4

@

@

4

1

@

@ I

3

5)

6)

@

@

I

4

@ I

4

@

@ Optional

I

@

4

I

I

I I

@

@

c

@

244 134

4

I

o

3

I

c 3

@

2

2

@

o

4

21

1)

2\

3)

lD

24413

I

I

I

I

@

o

@

@

3

1

I

1

I

@

@

@

@

o

o

2

t

1

2

I

o

@

@

@

c

1

I

2

1

I

@

@

@

@

e

4)

1

1

1

2

2

@

@

@

@

@

e

3

I

1

I

I

2

@

@

o

c

@

o

5)l

6)

7)

8)

2

I

1

I

2

I

@

@

@

@

@

o

I

I

2

I

I

I

@

@

@

o

@

o

1

1

2

I

1

I

@

@

@

o

@

o

e)

22

A melodic minor scale - 2 octaves

1)

o 1)

2\

3)

4)

5)

6)

?)

4

o

I

2

I

@

@

@

e

c

3

o

I

2

I

@

@

o

@

o

2

I

I

2

I

@

@

o

@

o

I

I

I

2

I

@

e

o

@

e I

.4

I

I

I

2

@

o

@

@

o

3

I

I

I

I

@

@

c

@

@

c

2

I

I

I

I

@

@

@

@

@

I

I

1

I

I

@

@

@

o

c

8)

52

3 octave overlapping fingerings

C maj. scale

03

1)

42

I

@@ o2

2)

34

@ 32

I

@@

2l

31

@ 24

2

2l

I

1

@

@

I

I

@

o

I

I

@

@

3)

@

4)

I

31

2A

@

5)

24

o@ s2

6)

I

@C, 7)

2

4l

@ 24

@ I

24

I

i

@

@

I

I

8)

@

24

@

o

34

34

34

2

I

@

o

2

I

@

o

2

I

@

o

2

1

@

o

2

t2

4l

1

I

I

I

o

@

c

34

I

I

1

@

@

o

I

I

I

@

o

@

34

24

34

24

34

21

a4

o

e

34

2A

24134

24134

21 i

31

53

3 OCTAVE SCATES

Any 2 octave scale can be extended to 3 octaves by applying overlapping fingering. lf scale ends on string

1, complete third octave on the same string. lf it ends on 2 or 3, extend to 1st string and complete scale.

Triad Arpeggios

Apply 3 note arpeggios to entire range of instrument. Optional: Reverse at any point. Experiment with multiple f ingering.

Minor

Major

Diminished

Follow similar procedure for the following 4, 5, 6 and 7 note arpeggios. Arpeggios on Malor Chord

Arpeggios on Minor Chord

Arpeggios are based on Harmonic minor scale. Repeat using melodic minor scale (include Natural minor scale).

Arpeggios on Diminished chord

54

Arpeggios on Augmented Chord

Repeat

Note:

Appry

) as well as major 7th interval

U-J , AI ,L-A

uno

( B

3b for

B!

Develop arpeggios from every degree of major, minor, dominant, diminished and whole tone scales.

Augmented triad permits minor 7th interval

( gb

using

)

LLf

2

Diatonic Figurations C major scale

Also triplets

55

=r-'r Tn Apptyaal,a in groups of 3.

.no

fll-J

to f isurations

Apply

Jl-J .no n.

of 2 and 4.

to figurations in sroups

J.so

--

triplets

57

ryiTt--,

iT,F,

58

Study based on C tonality

Each sequence played u ni nterru pted ly empl oy i ng every finger on every C. Apply to every key.

Apply to every key

=:-j J, Apply )J

i-:

JJ)

andJ JJ -

59

Rhythm

12 Bar sequences)

Apply

to: a)

chord progressions

b)

single note and chord themes

60

6'l

OIATONIC AND CHROMATIC PASSING TONES (CONNECTING CHORDS)

Diatonic

*Above fret 12, any chord may be dropped an octave.

The following study shows the diatonic and chromatic passing tones connecting inversions of C maj 7 chords. ln this study 4 positions of strings 2 3 4 6 have been illustrated. Apply to all positions and chord families.

62

Apply to all string families. Minor

(omit

E

!

)

For C dominant scale, the same procedure except B is flat.

63 Connecting scale positions

4th finger posi tion to 3rd f inger position

0340

1)4 @ 4 t.p. to 2

,@

2)4

to

4 f.p.

0

0

c

@@

o

o

0

2

I

@

@

o

o

I

I

I

@

@

o

1

o

3)4

@ @ 3 f.p. to 4

4)3 @

3 f.p. to 2

5)3 3 f.p.

to

@

,@

2 f.p. to 3

@

0

0

2

I

@

c

@

c

0

0

I

1

o

@

@

c

@

c

o

I

I

I

0

@

@

e

o

1

1

I

I

@

@

@

o

I

I

2

1

@

@

@

o

I

1

I

I

@

@

@

@

c

I

I

1

0

@

o

@

o

tv

@

2

(,

2

,@

I

10)

f.p. to 3

11) 1f.p. to4

,@

12)

c

o

@

1

@

1

9)2 f.p. to

@

1

2f.p.to1

1

0

1

2f.p.to4 B)

o

1

6)3

?):

0

0

I

3

0

64

e) 4f.p.to3

1)4 @

4f.p.to2 2)

@

4f.p.to1 3) 3 f.p.

to

@

3 f.p. to 2

5)3 @

3 f.p. to 4

6)3 to

@

@

2 f.p. to 3

8)2 @

2f.p.to4

e)@ 2

1f.p.to2

,@

I

1

2

I

@

@

@

@

e

I

I

I

2

@

@

@

@

1

I

I

2

@

@

@

@

1

t

t

2

@

@

o

@

t

I

I

I

1

@

@

o

e

c

o

I

c

I

I

I

2

@

@

o

@

I

c

I

t

I

I

@

@

@

e

I

I

1

I

I

@

@

@

o

c

I

2

I

o

@

@

@

e

I

I

I

t

1

I

@

@

@

@

@

e

I

I

I

I

@

@

@

@

3

f.p. to 4

12)

I

o

I

11) 1

@

I

I

I

10)

f.p. to

@

I

1

?)2

1

1

1

4)3

2 f.p.

I

3

I

o

1

c

Apply t oCH armo nic, Melodic, Natural minor and Domina nt sca les m aking the necessary interval adjustments.

65 EXOTIC SCALES

Algerian

Arabian (dim.)

Hungarian Gypsy (Persian)

Hungarian Gypsy

Oriental

Japanese

Japanese

Chinese

- Mongolian

Persian

Neapolitan

Pentatonic

BaLinese

Egyptian

66

Hindustan

Raga Hanunat Todi

Raga Todi

Ethiopian

Whole-tone

Spanish Gypsy

Byzantine

Ethiopian

55 Ethiopian

Hawaiian

Hungarian Minor

Japanese (Hyojo)

Japanese (Oshikicho)

Japanese (Banshikicho)

Javanese

Jewish (Magen Abot)

Jewish (Adonai Malakh)

Jewish (Ahaba Rabba)

Apply all f ingering and position principles. Student encouraged to do research on all types of scales.

is

67

Altered scales on chords

( +4th

infuses

CmajT(+4th)

synthetic I tonality) lnversl0n

lnv.

inv.

rnv.

(altered)

Cm7 (altered)

+ C

whole-tone scale

(Start on 2nd inversion to avoid note repetition) C 9th

c7@

"r@

cma37

Cma;Z

cmz

@

@

c+o cma3z

@

cmaiz

@

@

cmz@

c070

co7

c+o

c*@ c1l

0

68

co@ Omit C+ whole-tone scale

CmajT

Omit Co

c13

"r@

c-i @

"r@ c.@

cmaiT

@

cmajT@

c*z @

C,,?@

lnclude inversions.

Apply all fingering and position principles. 2 note scales

Cmaj 2nds

Tths

octaves

Apply similar procedure to C Harmonic, Melodic, Natural minor; Dominant, Diminished and whole tone scales making necessary interval adjustments. Extend scales to 2 octaves. lnclude 9ths, 11ths, 13ths.

69 Arpeggios with f igurations

l!

lr _ttC?_t_cf+ a

Triplets

#+

71

Repeat

using Cm , Co , C+ triads.

Apply all f ingering and position principles.

Apply

ffi , fn

ana

f-IJ

72

Altered chord arpeggios

C

major

o5

Repeat

with +5

-g , +9 , +11 -13.

-7

Apply similar procedure to C Harmonic, Melodic, Natural minor; C Dominant, C Diminished, C whole tone. For present purposes, omit altered tones which are already present as enharmonics.

e.g.

-3 +9

-13

+5

Student should experiment with 2 or more altered notes simultaneously.

73

Altered scales

Apply all fingering and position principles. Tonic and 3rd unaltered to retain tonality. Ultimately, any note can be altered. rncrude

U-l ,Ll ,a-A rn6 [l J

Repeat with C Harmonic, Melodic, Natural minor; Dominant scales. lnclude inversions. Student should extend to all types of scales.

Combined alteration (2 or more notes)

Extend to other scales. Repeat to include 3 or more altered notes. I nclude inversions.

74

HARMONICS

2 categories: natural and artificial

Natural harmonics obtained by touching string lightly with 4th finger (opt. any finger) of left hand while plucking string with pick or finger of right hand. 4th, sth, 7th, gth, 1 2th, 1 sth, 16th, 19th frets are commonlv used. (Student should experiment with other

frets). Natural harmonics can be obtained at every fret dependent on the instrument and students ability. The author has included an Oriental (Japanese) minor scale to assist the student in melodic application of harmonics.

Natural

Fret: l2th

7th

5th

Sth

l2th

@

@

o

Extend to inversions. Apply similar procedure to 2 strings. Extend to 3, 4, 5 and 6 note chords.

Artificial

Example. Stop note with 1st finger left hand; touch

Apply all fingering and position principles to the following examples. Since this is a purely aesthetic evaluation, student should do research on theoretical significance of all embellishments.

EMBELLISHMENTS

Glissando

Mordent

note 1 octave higher with 1st f inger right hand while simultaneously plucking string with right thumb or pick. Apply procedure to any note on board with appropriate left hand fingering. Repeat procedure with 2 strings. Extend to 3, 4, 5 and 6 note chords. Play all scales using harmonics.

Gruppetto

Trill

vibrato - slight fluctuation of pitch produced by oscillatory motion of left hand.

vib.

75

Harmonization of altered chords on scales

Extend each exercise to octave.

C major scale

CmajTo5 Dm705

CmajT +5

erc.

pp7+5

b= Omit

for

+9

m7

chord

CmajT +9

tt opt.

+ll

o

9-9+9

-13

forroot,

+11 for 3rd

11

Apply to all chord families. Repeat

for C dominant scale, lowering

B

notes

E to Eb A to Ab for C harmonic minor E to Pb

for C Melodic minor

E to Eb

A to ab

to

Bb

scale

scale

B to Bb forCNatural

minorscale.

Student should notate all exercises.

Study on chord shifting Procedure: root of initial chord becomes 3rd of 2nd chord, sth of 3rd chord, 7th, gth, 1 1th, 13th of subsequent chords.

(c , Ab, F , ebrg

Dbmait ,

ehg

Gl1

mented chords. Repeat entire exercise using 3rd of initial chord as pivot then Sth, 7th,gth, 11th, 13th. Apply procedure to altered notes i.e. root of initial chord becomes minor 3rd of 2nd chord

(o5,

+5, -9,

+9, +11 -13

)

)

Perform exercise using all maj 7 chords. Repeat using 7th chords; then m7, , diminished and aug-

Extend thru all keys. Apply to all chord families.

Chord families

Apply all chordal procedures to the following chord families. Student should extend material to include remainins chord families (1456) (1346) {.1246t,.

Optional: Extend to 5 and 6 note chords (include triads).

C7 inversions

76

C7 inversions

C7 inversions

Rhythm sequences.

Apply root movement progressions. Apply to all posi tions and chord families.

77

3

78 Extended studies based on principles of chromatic and diatonic fingering.

Reverse

Reverse

Reverse

Extend the following sequences.

79

,a'\

AA

44n

AA

80

333

,

J

r-!r

lnclude J Ja, J)J

sr

J

and Jl I

\

I'

' i..a- d siiis.F-.'S,1i"

tffi

tlIiltrlls sAil00tE Highly rsgard*d *$ s :"nester *f the rnod*rn guit*r, De*nis Sandale has d*v*ted his life to the *dvs**er msnt of m*d*rn g*-ritar tee hniqu*s. i'lis ext*n$:ve *xpe* rienee a* a pr*f*s$ianat musicia* irrciudex *tints with vari*us nar$s bend* thet includ* T*mrny Darsey, Flay McKinley and Charlie *arn*t, studia w*rk in New York, and teecling end w*rking with advanced students at work*h*ps and *li*ics. Count*d arrorig hi* stud**ts are such nn*sicians *s Pat Martin*, Harry Leahy {Fhil bYaad*]" Mik* $*ntiag* {Jerry Mulli6*n}, I* McFa*den {Jimmy $mith *rgan Tri*}. Tony Ventura {Ben Vereen}" *en Bridg*s {$t*vi* Wonder}, T*ny **Capri* {}iann* R*ss and Ann Margr*ti, lVlik* Werren {H*l*n ft*ddy}, Fl*n Parker and B*b D*V** {Chie* Harnilta*}" As a esrnpsser, Sa*dcle ha* written musi* for ball*t. * jaee CI*era and avant-gardc musi*.

&Pii':ir* www.presser.caffi

ISBN 1-5380r-88?-e

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$19.es 414-41142

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