fuTffitr ffimy's frnoderm GUITAR METHOD GMDE I a A H .l{ Fq F( h{ ?4 \lp Prl + a U I 2 3 4 5 6 7 8 9 l0 l2
Views 781 Downloads 1 File size 98MB
fuTffitr ffimy's
frnoderm
GUITAR METHOD
GMDE
I a
A H .l{
Fq
F(
h{
?4
\lp Prl
+ a
U
I 2 3 4 5 6 7 8 9 l0 l2
13
t4 l5
16
l7 l8 l9
0
o a
f.
m 0
d H 0F{ A Fi ld
€
s
N
+t
n
U
I 2 3 4 5 6 7 8 9 l0 l1
12
l3
14 15
l6
17 18
l9
20 21
[:37]
Daily Dnlll:22) A Scale Studies #1 [:17] A Scale Studies #2l:2ll A Scale Studies #3 [:201
A Scale Studies {r4 [:221
11
20 21 22
Q
Tune Up
A Study #1 - Open Position [:54] Tarurto [:39] A Scale Study #5 [:20] Maria [1:25] Red Haired Boy [:56] Bill Cheathum [:58] Steep t*vee [:55] Mere Point [:49] Emerald Shores [1:31] Romance [2:08] The Speedway - 2nd Position [:36] A Scate Srudy #1 - 2nd Position [:19] A Scale Study #2 - 2nd Position [:19] A Study#3 - 2nd Position [:30] Festival Waltz - 2nd Position [:36] Spanish Dance - 2nd Position [:52]
Bm Scale Srudy #l [:28] Bm Scale Study #2 L:30) Bm Scale Srudy #3 [:32] Luckie Bawdins'Reel [:56] Postlude [:47] Etude in Bm [:48] Lilac [:50] Air by Mozart [:47) Study #l [:25]
3l
4l
42 43
,14
27 28 29 30
Minuet in D minor [1:19] Largo [:36] Lucy's Waltz [i24) Crystal Sea [:36] F Picking Srudy [rl9] A Daily Scale Study in B Flat [:25] study #l [:19]
#2t:L9l
Skylark [:52]
F[m Srudy #3 - 2nd Position [:26]
32 Ff,m Srudy #4 - 2nd Posirion Il:07] 33 Lark in the Moming [:52] 34 Ode for Guitar - 2nd Position I I :33] 35 Hymn [:50] 36 Chord Solo [:28] 37 Walking Chords [:35] 38 Polish Dance [1:09] 39 c StuOy #l - 2nd Position [:21] 40 C Srudy #2 - 2nd Position [:21]
22 23 24 25 26
Study #2[:20] Study #31:201 Serenade [:33]
Study
23 Crazy Creek [:59] 24 Venetian Nights [1:42] 25 Country Life n:471 26 Prelude [:44] 27 Souvenirs Il:22] 28 Happy Cuitarist [:,14] 29 Fim Study #l - 2nd Position [:24] 30 F?nr Study #2 - 2nd Position [:21]
C Study #3 - 2nd Position [:t9] Poem - 2nd Position [:53] Spring Break - 2nd Position [:49] Shuckin' - 2nd Position [:39]
Casconade Waltz [:32] Odyssey [:55] Russian Easter [:29] Song [:23] Waltz from the Poet and Peasant Overture [:54]
Holiday
[:09]
G Ntinor Study
#l
- Open Position [:36]
3l
Gm Picking Study [:19] Gm Study [:20] Equation Il:07]
4l
HiPointe [:51]
32 Bucharest Il:06] 33 Broken Bottle [:32] 34 Slippery Slope [:35] 35 Sultana [:58] 36 Coventry Carol [:52] 37 Early Christmas Mom [:43] 38 An Adventure in B Flat [2:57] 39 Third-Position Etude No. I [:29] 40 Third-Position Etude No. 2 [:24]
45 C Boogie - 2nd Position [:29] 46 Lonely Joumey [:48] 47 Quiet Moments [:37] 48 Dance [:29] 49 Chimes [:34] 50 Am Picking Srudy [:21]
5l
A Minor Study
#l
- 2nd Position [:22]
52 A Minor Study #2 - 2nd Position [:23] 53 A Minor Srudy #3 - 2nd Position [:18] 54 Sierra Dawn [:40] 55 Noche [:38] 56 Black Stallion - 2nd Position [:41] 57 Salisbury Waltz - 2nd Position [:52] 58 Song [:33] 59 Anthem [:42] 60 G Picking Study [:19]
6l
Ballad [:33]
62 SilverThreads among the Cold [1:02] 63 G Study #l -Znd Position [:18] 64 C Study #2 - 2nd Position [:18] 65 G Study #3 - Znd Position [:17]
66 Billy in the Low Ground [:58] 67 Thunder in the Valley 2nd Position [:37]
68 Molly O'llare - 2nd Position [:33] 69 The Downfall of Paris [:34] 70 Melancholy Mood [:00]
7l
72
73 74
75 76 77
78 79 80
8l
82 83 84
gJ
SlurSong [:34] Slide Song [:33] Gondolal:Z71 Neopolitan [:28] Alrna Mater [:55] Memories [:50] Walking Triads [:32] Abide with Me [:54] The Snapper [:22] Slur Jig [:35] Train to Tulsa [:20] Chanson Triste [1:13] Clissando Study [:36] Autumn [:-52] Soliliquy [:38]
42
Shady Oak [:51] 62 Wyoming Trail/Ab Galleria [:39] in Open Position Il:06] 44 Westfield [:39] 63 Sudden Voyage/Ab The Arkansas Traveler [:53] 45 in 3rd Position [:01] 46 Beautiful Dreamer [:34] 64 Ab Scale Study #5 [:30] 47 Esqtire 12:241 48 C Minor Etude in the Third Position [:26] 65 Ab Review Etude [l:05] 66 Triplet Etude in A Flat [:23] 49 Cm Study #2 [:49] 67 Elsie's Walk [:22] 50 Cm Study #3 [:23] 68 The Cavalcade [3:19] 5l Vyaltsevo [:56] 69 Fm Study #l l:241 52 Tocatra [:49] 70 Fm Study #2l:231 53 Summer Nights [:45] 7L Fm Study #3l:251 54 Dialogue [:40] 72 Descent [:55] 55 Prelude in Cm [:40] 73 Fm Prelude [:24] 56 Sarabande [:52] 74 Hawhome [:40] 57 Syncopation Etude u:341 75 Dundee's Dilemma [;45] 58 Ab Srudy #2l:231 76 Sedona [:25] 59 Ab srudy #3l:221 77 Opus I [1:24] 60 Ab Study tA I:241 6l Ab Scale in Open Position [:25]
43
t234s67890
!t
o
A
V
1948 (RENEWED), 1972,1975,1980, 1990, 2006 By MEL BAy PUBL|CAT|ONS, tNC., pACtFtC, MO 63069. ALL HIGHTS RESERVED. INTERNATTONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.
visit us on the web at uwttw,melbay.com
-
E-mait us at email@melbay,com
The key of A has three sharps (F#, C#, and G#).
The notes affected by the above signature are played as shown:
A Scale
-
Open Position I
A Arpeggio
Daily Drill
-
Open Position
CD
1 Track #2
HHHNFH
A $cale Studies
O &
cD
I Track #3
&
ao
, Track #4
&
cD 1 Track #5
@ &
cD
I rrack #6
A $tudy #1
*
Open Positiom
&
cD
I rrack #7
D.C. al Fine
O 2005 Mel Bay Publications,Inc. All Rights Reserved.
Taranto
&
cD
I Track #8
Carcassi
Arr. by Mel Bay
Guitar Solo
F NFFFI
A Scale Study
#5
&
cD 1 rrack #e
i
L__.
The Chords in the Key of A The ttree principal chords in the key of A are A, D, and E7-
The Musical Notation of the Chords
:-
,Accompaniment Styles
Maria
&
cD
1
Track #10
nVn n
Guitar Solo
Key of A minor
FI VNVNV
Alla Breve Time When common time is to be played in a tempo too fast to count four beats conveniently, then best to count only two beats to each measure. Each half measure
it is
will receive one beat.
This is also referred to as "cut" tirne. The time signature for alla breve time is a vertical line drawn through the letter C as shown:
Common Time
Red Haired Boy Swing
Feeling
& r, 1 rrack #11 A
D.C. al Fine
Bill Cheathum Swing Feeling
& ., 1 rrack #12
A
1 0 12
Steep
Levee
Swing Feeling
I ot 2
3
AE7
3
& ., I rrack #13
W. Bay
E7
E7
402
OZIO2 A
AE7
O 2005 Mel Bay Publications,Inc. All Rights Reserved.
AETA
Mere
Point &
cD 1 rrack #14 W. Bay
Swing Feeling
qA
I2s
87,
E7
A
O 1998 Mel Bay Publications,Inc. All Rights Reserved.
Emerald Shores /!b Lyrically, slowly
* High C#
-
I Track #15 ADAEA
@E
CD
lst string,9th fret. @ 2005
Mel Bay Publications, fnc. All Rights Reserved.
W. Bay
Rorn ance Guitar Duet
&
cD
1 Track #16
Andante
,:
Mazas - Bay
3
I
[H
I
II
l] Key ofA minor
I 2a
aJ
Y
A
II
I
'@@o
a) A
il
-
d
d
& frm $ecomd Fositlom {
A Scale
- 2nd Fosition 41.,
€) @
A Arpeggio
-
2nd Position
€> @
The Speedway
-
2nd Position
n nVnVnVrl 13
4
@
A Scale Study
#I
&
cD
1 rrack #17
r
I l 1-l @
@
- Znd Position &
cD
I rrack #18
10
_t
A Scale Study #2
- 2nd Position
&
CD
I
Track #19
4
A Study #3
- 2nd Position
Festival waltz
& r, I rrack #20
- 2nd Position &
cD
I
rrack #21
AEA
A
-
A
A
a
@ 2006
Mel Bay Publications,Inc. All Rights Reserved. 11
$panish Dance
* Znd Position
Allegro
@ @ 2005
Crazy Creek
&
.o
t rrack #22 W. Bay
Mel Bay Publications,Inc. All Rights Reserved.
Track #23
Swing Feeling 2nd Position
D
t2
The notEs on the third (G) string are located as shown: FingefS,,:r0r,l;:.:',;:i;';."'::,:''"''''
'i.he G ctromatic scale
will
be played on the ttrird string as follows:
Fin$ersr,6
FretS O:
'.,,4
,. 2
3
4 5,6
I
7
i
r g,:, r10:r::.i{i.
,.:
. :,1.2 , f ,l .,.
l0 I
,,18,r,:,'7,,
.,,,r1
Fingai5".o'ri:,,.t.i
i.:! ::;::pr;1::4:tf: :ti
Hold fingers down as indicated ,FinBgf$.,.:'0 ;., 1.',3,',',
Venetian Nights Guitar Solo
Moderato
1,
-'
. ...1-,",,,, 3
& n
CD
..
i,
{
6
,.,-'5.:,,1
,,,,.r,4:
'i
The A Scale
The G Scale il::i,,,;11,,:".,,,ti2
..
:i;i1
:,,,.,,,,:,,,'.,11.,.,:,,,
ltrl]i;;:3:ii,,:..:.'i,
G String Etude :,1:,2 4 r ' ,'.1 3 ,4 1r ,
1
3,'i..4
1 Track #24
1,:.:,i::',.t:::2,i
i'i.,,1:: t:.
::.
4
|
:'1;:i.:.' l:'
:
;,'
;;4
M. Carcassi Arr. by Mel Bay
l'l
nfiF
@@ @
HVnVfiV
n
&
enuntry Lite Guitar Duet
cD
I
Track #25
Mazas, Opus 38
Arr.by Mel BaY
Allegretto {
n\/
Hnnn
I
-e,f
L----l
r-__
t*{
h.#
H
He
I
Aull II
I
1--
T Aull
?-
I
J
LJ
'rr
il
$'
uv l1
1
I
|-.:
a)
l-1
rJ
Aull II
r---l{--
I d
r-r
_r--a--
LLI
Fflm
-r-l
Au{l
cilz
il 14
i
4 T
I
D1
A ul{
l@)
cilt
=flm
l
,
3m
ll
L..J
UF
T-J
3mef;z
Ffrm
J
-t
i{
Aull I Ii
I
cilt'
cilt
F#m I
-
=flm
I
=ilm I
-t
E
I
I a)
I
cfri
.-)
, 3m
Bm
-I
l_l
a
.. A ut{ I
Ff,m
+n
cilt ,
=flm I
E7
AAm -
I
I
Ll
l-J
II
ri I t"]Ll
L_J
Ll
H
ri
hrll II
15
r-
Ttre [$otes on the Fourth String 14
12
10
Frcts,..i.,i0
A Table of Notes on the First, Second,
aJ
u
A
^Ln
rl
++-bu
t-bc
(T
v -L,,
.ft
a) A
aJ
A
@ It is important that the student thoroughly understand the above chart before proceeding.
Prelude Guitar Solo
CD
I
Track #26
F. Chopin, Opus 28, No. 7 Arr. by Mel BaY
Andante
34
3
16
Souvenirs
GuitarSolo H F H n Andante nVnV
The Happy
&
Guitarist
Guitar Solo
Allegretto
cD
I
Track#zl
rit.
& ., 1 rrack #28
Arr. by Mel Bay
X l'l Ft.tl H Fl
H
17
{Relative to A Major} ^#'w&
F Sharp Minon $cale
Lr^*^-:^ lllullll/
tL(U
;'.
.,
2402
4 0 34
1202
,
41341202
4 t2
0
3 202
t42042042
The Chords in the Key of F Sharp Minor The chords in the key of Ffi minor are F#m, Bm and C#7.
Bm
F#m
kill the sound of the string with unused part of the left hand. @ = deadened string (See the Mel Bay's Melody Chctrd Playing System for further explanation.)
-
Aecompaniment Styles
More trhrs$rnatie Signs Up tt tlds point rve have studied and used the sharp 1fi;, the flat (b), ancl the natural (l). The student is familiar by now with their functions. We now introduce the double sharp and the double flat. x = double shrarp. A double sharp raises the sound of a tone two frets. bb
= double flat" A double flat lowers the souncl of a tone two frets.
A natural cancels altr strarps, flats, double strarps and double flats. If a note has been double shaqped or double flatted, the return to one sharp or flat will require a natural sign followed by the desired sharp or flat.
Major to Relative Minor Etude A Major
VN VN VN
F#
V
Minor (Harmonic)
Melodic
A Major
l9
F Sharp [/linor $cale
c
t, =@F Sharp ^
/
Key 0f F $harp Minor Harmonic Mode * 2nd Position
:a'/
*
"
'[--6
Minor Arpeggio - 2nd Position
r, |
4
3
3
1
I
1
{e €>_ '-- €) @F#m Study #1
F#m Study
- 2nd Position &
cD
1 Track #2e
1243
#2 -2nd Position
&
2
cD
1 rrack
#30
23431
F#rn Study #3
-
ZndPosition
&
cD
I
rrack #31
F#m Study #4
- 2nd Position &
cD
I rrack #32 W. Bay
Andante
D.C. al Fine
O 2005 Mel Bay Publications,Inc. All Rights Reserved.
Lark in the Morning
ModeratelY
&
a,
I
Track #33
Fflm
2t
Key of F $harp IUIinon Revieuv Ode for Guitar
* Znd Position
&
cD 1 rrack #34
Slowly
O 2005 Mel Bay Publications,Inc. All Rights Reserved.
Harmonized $cales Practice the following harmonized scales until a smooth technique and clear tone have been developed.
Carefully note the fingering.
The C Scale
Hymn & t, I
rrack #35 W. Bay
CI 2006
Chord
Solo &
Mel Bay Publications,Inc. All Rights Reserved.
cD 1 rrack #36 W. Bay
23
Walkimg ehords
CD
1 Track #37
Slowly
I
polish Dance (Kuiawak)
&
cD
I Track #38
t
Wieniawski
Arr. by Mel Bay
slower
24
e $cale - 2nd Position C Scale {
- 2nd Position
34 O€}
@@
'''
e
Arpeggio
- 2nd Position
C Study #2 2t4t
- Znd Position & ., I rrack #40
C Study #3
- 2nd Position &
4243
cD
I
Track #41
124142
25
Poenn
-
?Rd Position
&
cD
I Track #42 W. Bay
Moderately
D.C. al Fine
CI 2005
Spring Break
Mel Bay Publications,Inc. All Rights Reserved.
- Znd Position &
cD 1 rrack #43
Moderately
W. Bay
c
G
C
D.C. al Fine
CI 2006
Mel Bay Publications,Inc. All Rights Reserved.
26
Shuckir'
- Znd Position &
cD
I rrack #44
Swing Feeling
q 2
W. Bay
4
G1il5)
34
Am
O 2005 Mel Bay Publications, Inc. All Rights Reserved.
27
D.c. al Fine
The $lide
f
The slide is perfonned by one finger of the left hand sliding over the frets from the flust to the second note. The first note is struck, and the second note is sounded by the slide. The slide is indicated by the following sign:
Slide Etude
The A Minor Scale (Harmonic Mode)
Lonely
Journey &
Guitar Solo
(Hold chord)
cD
1 rrack #46
Mel Bay
Quiet
Moments
Dance &
Chimes
cD
&
cD
I rra ck #47
W. Bay
I Track #48 W. Bay
& ., t rrack #4e
Am Picking Study Swing Feeling
ilVHVnV
& .,
W. Bay
1 Track #50
i :r l::':J
rl.
Key 0f A Minor A Minor $cqale
: Zmd Fcpsitiom
/ Harmonic Mode * 2nd Position
o @
A Minor Arpeggio
- 2nd Position
A Minor Study #L
- 2nd Position
&
cD
1 rrack #51
@
A Minor Study #2
- 2nd Position &
cD 1 Track #52
A Minor Study #3
- Znd Position &
cD 1 rrack #83
30
Sierra Dawn
&
a, 1 Track #s4
Moderately
Am
E7
CI 2006
Noche
&
Ev
Mel Bay publications, fnc. All Rights Reserved.
cD 1 Track #55
SIowly
W. Bay
143
@
@
O 2006 Mel Bay publications, Inc. All Rights Reserved.
31
Black $talliom * Znd Positlon
&
cD
1
Track #56
Swing Feeling*
W. Bay
Am
E7
13
Am D.c. al Fine
@ 2006
Salisbury Waltz
Mel Bay Publications, Inc. All Rights Reserved.
- 2nd Position &
cD 1 Track #57 W. Bay
Moderately Am
C
Dm
Dm
Am
Am
O 2006 Mel Bay Publications, Inc. All Rights Reserved.
32
D.C. al Fine
The Triads Built on the G Scale
Song &
cD
I Track #58 W. Bay -E
I
&
cD 1 Track #59
G Picking Study
& ., 1 Track #60
Swing Feeling
33
&
Ballad
cD
I Track #61
J7
To obtain the proper effect, the following solo should be memonzed. Play it slowly in a cantabile or smooth "song-like" manner.
Silver Threads among the Gold Guitar Solo Slow )
&
cD
I Track #62
H. P. Danks
Arr.by Mel Bay
t 14 2 2l
The Slur To execute ascending slurs of two notes, the lower note is played and the finger of the left hand descends hammer-like upon the higher note, creating the tone desired.
Descending slurs are executed by first fingering the notes to be played with the left hand. Strike the higher note by drawing the finger sideways off the string; the lower note will automatically sound. Sluned notes are connected by a curved line ( ^. ) and are sometimes called "pull-offs."
Ascending Slurs
34
Key of G G Scale
t
- 2nd Position
o'eY€> G'@ '
'
G
Arpeggio
@-@
- 2nd Position
U A
a/
G Study
#t
- ZndPosition & 412
G Study
413
412
#2 -2nd Position
&
cD
I
rrack #63
4
cD
I rrack #64
21242142
G Study #3
- 2nd Position &
cD 1 rrack #65
35
Billy
im
the Low Ground * Znd Positiom
Lively Tempo
&
cD
I Traek #66
GEm
D.C. al Fine G
Thunder in the Valley C
-
3 41414
Znd Position
&cD1
Track #67
GDTG
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
36
W. Bay
Molly O'Hare
Lively
- 2nd Position & .o I
rrack #68
G
W. Bay
212w
D.C. al Fine
Em
@ 2006
The Downfall of Paris
&
Mel Bay Publications, Inc. All Rights Reserved.
to 1 Track #69
Moderately
Set Dance
G
37
The H Minon Scale
Melancholy Mood
&
cD
1
Track #to
Mel Bay
Giritar Solo
The Tremolo This sign (
l)
indicates the tremolo.
The tremolo is a rapid succession of alternate down and up strokes.
The student should start slowly with a relaxed wrist, averaging four altemate strokes per quarter beat. The speed of the tremolo should be gradually increased until one continuous sound is produced. The fourth finger of the right hand may rest upon the guard if the student has difficulty in properly gauging the pick.
A Trernolo Study Whole Notes
Half Notes
38
Slur Song
&
ao 1 Track #7r.
&
ao
W. Bay
SIowly
Slide Song
I Track #72 W. Bay
Slowly
Gondola
&
cD 1 Track #73 W. Bay
Slowly
Neopolitan
&
to t
rrack #14 W. Bay
Slowly
39
"the triadis the smallest chord.
A11 chords are based on the triael.
?'he triad (froin ir"i, rneantng tLu'ee) is huilt of two tlrirds placei-l
{.}1/'3i
ear:li ottler"
and fifth above. T,!e tones gf a triacl are the root (ihe tone from which the triad is buitrt), ttie third above
Triads in the major scale are as follows:
Minor
Maior
Majon I
Minor
Major
Major
Dirn.
Minor
0ctave A major third consists of two whole steps (2).
(l
A minor third consists of one and a hatf steps
I lz)'
A major triad contains a major third plus a minor third (reading upward). A minor triad contains a minor third plus a major thild. A diminished triad is composecl of a rninor thkd plus a minor ttrird. An augmented triad is composed of a major third plus a major third. An analysis of the triads built on the major-scale degrees shows the following results:
'' ''
N1ajbi" "1"-
$;f';Q,
2. Super-tonic
;gi6gy', ,',,::.
D.F.A
3.
Mih0f., ' .' ,.
E.G-B
ll,Tonic'''
Mediant
:.,:..:::
r'r:
.i,l
:
.::L
l'
4. Sub-dominant
Major l: ..
5. bominant
,Majdr
6. Sub-mediant
,Min0r.
7.
'Diminished
Leading
',:.lt
"i
"',,.,'.," r l
' 1
,
i
,
,,.
,,'2i-1,1 'S
$'
i
,1 ,r/z'+ 2 Stc t: 2' StCii' ;':.,t 1z " ;
F rC'
i,tt " "',2. .:]
G-B.D
2+l ii
.B-D.F
1,:L/,2,
,,,,' :'
r/z
--
Steps
l ',,t/z:* 2, Sid[I
A.C-E
,
17; '--
.:::
t
+'1
..
:
:...:.:t.':::.
tTz
ep!
The triads in the minor scale are as follows:
Minor
Dim.
Ma. = Major
Aug. Minor Maior mi. = Minor
Aug. = 40
Maior
Augmented
Dim.
Dim. = Diminished
Minor
The D $cale Harmonized
Alma
Mater &
to t
rrack #75
W. Bay
I
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
Memories
&.,
t
Track #76
W. Bay
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
4t
Walking
Triads &
cD
1
Me &
cD
I
Abide with Guitar Solo Adagio
rrack #iv
Track #78
W. H. Monk
Arr.by Mel Bay I
The Snap The snap is similar to the slur in execution. The second note of the snap is usually an open string.
The first note is played, and immediately the left-hand finger pulls the string sideways as it slides off the fingerboard. When snapping a note to a closed note, both notes should be held before executing the snap effect.
Example One
Example Two
42
The Snapper
& ., I Track #7e
Moderately
rE*
Em
Am
P\
W. Bay Em
Am
E
^
^
o2-
Em
SIur Jig
&
cD
1 Track
n
Em
;\
=*
W. Bay
Mel Bay Publications,Inc. All Rights Reserved.
@ 2006
&
cD
1 Track
#81 W. Bay
Swing Feeling
43
j
i:-
Bm7
#80
Lively Tempo
Train to Tulsa
B7
The ts Minor $cale
Chanson Triste
&
cD 1 Track #82
TschaikowskY-BaY
Guitar Solo Slow
The Glissando without the abbreviation Gliss above The gliss andowill be designated by a wavy line with or
it'
The glissando is performed by combining the slide and tremolo' The first note will be tremoloed while sliding to the second'
chords may be glissandoed with
a very pleasant effect.
The glissando should be used sparingly'
Glissando of Ghords
Glissando of Single Notes
44
Glissando
Study &
cD
I rrack #83
@ 2006
Autumn
& .,
Mel Bay Publications,Inc. All Rights Reserved.
m'
1 Track #84
Slowly
W. Bay
ri
O 2006 Mel Bay Publications, Inc. All Rights Reserved.
Soliliquy SIowly
&.r,
Track #85
m"
-
t
TI
O 2006 Mel Bay Publications, Inc. All Rights Reserved.
45
W. Bay
t_
Key st {
B Minor Scale
I Minor Review
/ Harrnonic Mode - 2nd Position
l6{}v.o a
@--
@
B Minor Arpeggio
Bm Scale Study
- 2nd Position
#I &
CD
2
Track #1
13
4l
Bm Scale Stud y
#2 &
cD
2 rrack #2
Bm Scale Study
#3 &
cD
2 rrack #3
46
Luckie Bawdins'Reel
& .r 2 Track #4
Moderately
Scottish
@
Bm
Postlude
&
cD
2 rrack #5
Andante
W. Bay
O 2005 Mel Bay Publications,Inc. All Rights Reserved.
47
Etude in
Bm &
cD
2 rrack
#G
23271412
23t2123
214
4314
3131
I 3 4 1-1 0
1-1-l
3 4 3 4 l_-l
0
2 I 3 3 I 3 l-l
a tempo
412
2 | 43
4
4 3
4
I 42
@ 1999 Mel Bay Publications,Inc.
48
|
143
0
All Rights Reserved.
l0
4
0l
z 03202
31
40
0I
13 2 3t
1 3 4 I 3 I 3--3
2
23412
l-l
I 2 I
3 I 2 I
212
l-1 4 2 3 I 3L3
Signs Peftaining to Expression and Phrasing Thestaccato(i
i i or i
i;il,no,"utesstaccato.Tonesdesignaredinthismannerareplayedina
disconnected style with emphasis.
I I I
t Snort lines over notes indicate emphasis and individuality.
aa
I I |
: Every tone marked this way should be emphasized
I I |
:
individually and slightly separated.
Accent with sudden force.
Legalo(^):Alltonesareconnectedandplayedinaflowingstyle.
: Gradual diminishing of intensity. The swell
Tenuto (
-
(
) : Increase and diminish volume.
: Hold the tone its full value. ^)
Luft pause ( // ) : An exaggerated pause. Usually follows Example:
i
The comma
a note that is held by a hold sign (fermata).
tt ( ) ) is used sometimes to indicate an intemrption
49
in the flow of tone.
3
The F Seale Harrnonized
Lilac &
cD
2 rrack #T W. Bay
SIowly
O 2006 Mel Bay Publications, fnc. All Rights Reserved.
Air by Mozaft ,zarl
&
cD
2
t
Track #8
Arr.by Mel Bay
421
50
Key of D Minor D
Minq
Scale
- 2nd Position
/ Harmonic Mode - 2nd position
44
#e '
-
D Minor Arpeggio
Study
#1 &
cD
2 rrack #e
4 | 2 4 t2
Study #2
&
cD
2nd Position
4 t
2 Track #lo
zt2
Study #3
&
cD
z
Track #11
2412
51
'.,
The D Mlnor Scale
&
Serenade
cD
z
rrack #12
Guitar Solo Schubert-Bay
11 43
Minuet in D minor
& c'z
J. S. Bach
Guitar Duet
Arr. by Mel BaY
r!
ivn
v
II HVH n
52
nVnV
n nnnn
nnV
Largo
&
cD
2
Track #14 W. Bay
Slowly
@ 2006
Lucy's Waltz
&
Mel Bay Publications,Inc. All Rights Reserved.
a, 2 Track #18 W. Bay
Moderately
@ 2006
Crystal Sea
& .r,
Track #16
r
lO
@ 2006
F Picking
Study &
Mel Bay Publications, Inc. All Rights Reserved.
cD
Mel Bay Publications, Inc. All Rights Reserved.
2 rrack #tl
Swing Feeling
53
The key of B flat has two flats.
All B
and E notes are lowered 1/z step.
Fingers I
1' Fiets "r
,t,
0
HnnHLr nFnHnnHH t q t 4z
:1
1
2131
3110
@o@ Triplet Etude in B Flat Major
NVNH YHn Yn
r 6
j3 @
V
F
3n
@6
43131
I t, l.
RepearilVllVilVnVFVnV 54
3 2 01
2o
2 412
413124
t2
Flat & cD 2 rrack #18 n HVnVnV TJ",,*Jn'ln'l
A Daily $cale Study in B
Study
#1 &
cD
2
Study
#2 &
cD
2 rrack #20
rrack
#le
55
Skylark &
cD
? rrack #21
W. Bay
Moderately
D.C. al Fine
O 2005 Mel Bay Publications,Inc. All Rights Reserved.
Gasconade
Waltz
&
W. Bay
cDz rrack#2z
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
56
Odyssey
&
cD
2 rrack #23
W. Bay
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
The Quarter-Note Triplet r_J__r
This group of notes
( l' | [
Three quarter notes
will
I ir
used extensively in modern music.
be played in the same time required by two.
In playing this type of triplet employ the alla breve type of count.
Harmonized Scale
sb F7
eb
F7
eh
Accompaniment Etudes
eb
rb
F7
rb
F7
eb
eb
F7
rb
F7
eb
eh
F7
eb
Russlan
Hasten
&
cD
a
rnaek #24
@ 2006
Song
&
cD
z
Mel Bay Publications,Inc. All Rights Reserved.
rrack #25
W. Bay
I t,
a)
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
Waltz from the Poet and Peasant Overture Allegretto
A ,
FT
4j,->,
:
&
cD
z rrack #26
F. von SupPe Arr. by Mel BaY
Holiday &
cD2 rrack#z7
.iffi ,,IH
Guitar Duet
Allegretto
3z rol
q4 I a) A
il
@
h
Mazas-Bay
23
(Relatiue to B Flat Maiorl The key of G rninor has the same key signature as B flat majcr
G Minor Scales The a"''
'^:"^""'- 3 o 1 3
F{annonic
o
13
4 2
3
13
2*
3 2 4 3 13
20
3 1 13
Melodic
0 2 40
2313
31e3
103
4103103
Gypsy
The Mixed Minor Scales The mixed minor scale will ascend in the melodic mode but descend harmonic. Melndic mode Melodic mode
Harmonic mode
The Gypsy Minor Scale This colorful and widely used scale is created by raising the fourth and seventh degrees half step.
The Tonic Minor Scale Lowering the third and sixth degrees of a major scale will create a harmonic minor scale. This is done extensively by composers.
Key of G Minor G Minqp Scale
/ Harmonic Mode - Open Position
ou€}
o
@---
@----
@
G Minor Arpeggio
- Open Position
(t
o @v/
€r
G Minor Study #1
- Open Position
&
clz
rrack#zg W. Bay
234
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
Gm Picking Study swing
Feeling
4L __ @B cD 2 Track #29
!rlFv!tlnI nVnVnV!V
6t
Gm
Study &
Equation &
cD
cD
z
rraek #30
2 rrack
W. Bay
#31
W. Bay
O 2006 Mel Bay Publications, Inc. All Rights Reserved.
62
Bucharest
Slowly
&
cD
2
Track #32 W. Bay
Gm
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
Broken Bottle
Lively
&
cD
2 Track #33 W. Bay
Gm
Gm
@ 2006
Slippery Slope Medium, with a beat
&
cD
2
Mel Bay Publications, Inc. All Rights Reserved.
Track #34 W. Bay
Gm
D(fle)
\-
@
Gm 1
@ 2006
3t
Mel Bay Publications,Inc. Atl Rights Reserved.
D7
$ultana ffi
crl z
rracfl< #85
Guitar Duet
Arr. by Mel Bay
Andarftino
,il ,rl
i.r&t
-- :F--_--=r-_ ffi---
"
l-l-l
IL4
I o1
=+1
Harmonized Scale Gm Dl Gm Cm
Coventry
Garol
&
cD
Cm Gm
2
rrack #36
D7
Gm
English Carol
Gm
An. by W. Bay
eb
' GmDrb/i
Cm
Early Christmas Morn
&
Slowly
cDz Track#3l Dm
J
l3th Century Tune
Ar.by
I
F
c,,n
Gm
W. Bay
The Types of lntervals There are five types of intervals:
1. Major 2. Pertect 3. Minor 4. Diminished 5. Augmented
The Maior fntervals The interval is major if the upper tone belongs to the key of the lower tone. The number names of the major intervals ateZnd,3rd, 6th, and 7th.
The Perfect lnteruals The interval is perfect if the upper tone belongs to the key of the lower tone and the lower tone belongs to the key of the upper tone. The number names of the major intervals are primes, 4th, 5th, and octave. Perfect
Prime
Major
Major
Perfect 4th
3rd
2 l/z
Distance: 0
Steps
Perfect 5th
3 1/z
Steps
Major 6th
4 l/z
Steps
Major 7th
5 l/z
Steps
Perfect
Octrve
6
Steps
tone; Note that in the example above the upper note in the major 2nd (D) is in the key of C, the key of the lower but the lower note (C) is not in the key of the upper tone. (The note C is sharped in the key of D.)
The same situation arises intervals C-E, C-A, and C-B. The above mentioned intervals will be major. (C) is In the interval C-F, observu that the upper note (F) is in the key of the lower note (C), and the lower note in the key of the upper note (F). The same thing occurs in the interval C-G and C-C. These intervals
will be Perfect.
lnterval Measurement Unisons or Primes
0 (No distance)
Major 2nd Major 3rd
1 Step
2 Steps
Perfect 4th
2 t/z Steps
Perfect 5th
3 1/z Steps
Major 6th Major 7th
4
Perfect Octave
6 Steps
1/z Steps
5 1/z Steps
It is advisable to check the distances of the above intervals on a piano or any keyboard instrumentThe distance of each interval should be memonzed.
I
I
An Adve nture in B Flat
&
Gui tar Duet
cD
z
Track #38
Arr. by Mel Bay
Moderato
tEl
a)
I
eb A
-tl
td
F7
I
eb
I
I
3
@
@
43 1-1
l-l
I O
h r II
I
l-JrJrJ
F7 I
t1
tEt
ab
Cm
I
I
I
F7
eb
I
i
I
ul
il
A r
F7
t-l-r-
-
I
ab
F7
I
I
@
3-3 2
I aJ
LLr
F7 I
t-
@
eb I
II
@@@@c7
67
sb I
Ad ve nture (eont.| ,@
1: rfi+-t
ot+
i
C7
F
c7
,l
"1 1
,l
I
rJ1
t
,il )
,rl
Artl
,l
t
fl-f'l
I
FC7FC7
c7
C7F
CI
c7
G1J
1-
I
I
I
I
I
I
2l
I
I
I J 1FC7FC7
d A
I
J
,l
I
I
I
:
A7
c7
F
t4
'oo
o@
'@o F
2 _2
I
--;
II
t! I
-e
) Dm
-
r
F7
ab
I
I
Arl
LJ
@o
+
a
J
dJ7,:*
l
F7
.t
il 3
I
2q
lz
I 1
a)
@@@
A
I @
ri a
dd
a tempo*
A I f.\
*a tempo
-
I sb I
resume original temPo
=l
-
I
F7
I
eb I
I
68 _t
43 I
LrL-
A I
I
A r
F7
Bb
I
m
I
F7
I
I
I
Eltt
al A r
Bb I
I
F7
I Bb
I
I
TT
a
Bb Bar3---
69
@
The key of Eb has three flats. They are Bb, Eb, and Ab. @or
@
@or(O
@or@
@or@ O
@ o. @
@
The E Flat Major Scale
The Third Position The third position extends from the third to the sixth frets.
123
4
4
123
Third-Position Etude No.
L
3 4
12
CD
2
I
Track #39
n FVHVnV HVnVnV.nY
:l 70
The -flypes of Intervals Playthe following example until chord changing is accomplished without loss of rhythm.
nb
rb
ebt
rb
a
tu nb
eb
h
Third-Position Etude No. 2
J
I
&
rl
't
abz
rh
I
I
cD2 Track #40
While Shepherds Watched Their Flocks (Third Positionf
Moderately
3
George F. Handel 4
HE
Polnte &
cD
z rrack #41
W. Bay
D.C. al Fine
@
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
Shady
Oak &
cD
z
W. Bay
rrack #42
D.C. al Fine
O 2006 Mel Bay Publications,Inc. AII Rights Reserved.
72
I
Galleria
&
cD
2 rrack
#43
W. Bay
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
Westfield
& ., 2 Track #44
W. Bay
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
73
Tlre Arkansas Traue[er
&
{Thlrd Fosiriora}
Guitar Duet
to, tn[rrYn
A
-{
d
5h/,
cD
z
rraek #4s Arr. by Mel Bay
ffi
e dc>
nho
-& d
-
abt
rb
Fm7
abt
rT-n rrc-T-l
A
-G a
td Eb
3
" - *+-
,?.) A r r:ffi
Eb
-
cC;!=*, AW Eb
a'
I
I
Rbo
eb
Eb
tn
nbo
FmT
ebt
ebt
a
L-rl
Ebr-T-r]
rb
-t FO
ah
nbo
ll
rb tl
rh
I
abz
,)
A,
rb I
abt I
eb tl
eb tl
abt
eb tl
abt
rb
ebt
ebt I
il
o A
II
, .P
- , - t+-,o. rh nbo I
T
I
ttlnlJ eh
Ir
rb
Eb tl
shz
rb tl
abt
eb I
ari
Beautiful Dreamer Solo fb
Guitar
Andante
&
cD
2 Track #46
Stephen C. Foster
Arr. by Mel Bay
1
La:
abt
Ab*
7
nb
BW3
4d.
@
F7
2t 1
t
q@^
1,9,, ,!
rit. @
75
I
L-
@
ffisqu
ire
Guitar Duet
&
CS
e
Track #47
Pleyel
r?
{zr
I
I
I
rh
ll
:[E
24
arr. by Mel Bay
abt
rb lr
rb I
rb
abt
I
3
134
v
H
I
) A
rb
1r
2
I
B?
rb lr
sb I
sb
abz
I
II
,'13
r--1
314
l-l
3
I
) II
A '
'
@@
F7
eb I
# I
I
143
a)
sb
I
I
tl
3
@o
@
F7
I
@@
2 4
4
@
7.-2r1
-r@
il l4
I
I
@
)tirtl+1-?
A
o
@
F7
@3
76
Esquire {cont.}
2124
4 4
r 13>
4
ll
2Z
I
FFHHHH 321242
b::
4t
3121
I
II
t 4l t 2 a | -7n1l
r34 4 ',^-
I
II
77
11, -C
o
3
I
143
, r !, l t r r
4
The Minor lntervals
f A minor interval is
half step smaller than a major.
a
Only major intervals may become minor. Minor 2nd
t/z Step
I
Minor 3rd Minor 6th Minor 7th
1/z
Steps
4 Steps 5 Steps
lnterual Inversion lntervals may be inverted by raising the lower tone an octave or by lowering the upper tone an octave.
Example:
When Inverted: A major interval becomes minor.
A minor interval becomes major. A perfect interval remains perfect. A perfect prime becomes
a
perfect octave.
A major 2nd becomes minor 7th. A major 3rd becomes minor 6th. A perfect 4th becomes
a
perfect 5th.
A perfect 5th becomes
a
perfect 4th.
A major 6th becomes minor 3rd. A major 7th becomes minor 2nd. A perfect prime becomes a perfect octave. Perfect Prime
Perfect 5th
Perfect Octave
Major Znd
Minor 7th
Perfect
Minor
4th
3rd
Major
Minor
Perfect
Perfect
3rd
6th
4th
5th
Major 7th
Minor 2nd
Perfect
Perfect
Octave
Prime
There should be a thorough drill in the recognition of intervals both through sight and sound. The intervals should be played separately for sound recognition, then played together as the student improves in recognizing the tones.
78
(Relative to Eb Major! The C slinor s*ales will be played in the third position of the higher notes which will be played as shown.
The G ffiimon Scales Flarmonie r 3 4 I 3 4 zt
I z 4l
The following etude is in alla breve or cut time. When playing the quarter-note triplets, divide the measure into two beats, giving each set of triplets one beat.
Etude in C Minor fihird position]
z-2 '
3
1,4
----r I
t--J
t
I I-l L-
?
!_
, ___J
-J
Melodic
LJ'
4*,2_z
'j'
421
b
xAlthough the B flats are shown in the key signature, they are written in the music on this etude as a ieminder to the student.
79
The C Minor Ghords im the Third Position Cm
C Minor Etude in the Third Position -vFl
nVHV
vI-FTT
Cm Stu dy
#2 &
cD
z
Cm Study
#3 &
cD
2 rrack
rrack #4e
#50
Fm
GT
I CD
2
Track #48
Vyaltsevo
cD2 Track #51
Moderately Cm
Cm
Fm
I
3
G7(fl5)
@ 1999
Tocatta
&
cD
2
Crn
W. Bay G7 4
31431
D.C. al Fine
Mel Bay Publications, Inc. All Rights Reserved.
Track#iz W. Bay
Moderately
@ 2006
Mel Bay Publications,Inc. All Rights Reserved.
81
Summen
Nights & *r 2 rrack #b3
Flowing Tempo Om
14332
G7 t3
Fm
W. Bay G7
Cm
213
Cm
Fm
4
a
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
Dialogue
&
cD
z rrack #s4
W. Bay
@
@ 4
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
82
3
Prelude in
Cm &
cD
2 rrack #55
W. Bay
212
\9,,, @ 2000
&
Sarabande Very
SIow
Fm 2
Track #56
Cm
Fm 7
ar 2
@
Mel Bay Publications,Inc. All Rights Reserved.
J.
l. Cm )t rl
Slide chord form up
Fm
I 2
abt
,J.
83
Syncopation means irregularity of rhythm. The accent falls on the beats not naturally accented. The scale studies below introduce three types of syncopation" The major scale will be counted:
trtrr
1&2&3&4& Syncopation Etude
&
Major
1
cD
Melodic:
rt\t
t&2&s&4& z
Track #57
A.Q)& 3 & 4 &
Harmonic
4
Melodic
I
& 2 &.3 &.(4)&
& t &2 A.6)&.4 A
Harmonic:
t\t\
1&2&s&4&
_t
The key of A ttrat has four flats. rementber bv spelling b-e-a-d.
All B, E, A, and D notes are lowere dtlzstep.'.the flatted notes are easy to
6or(CI Oor@
:
',6,ii;lil;l{.i t.i.lrt,,i]i li,.,:t;;'O.IiNl.t,,..",i
$.iii.ilii
j.
jltrirrrrril:
,r: :rii,.tl
::irr::r :i.i!, !
;:r,i4;'irr; .ti
{,.,tt, j..6,1.i.r.. lr.,,'..9
The A Flat Scale,in the Third Position
34134
A Daily Scale Study in A Flat
13
ffihird position] The following daily study is an excellent etude for developing finger strength, speed, and good position playing. It should be played daily. The number of times should increase as the fingers become stronger. It is played entirely in the third position.
Allegro
H Hvn'/n./
Ab Study
#3 &
.r 2 rrack #5e
atla .t+72{t24
Ab Stud y
#4 & ., 2 rrack #60
Ab Scale in Open
413
Position 413
ql
&
z rrack #61 3 r z 4134 cD
86
Wyoming TraiyAb in Open Position
&
cD
2 Track #G2
Andante
W. Bay
D.C. al Ftne
@ 2005
Mel Bay Publications,Inc. All Rights Reserved.
Sudden Voyage/Ab in 3rd Position
&
cD2 Track #63
,,
@
@
4
4
@@ @ 2005
Mel Bay Publications,Inc. All Rights Reserved.
87
W. Bay
Ab Scale Study
#5 &
Ab Review Etude Open Position
3rd Position
2 313
&
4 34
cD
a rrack #64
cDz rrack #6s
t
O 2005 Mel Bay Publicarions,Inc. All Rights Reserved.
88
The Chords in the Key of A FIat The three principal chords in the key of Ab are Ab, Db, and Eb7.
Triplet Etude in A Flat ffhird position) AIIegro
F V FINH V N
Elsie's Walk
&
cD2
Y
& n
I CD
2
Track #66
v, Fr
Track#67 W. Bay
Moderately
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
89
The Cavalcade
{Third
Position}
Guitar Duet
Andante
&
CD
2
Traek #68 Mazas, Opus 38
I
3
43 4 |
2
Arr.by Mel Bay
4.3'!,44
a
@
'@@o@
nb
3,
:4 3r 3 , E@O@ , B' ED
@
ls
Both parts should be played in the third position. 90
I
The eavalcade [cont.]
3
1 1422
3
l2
I a)
I
A
*Change fingers on the same note.
@ @ O@ I
@
I
-
c avalcade {cont.}
The
CD
:[[
nb
I
lt
dl
I
:=bt
I
'l
I
hr,
I
il
@ q
d
I
I
LLIJ
I
A r, I
t, ttlt
I
-l
(Relative to Ah Majorl Tfue F ffiimmr Seales Harmonie
13413023
or3,
i or
t4zt
3ro3
2 431
The Chords in the Key of F Minor Fm
Fm Study
#1 &
.o 2 rrack #6e
r 3 413
Fm Stu dy
eb,
4
3
#2 & ., z rrack #70 3 0130131
93
c7
4 31
Fm Study
Descent
#3 &
&
cD
cD
2
z rrack #71
Track#72
W. Bay
Moderately
D.C. al Fine
O 2005 Mel Bay Publications,Inc. All Rights Reserved.
Fm
Prelude
&
W. Bay
cD 2 Track #73
O 2000 Mel Bay Publications,Inc. All Rights Reserved.
94
Hawthorne
&
a, 2
Track #14 W. Bay
Moderately
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
Dundee's Dilemma
&
ao
2
Track #78
W. Bay
Allegro
O 2006 Mel Bay Publications, Inc. All Rights Reserved.
95
$edona
CDZ Track #76
Allegro
W. Bay
Fm
Fm
c7
Fm
O 2006 Mel Bay Publications,Inc. All Rights Reserved.
I
Opus
I
&
cDz rrack#7l W. Bay
Slowly, with expression
O
1999
Mel Bay Publications,Inc. All Rights Reserved.
96