Renard.D.hoover - Right Hand Development for Jazz Guitar
RIGHT-HAN..... DEVELOPMEN r ::::.:: :z~t., ::\~i:~ ' . '; ".•f.:•• BY RENARD D. HOOVER PREFACE The material con
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RIGHT-HAN..... DEVELOPMEN
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BY RENARD D. HOOVER
PREFACE
The material contained in this book is the result of countless hours of playing, observation, and teaching. The concept evolved while studying classical gu1tar and I began to realize that the immense musical and technical demands placed on the right hand in classic guitar were, generally, ignored in modern methods for pick-style guitar These modern methods assume the right hand will automatically follow the left in the curse of its development Many of my own students' musical and technical problems were directly related to the inability to execute the right hand properly. This right-hand tecnhique began as an attempt to correct these dificiencies, and resulted in a marked and rapid improvement in my students' playing. On this basis, it is my contention that the right hand in pick-style deserves the same attention that our classical colleagues spend time developing with Paparraro, Pujol, and Giuliani. Practicing with these studies will improve clarity in single-line improvisation, reading, musical phrasing, and chord melody playing. In short, the overall quality of musicianship will be raised. The arrangement of this book assumes the level of beginner. Advanced players may find the latter exercises more appropriate to their immediate needs. However. I cannot stress too strongly, the need to practice this book from the beginning. The right hand must be allowed time to adapt to the appropriate moves required in each set of exerc1ses. It is my hope that this book provides a means for all serious students of this beautiful instrument towards attainment of self-expression-regardless of style or idiom.
THE BASIS Why study the right-hand of pick-style guitar, independently from the left hand? Namely, it is important to develop a technique (always with a view to a musical statement), which will allow modern guitarists to play all types and styles of music. It becomes necessary to focus on the right hand because this is where the instrument's sound is initiated. Some of the requirements placed on the right hand are: dynamics, differences in texture, repeated notes, rapid scalar and arpeggiated figures, wide leaps between strings. The hand must be trained to respond accurately and quickly, according to a wide variety of musical demands. The following method is one of several methods for right hand and right arm movement. Some players advocate playing with the arm and wrist locked, with motion occurring only at the elbow. Still others advocate all three possible motions, fingers, wrist and arm. These studies fall under the last category. Approximately 90% of the motion comes from the fingers and wrist (depending on whether one is playing chords or single lines). This technique provides for the most efficiency and its usage is widespread amongst prominent guitarists today.
STARTING POINTS Two fundamental axioms must be remembered in regards to right hand movement: 1. The pick moves flat across the picked string (no slicing). 2. The shorter the stroke (distance) the pick travels, the better. In the first instance, this insures good tone production. The latter is a necessity for eventually attaining a rapid picking technique. Further, there exists a plethora of pick gauges and shapes. It is recommended the student use a heavy gauge, jazz-style pick. The heavy gauge will allow the guitarist to vary the hardness or softness of the attack. The jazz-style pick will enable the player to maintain better control of it.
HOLDING THE PICK The hand should be suspended above the guitar. with no anchoring of the second, third, or fourth fingers on the pick guard or guitar body. The pick is held between the thumb and side of the forefinger. See Photos A and B.
A
B
The thumb and forefinger work together as a single unit. For single line playing, the arm and the wrist remain relatively stationary, with the movement coming only from these two fingers.
PICKING THE STRINGS Next, initiate the down(~)stroke on the first (or E) string. Position the right hand so that the pick will move flat across the string and only move a short sidtance. Do not rest the pick on the string prior to attack. The pick is then pushed across the first string (E) with the collapse of the thumb knuckle. See Photo C, below.
c
To initiate the up (V) stroke, the thumb knuckle arches with the forefinger pushing upward; this moves the pick back up, and across the string. See Photo D, below.
D
This is a subtle movement, so observe it carefully and diligently in all of its applications. To initiate pick attacks on the remaining open strings, the hand shifts to the aporopr1ate position for each string. This assures that all six strings will be picked in the same mannw assuring continuity of sound and form, as well as accuracy. In the following exercises, begin practice by setting a slow tempo. Beginnmg and M:e·mediate students should use a metronome until an "even" sense of rhythm 1s de.e ::::e::: Concentrate on all required movements and the two fundamental axioms. When ~h1s ::·:::::ess becomes accurate and second nature, velocity will come automatically
6
These notes are to be picked as indicated, playing each note as loudly as possible. Remember the thumb knuckle collapses on 1"1, and arches on V. Don't reach for the next string with the fingers, shift the hand.
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This exercise is in preparation for the tremolo. Begin slowly, so you will be able to play the thirty-second notes in the last measure.
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Here, we encounter cross-string picking involving two adjacent strings. Its mastery is essential. Watch for thE different demands placed on your hand. The i1 or V can be initiated on the "outside" or on the "inside" of two adjacen· strings. The latter tends to be more tricky. Note: beginning with No. 30, play each repeat four (4) times, then D.C and play straight through without repeats. In future, apply this procedure to all similarly notated exercises.
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This section combines cross-string with repeated note picking. Play all notes evenly, as there is a tendency to speed up on the repeated notes, especially the sixteenth notes. Remember, the shorter the stroke the better. 4 2.
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This section involves an awkward configuration between cross-string and repeated note pickings.
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V V etc.
~ ft I{- r r f E(ifi:d 1 J J J J llid J J J J J =Ill= J J J J J J :1 D.C.
-$: jj: J dJ J gJ =Ill= J J J J J J IT j j
,r-,
83.
V V r1
Jj
J J =Ill= J B J J J J.=I
V V etc.
f£; § II= r f r r [ r =il = g 3 2 i 3 ; If~~-=~- :- ~ >
~
II= @J
i1
84.
~
II=
etc.
>
~ ~ ~ ~ ~ ~· . -
ggJ g=lli= J J J j :"1
V i1
i1
J
··..
.
~
rtn .r J J i J
=Ill=
J J J J J g~1 -
D.C.
=ili=J
J J J J l > etc. ~
rn I = ffi ffi =Il = A h =Il = JJjj Jj'lll= QJ@Q JQ'II= J2JJ Jj'lll= A A =II m
-±
r-, V V r-, V V etc. > > etc.
rn
97. ~
~ ~ I=
>
r-, V V r-, V V etc. > etc.
rn m
98.
r-, r-, V r-, r-, V etc.
96.
D.C.
~
D.C. ~ ~
~
%~ I = WW=III= $$=111= WJDJlill= JQJJJJ=III= JjJJJlill= $$ •II
i
99. ~
i
m
D.C. ~
ffi ffi =Il = M A =Il = JWJJ Jj'lll= JJ@@ Jg'lll= J2JJ Jj'lll= AM =II D.C.
9 II= EfJEfJ~iHffi ffi=lll= WJBjJ:ill= JQJJQJ'III= WJDJHI= r-, r-, V r-, r-, V etc. > etc. ~
>
rn
J
flJ ip =II D.C. ~ ~
~ I = Ef! E£(111= A h=III'J JjjJj'lll= J@@Jg'lll= J2JJWJIII= j¥j ri =II
1;. ~,., ,.,~,.,,., :!~: ~ m ~ ~c. i B I = W W =Il = f f =Il = WJ JWJ J=Il = JQ JWJ J=Il = WJ JWJ J=Il = f $ •II
22
I 0 I.
-i_
V r1 r1 V r1 r1 etc.
D.C
etc. ~ ~
~ ~
~ ~ I = ffj Cf1 =Il = fj h =Il = JWJj WJIII= J3JJ JQ'III= JWJJ WJIII= h
102.
>
>
fJ =I
V V r'1 V V r'1 etc.
D.C
' ~ I = EfJEfJ=Ii~·ffiffl=lll= JjJJJllll= WJJJJJ=III= JjJJjJ=III= ffiffi =I
103.
V V r'1 V V r1 etc.
i etc. rn rn ~ ~ ~ ~ II= ffj ffj =Il = fj h =Il = JWJJ WJIII= JUJJ Jg'lll= JWJJ WJIII= ri ri l >
I 04.
D.C
>
r1 r1 r1 r1 r1 r1 etc.
D.C
E etc. ~ ~ ~ ~ ~§ I = WW=III= fif=lll= JjJJjJ:III= JQJJQJ=III= JjJJjJ=III= ¥¥ l >
IOS.
-i
>
r1 r1 r1 r1 r1 r1 etc. >
>
etc.
rn
D.C
~
~ ~
~ § I = ffjffj=lll= hfJ=III=J'lJJWJIII=JJJJWg'lll=jJJJWJII= hri =I
';_6. ~ v v~ v v=~~: ~ ~ ~ ~.c ~ MI = =Il = ¥ 9 =Il = Jj JWJ J=Il = JQ dJ@ J=Il = WJ JWJ J=Il = Ff ¥ =I
WW
I 07.
i ~ g I=
V V V V V V etc.
rn
Eff Cf1 =Il = h h =Il = J2JJ Jj=lll= JWJJ JQIKJ WJJ JJIII= h h
>
>
etc.
~
D.C
~ ~
=I
This is a variation of No. 29; quintuplets and septuplets are introduced. Play all accents as shown. Again, concentrate first on accuracy.
v
~
v
108.
v
~
v
~
>
v
v
~
v
~
r €8 r
=Ill=
v
~
v
~
>
>
6 l ltL(
v
~
~
v
>
V etc.
~
v
~
~etc.
>
f r r f r r 3
v
~~
~
=Ill=
>
f
rrf
f
3
F
rr
'
v
~
v
6
~
v
~
v
v
~
v
~
~
>
II=
v
~
v
~ ~ v ~v v ~v v
v
~
v
~
f r
f
>
'
TJf
f f f f
7
110.
v
~
•
>
I~
v
113.
6i
~
>
!
>
II= (
v
v
~
v
•
E J
j
v
~
~
=Ill=
v
~
v
.~
112.
v
>
>
f [ 7f
r [ f
3
F
f f f
~
v
6II: [
v
~
V
~
v
~
>
t f
f
5
Ef
=Ill=
v
~
v
v
~
[ f[ [ [
~
v
v
~
~
v
v
~
Vetc.
~
·~etc.
V
=Ill= ~
V
>
r r r f ~- r-c~t
V
~
V
~
Vetc.
~ etc. >
~
v
v
~
~
v
v
~
~
V
V
~
~
V
V
~
~
V
V
~
~
V
V etc.
~ etc.
Apply the above formula to the following sets of adjacent strings.
&a fJ fJ
II
0.1
5f F F f F f f r f f f f f [ F
7
114.
~
6
>
=Ill=
f[
F[ [
6
frffff[f
7
~
5::! c C:E f
5
~
v
>
V
>
V
~
~
~
>
II= F
v
~
~
v ~v
....
D.
Ill.
~
'
r
Apply the above formula to the following sets of adjacent strings.
109.
·.
f F 6
r r f :1: f f f f f f f r f f r r r r f
f f
7
f f
etc. ~ ~ ~ v ~v v ~v v ~v v ~v etc.
~ ~ ~ ~ ~ ~ v ~v v ~v v ~v v ~v v ~v v ~v v ~v
r
f
f
6
~
II= C r
>
r r liF f c F F F
f 5
>
~etc.
>
>
f F F F 5
V etc.
~
~
liS.
116.
6~fJjJII
4~JOjJ
II
24
v
~
v
118.
6a
~
>
-11=
c
v
~
v
v
~ ~
j
~
v
~
=liFT? r r
>
v
v
~
v
~
~ v ~v v
~
~
3
..
>
>
=Ill=
5
[ r
5
~ ~
'
6 ~
>
@.·
V
V ~
~
J
~
~
V
V ~
~
il J J
V
~
=II
V etc. ~etc.
] j J J J J r >
=II
6
~ V ~ V ~ V 1"'1 V etc. V ~ V ~ V ~ V :-,etc.
V ~
7
7
~-·
>
~ ~ v ~v v ~v v
>
etc.
j ~ ~~ ~ =Ill~ f r F F 3 ~
--------
V etc. ~
>
>
p
~
v
~
~
D.C.
=Il = Fr , r rrrI' E5555555 =II --
Apply the above formula to the following sets of adjacent strings.
119.
120.
6~BjJII
1"'1
v
122.
v
~
>
~
v
~
>
II=
v
v
__, J
v
~
v
~
t
~
~
v
:Ill:
Er
v
E
r
3
v
t
E 3
v 1"'1v v ~v v 1"'1 v ~ v v 1"'1 v 1"'1 1"'1 ~ 5
~
~
5
r
=Ill=
*
>
rrr Fr F~ FF FFF
-·
6
,, ,
>
F =Ill=
7
6F F 5
I
~
I
\
6a ~
124.
~
II
v etc. - etc.
--
FFFr
Apply the above formula to the following sets of strings.
123.
r
:II
6
... v ~v v v v .,v
~
>
7
y etc. ; etc.
~ ~ ~ • E: j f f ~ ~
~ v ~v v ~v ~v ~v ~v ~v ~v ~v ~v ~v ~v ~v
II: ~
>
:-, 1"'1 v ~v v ~v v
~
>
\
>
~
v etc. :-,etc.
v
I
v
~
>
r ~
~
~
>
~
~ r r r
-r :Ill: ~ r : r t F F r :II v
~
1"'1
>
>
>
~ II: [
*
~
~ J J :f11
'
125.
6a J J J J II 6a J Q J Q I
>
D.C.
i c c c cc F r =II
ri
v
126.
>
I
J
' ' '
v
i"'l
•
>
v
i"'l
a II= C J E v
i"'l
v
v
•
>
=Ill= v
v
i"'l
v
i"'l
>
II=
r
i"'l
v
i"'l
v
i"'l
v
i"'l
v
i"'l
v
i"'l
>
r ~ f
i"'l
V etc.
i"'l
v
i"'l etc. >
>
~ f
c
ttfrttf
Ul= r
3
v
V
i"'l
V
i"'l
i"'l
V
i"'l
iii fFiiif 5
5
v
v
V
i"'l
V
i"'l
Vetc. i"'l etc.
>
II= r i"'l
v
i"'l
i"'l
3
v
>
v
v
i"'l
~
v
i"'l
v
i"'l
v
i"'l
6
v
6
i"'l V i"'l V i"'l V i"'l V etc. V i"'l V i"'l V i"'l V i"'l etc.
v i"'lv v i"'l v i"'l v i"'l v i"'l v i"'l v i"'l v i"'l
i"'l
i"'l
>
>
D.1
>
i i i i i f ~ i i i i i F =Ill= c§i i i i i f r i i i i i i F 7
7
Apply the above formula to the following sets of strings.
127.
128.
PDQ v
i"'l
v
130.
i"'l
v
i"'l
a II= f
F"
J
~
j
129.
6~ a'"J a~ J I
6lJWJ211
I
>
' '
i"'l
:f
v
i"'l
i"'l
v
i"'l
v
v
i"'l
v
i"'l
~
i"'l
v
i"'l
v
i"'l
>
=Ill=
e r r ~ >
>
v
i"'l
v ~
3
v i"'lv
i"'l
i"'l
v
~ =Ill=
>
i"'l
ir
V etc. i"'l etc.
r r
J •--J
j >
-
~
3 i"'l v i"'l v i"'l v i"'l v v i"'lv v i"'l v i"'l v i"'l v i"'l
i"'l i"'l v i"'lv v i"'lv v
.i"'l
i"'l
i
>
II=
j
r r r r
j
J J J 5
>
i r r r r r a 33J3•
>
=Ill=
>
5
V i"'l V i"'l V i"'l Vetc. V i"'l V i"'l V i"'l V i"'l etc.
i"'l
v -
FFFFFr 7
2
7
=Ill=
f
5 5 5 5
r
Apply the above formula to the following sets of strings.
131.
'~
6
6
i"'l
6 II= [
V etc. i"'l etc.
n1a 'j 132.
1
J
J fO I
D.
etc.
J JJ @@@g=lli=J J ~
=Ill=
J
A
A
D.C
j g J J J =liP ; j ; J S S S
=
These sextuplets should also be played as follows:
b.
a.
BBB1JJJJJJ ::>
v r,v v ~v iiv
ii
141.
&II= J ~
.~
V etc. ii etc.
JJ J
j
6
J
::>
j
~ J=a J II=
~ ~ :j
J
::>
JJJJ
=Ill=~
6
>- etc.
::>
::>
~
6
::>
j J 9 J J 6
J ~ ~ ~ lll= J J J J J J 6
6
v iiv iiv iiv iiv
J
j
Jj ~ J
=I
6
D.C.
J
Jj 3~ ~
J
J J 2 :j ~ J
:J
6
ii
142.
6
I JJ II=
'
II=
::>
6
J
Vetc. iietc.!!!!;
.r j J J J J =Ill= J J ~ Ja3
J JJJJ 6
>- etc.
j
6
JJJ J J 6
6
=Ill= j
JJ
6
JJJ
6
J
JJJ J
~ Jj J 6
--
=
28 ~
V
Vetc. ~etc.
J J Jj J j J J 111= Ji l "1 j 6
>-etc.
6
j
JJJa JJ
=II
6
D.C.
~ I= j j J J J J j J
J J a J J =II
6
6
v ~v ~v ~v ~ v
~
144.
~
JJ II= >-
Vetc.
~etcJ
JJ JJ 6
~ II:J J J ;
j
>- etc.
J J J J =Ill= d J J 6
6
JJ J J( J J J ~1P
J
JJd
Ja 5 J j u 6
J ]) ] J d j
D.C.
] J ] J =II 6
6
~V
145.
~
~V
~
I I
'
II=
I I
~
v
yetc.
~etC.
JJ J J J J J ; ; ~ >- etc.
6
J J =Il = J S J J ; Jf!d 6
6
j ~ il 6
D.C.
~
II=
j JJj
JJjJJll
6
146
~
~ II=
V
ci'
j ]
V
~
f f ~ ~
,.V
>-
V
~
~
6
~
;
6
Vetc.
~etc:P:::::;J==;:J=J=!==J~J
r: -~ _ ~ ~ J
6
6
JJ1
l l ~ ~ ~
J J =II
6
D.C.
J JJ J J J ~II= J #1 9 j a J j ( J j ]21
~HI:W J j J j 6
etc.
~ ~ =Ill= ; F I7
OJ
6
6
Alternate accented rhythmic patterns for this group:
b.
Jfi=
IJ >
>
These two variations are applicable to previous and future three-note figures. r1 V r1 V r1 V etc. V r1 V r1 V r1 etc. r1 r1 V r1 r1 '/ etc.
147 •
j
d
f3; 'll¥1[f3 Jj J frl=d
>
>
~
~
' II= :jJ 3 j J :ill: fJ 3 j E >
>
r1
~
148.
>
r1 V
150.
,.,
>
V
V
r1 V
V etc. r1 etc. r1 etc.
~v
~
-
JJ J J] =Il = Lffl I]] >
r1 V r1{V V r1 V (r1 r1r1V
149.
11\1
r1 V r1
~v
fJi=;
-i_
V r1
>
VV) etc.
r1) etc. V r1r1
r1 0L r1 V) etc VV (T"1 V r"1) etc: r1
V r1 r1
>
r1
v
r1 ,.,
V
r1
II= JJ 3 :lll'f j HII=
>
-
V
-
>
>
v v r1
v
r1
>
V
0
v v ..
v v r1
>
r1
>
,.,
r1
V
,.,
::"l
r1
V
,, ,
vvn
..
>
' II=
' '
II=
cf:j
v v ,.,
v- v
v
,., ,., v
v v r1
v v
r1
,., r1
v
-
v v ,.,
r1
--~=
D
v- v ,.,
3
,., v v r1 r1
r1
,.,
,.,
J J J ~ J
';! \ ..
cr_·
v
r1 etc. ,r-1 etc.
>
v
v v
r1
:Ill=~ JJ :Ill= 2J gu1: t g !II=! J glll= tJ Jlll=
~ J J ~ t r
>
II=
vVn
V (r1 V r1 etc.
,., v r1 v r1 v v v v
153.
D
D
r1 {V r1 V) etc.
V r1
1.. v ,.,
152.
'
f 3~ ~II= E E:f !II= f3 ~ =Il = Jj J 111= f d : >
>
r1 V r1 (V r1 V)etc. V r1 V (M V r1)etc,
r1 V
c
-
>
151.
-
>
-
>
r1 r1
::"l
>
[
{j] =III=J ]] 1 JD Jj] Jijj
>
r1
>
iJ :J
911= etc.
,.,
j =Ill=
,.,
r1
r1
v
j 3 J ~ t .J
~
r1 F
d
r1
,.,
v
,.,
v v
=Ill=~
v v
J J ill J
J
r1
J
v v
=Ill=
J J
r1
v
j
J
'
t
-
v I
~
1
F
-....,-
-#
;
--, u
30
Play as written. The four sixteenth notes should also be played as eighth notes and accented as follows:
b.
a.
J J J J II J J J J II J
II 154.
n v n v etc. V n V n etc.
155.
n v n v etc. v n v n etc.
c.
:>
:>
:>-
:>
:>
I
J
J
-j
~ :>
II D.C.
$ II= ( E [jell= i 3 J :J 111'J J J J =Ill= JJJ 5 ~II= j J J J ~ll=i J J:lu] ~
156.
~
II= F [
Ef
etc
=Iii= J
~ Jj
=Ill=
JJj
J =Ill= J J J@=Ill= J J J J =Ill=
n v n v etc. V n V n etc.
$ II= ( r (J e'=lil= £J J S =Ill= J j j J =Ill= JJj 157.
~
158.
~ 159.
~
n v n v etc. V n V n etc. etc.
>-
r r =Ill= J ~ J j
II= EG
=Ill=
JJJ
I
J J
A
~
J =II
D.C.
J
J =Ill= j j J =Ill= £J J)
J =Ill= J JJ-.j . =ll o J J J =Ill= J J J j
n v n v etc. V n V n etc.
II= ( r
cJ e;lil= £] J J =Ill= JJ j J =Ill= Jj j : =Ill= JJ j J =Ill= f]
n
v n v etc.
~
etc.
v n v n etc.
rr w
II= CG
1
=liP j
--,j
=II
DC . .
=II
D.C.
; J511
J J =llld J JJ =Ill= JJJg=llld j JJ=liP q j q
D.C.
D.C.
=II
These quintuplets should be played as written in addition to the following accented rhythmic patterns: b.)
a.)
d.)r-3--,
c.)
e.)
r-3--,
r-3-
f.)
& JJDJiJH¥fflJTIJt£JJJJiJJ.rJJUJJJ. >-
>-
>-
>-
>-
>-
>-
>-
>
>->-
>-
>-
This sequence of patterns applies to all future groups of quintuplets.
160.
i1 V il V i1 V i1 V i1 V
(V i1 V i1 V)etc. (i1 V i1 V i1)etc.
161.
i1 V i1 V i1 V i1 V i1 V
(~_ y ~
162.
i1 i1 i1 V i1 V i1 V
D.
& II: ( Ff [J =Ill: f J J J J =Ill: Jj J J J :Ill: JJ J J] :Ill: JJ J J J :Ill= ~ J J: (V
~ V
V) t 9~):t~:
_
D.
& II: ([ ru :Ill: n a JJ:Ill= aJ w Jg:Ill: w a J JJ =Ill: w J w JJ=Ill: n J A v
v
(V ~ V ~ V) etc. V ~ V~)etc.
>-
(M
i1V i1V i1V i1V i1V
(~ V ~ V M)etc.
D
_ ·
&II: cr r u :Ill: DaJJ :Ill= fJ J J3 :Ill= p 4go:Ill= 41 u p =Ill: fJ n-163.
(V M V ~ V) etc.
D.
&I = Ec c u =Ill: fffl J:ill: J J J ag :Ill= JgJg :Ill= 11 J p :liKJ J ~ ;;i w
164.
v
v
i1 i1 i1 V i1 V i1 V >-
(V ~ V ~ V) etc. v ~ V ~)etc.
(~
_D.
&I = cr Ed =Il = fJ J J1 :Ill= jJ J j J =Il = fj JJJ=Il = J1 JJJ :Ill= fJ ;-- ~ _ 165 •
VV
>- i1
i1V V i1V i1
(V ~ V ~ V) etc. (M__ V ~ v ~)etc.
_
D.
&II: [ Fc N' :Ill= JBJ ] ] J:Ill: i] JJJ:Ill: JJJJ g=Ill: £j Jj 2:11: • .. ; ~l
-
~
------
32
This group is to be played as indicated. a.)
II
166.
~ II:
aE! Er ~lil fJ n r'1 V r'1 V r'1 V etc. V r'1 V r'1 V r'1 etc.
168.
r'1 V r'1 V r'1 V etc. V r'1 V r'1 Vr'1 etc.
:::>
6
:::>
D.C.
Jj :Ill:
ir
Fn n :Ill: :p fj fj :Ill: Fh h :Ill: p.a n :II
~ II: E£ Ef ~Iii; H h lj :Ill: h h
~ II:
b.)
J J J J J J II J J J J J J II
:::>
r'1 V r'1 V r'1 V etc. V r'1 V r'1 V r'1 etc.
167.
3
3
In addition, apply the following patterns:
aff ir ~ifl; pE
D.C.
Jj :Ill: fj J5Jg :Ill: h rl JJ :Ill: h h fJ :II D.C.
]1 :Ill'
fl Jj 0P :Ill: jJJlP :Ill: Jd Jj p :Ill: fl E S :II
V r'1 V r'1 V etc. V r'1 V r'1 V r'1 etc.
r'1 169.
D.C.
f 1 Et Uif ~jj; 13 .a lJ :Ill: tj jj 1j :Ill: Jj4Jd] :llf!j J1 1J :11P'l£1IJ I -,j
170.
r'1 V r'1 V r'1 V etc. V r'1 V r'1 V r'1 etc.
~·· II: ; I 7 I.
~ lJi
D.C.
Uif ~jl fJ jj J) :Ill: jjj # :Ill: ~g;Jg~fO :Ill: JQJj p :Ill: 1J ~ n :II
r'1 V i1 V i1 V etc. V i1 V i1 V i1 etc.
D.C.
Er;; Qt ~jf:· JJ fi fJ :Ill: !lJJ=jJ :Ill: JJj'1@ :Ill: ljiJJ_jJ :Ill: Jj J1J3=l
33
172.
' II:
i1 V i1 V i1 V etc. V i1 V i1 V i1 etc.
ad Er ~lil np
173.
i1 V i1 V i1 V etc. V i1 V i1 V i1 etc.
174.
i1 V i1 V i1 V etc. V i1 V i1 V i1 etc.
D.C.
Jj :Ill:
Fp:a :Ill: J:J'F n:Ill: _;p # n :Ill: p tl n :II
' II: ij b~ ~lil lh91J :Ill: n Jj jj :Ill: th'Jij :Ill: h
' II:
175.
it ff if ~jfi; JJ nil :Ill= j fJ P :Ill: ~gg:p :Ill: j i1
V i1 V i1 V etc.
D.C.
lJ jj :Ill: n AtJ tll
D.C.
fJ )] :Ill: E:0 li 1
V 11 V i1 V i1 etc.
D.C.
176.
i1 V i1 V i1 V etc. V i1 V i1 V i1 etc.
D.C.
177.
i1 V i1 V i1 V etc. V i1 V i1 V i1 etc.
D.C.
' II: Qit~ ~ifl; Jj E fl :Ill= !j j'j:jj :Ill: !J:fi~llll: ij jjj :Ill: ffiJ !JBII
i II: it aEf ~jfi; nJJ n :Ill: JJJJ n :Ill: 1¥ n :Ill: JlfJ h :Ill: E~ /:jl ' I = (if~ ~jfi; n fJ fl :Ill: h
JJJJ :Ill: ngg=Jg :Ill: h dJfl :Ill: l#J ft-1
34
3
a.
3
3
b.
Use the following additional accented patterns for this group: 3 c. 3 d. 3
3
e.
ij--JJJ JIJ JJJ I JJJ JJ !J JJ II £9-JJJ JJJJII JJJJiJJ JJ I JJ 1t.Q JJJ ::>
::>
::>
::>
:>
::>
.>
::>
::>
::>
>
::>
>
>
>
::>
::>
>
::>
V r1 V r1 V r1 V r1 etc. V r1 V r1 V r1 V r1 V etc.
r1
178. ~
::>
::>
::>
::>
::>
=4 ::)
etc.
\'\ElRc r r EE f ff:f9lllq J J J f*=t ~ ~ =Ill= J J J4 J fi ±±j 4 II= @JJ JJ J J J J =Ill= JJ J J J J J J =Ill= f J m J J nffij OJ
r1
179.
-j:.
v
r1
V r1
>
>-
v
r1
v
r,
v
li. etc.
V r1 V r1 V r1 V etc. >
>
>
~
etc.
rr E f rr f Pill= J J J J J 3 J J = =Ill= J Jj J J J J B $-411= fJ JJ JJJ J J =Ill= gJ J J J J J J Hlf J J J J J J 3 J t·~: ~
II= L
=I,
V r1 V r1 V r1 V r1 etc. V r1 V r1 V r1 V r1 V etc.
r1
180. ~
= ~
u r cf f F =Ill= fJ J j J J J ~ : =Ill= J J JJ J J :J J J ~ ~ II= j gggJJ J J J =lll=g JJ J J J :JJ J =Ill= J J J J J J¥F11 >
II= c E
>
>
>
>etc.
V r1 V r1 V r1 V r1 etc. V r1 V r1 V r1 V r1 V etc.
r1
181.
rE[ Er FcJ eli!: j J J J J J J J 3 =Ill: J J
~
II: E
~
II: j
J J J J J 1 33=III:J J j
J
j
J
J J J JJ =II
j J J J g .J- i J J J J Jj JD.~i
V r1 V r1 V r1 V r1 etc. V r1 V r1 V r1 V r1 V etc.
r1
182.
-p_
>
>
>
>
>
etc.
___t::::]
~ II= C f r r L E r EJ =Ill= 7J J J J J -j.
~ II= J J J JJJ r1
183.
-i:
V r1 V r1
r~
JJ3=Ill= J J J J J J JJ3 =Ill= r
>
~ II= F F [
>
o.c.
J J J J j J J =I
V r1 V r1 etc.
V r1 V r1 V r1 V ii V etc. >
J J G· ItT; J J J J JJ gt1
>
>
r [ t r CJ
etc.
_r
~
=Ill= JC ~ J
J 3 j j J J =Ill= J J J J J J JJ g5!1
ft II= J J JJJ@gg3=Ill= J J J J J JJJ J =Ill= f J J 3 J j J J Jjj
-
--
---------~~~~~~
35
Practice using previous accented patterns for five note groups.
V
184•
$HI: 185 .
V
r1
V
r1 etc.
r1
V
r1
V etc.
f J ] :l J
:::=- etc.
r1
v
4±m j
~
V
V r1
~
.
187.
VF
V
r1
r1
V
t!f£ WJ jj
JJ J J l
:Ill: j ji~
V etc.
)
JJJ
r1
J J
illfJ4
r1 etc.
:ill:
:::=- etc.
186
•lttf j 3 J J
Jj
3 J 9= :Ill:
V r, etc. V etc.
r1
J
" II: }.L_J 7J :J = :Ill: fJ=d J J :Ill: j r1
V r1
V
r1
V
r1
v
r1
v
J.
J J J J :Ill: j j J J= -J AI =
D.C.
V r1 etc. V etc.
D
~ II: j J J J :Ill: j J j J 3 :Ill: ;f J J J J :Ill: f j j J 3 ·j
r1
189 •
V
r1
-
V
r1
r1 etc.
V etc
~ II: F J J J J :ill: i J J j :::=- etc.
190.
t 191
r1 V
v
r1
r1 V
v
"""
1 1
r1 V
r1
~ I = ~ et:.
r1
V
v r1
j ]
J J J g :III:J J J tJF~
r1 etc.
Vetc.
II: : et~. J J ] =Il = J J ] J
. rv
J :llld
r1 etc.
v etc.
J :III:J
J]j
J :III:J j J J g :Ill: J J ] j Jf1 J =llld j J J § :Ill: J J ] Jiii
36
'
Utilize the following accented patterns:
s
a.
3
b.
J JJ :::>
J J J J I FJ J J J Fl
:::>
:::>
:::>
:::>
3
c. :::>
J J J J JJ
IJ :::>
:::>
V i1 y i1 V i1 etc. y i1 V i1 V etc.
V i1
192.
1
:::>
D.C.
&I = j J J J J J J =Il = J] J J J J J =Il = JJ J J J J J =Il = f] J J ffi :fl :::>
:::>
V
:::>
V
193.
V i1 V i1
194.
V ~ V i1
:::>
etc.
V i1 etc. V i1 V etc.
i1
D.C.
&II: f J QJ ~ J : ~l~~ J ]J J J 3J :Ill= JJ JJ J j J :Ill= :fJ j J J J BJ V i1 y i1 etc. V i1
V etc.
D.C.
V i1 V i1 etc. V i1 V etc.
D.C.
V i1 V i1 etc. V i1 V etc.
D.C.
&II:
fJ Q] l J : ~ ~!~ fl j ] ] J J :Ill: JJJJJ ]J :Ill= ~1 J ] ] J 3 =II
195
V i1 V i1
V
&. II: j j i1
196.
~
V
l ]~ J : ~\tj JJj J J 3=Ill: JJJJ j J J :Ill: JJJ]J J L1 i1
V i1
&II: J J J JJ J ] :Ill: d J J J 3 ] J=Il = J J J J J JJ =I m ~ 3 J J=II :::>
i1
197.
:::>
::>e~
:::>
~
V i1 V i1 V i1 etc. V i1 V i1 V etc.
V i1
D.C.
$ I = J J J J J J] :Ill= J J J 3 j j J:Ill: J ] J"'! ~~:Ill= J J J J ] J j :II :::>
i1
198.
:::>
v
V i1
i1
:::>
v
i1
V
:::>
etc.
_.. _..
v
i1 etc. V i1 V etc.
i1
$ II,J J ] J J j }Ill: JJ ]] j JJ:lll= ifjj 199.
~
:::>
:::>
V~
i1
7
:::>
:::>~.
D.C.
· illll= Jj ] j j J]'ll
..~ . . ~
V i1 V i1 etc.
V i1
II:: J ~ J
V i1
V etc.
D.C.
1]]1!t. J J J JJJJ:Ill: J J J JJJg=Ill: J J J JJJ J:II
37 Use these additional accented patterns:
& JJJJJJJJJJPJJJEJJJJ I BJJJJJJJJj a.
3
>
200.
>>>
r1V
~
20 I
>
V r1 V r1 V r1 V etc. Q1'1 V 1'1 V ~x5
JJ etc. JJJJJ etc.:Ill:
& "' D >
b.
3
>
>
>
>
V r1 V r1 V r1 V etc. r1 V r1 r1 V r1 V r1 V r1 etc. r"1
· V VJ II: J J~ J~ et~~~~:
t 11! I
3
>>
c.
3
>
>
>
JJJ3JJJJJJ=Ill= JJJ
3
>
>>
3
>
>
DC
.. JJJaaJJ :Ill= JJJJ;m JB311
J
D.C.
JJ JJJj j JjJ :Ill: JJJJJ JJJJJ:Ill: JJ ]]]j ~ j jJ =II
5etc. &II= lJ1Jl J1 et~~l= j]J JJJJJJJ =Ill= JJJJJJJ j J J=lll=jj]]]] Jfl;u V r1 y r1 V etc.
V
202.
Q~ Q1'1 Q1'1
203
V r1 V r1 V etc. "'1 V ~ V r1V ~ v r"1 r1 etc.
V 1'1 V
D.C.
J:
v
•
~ JJJ
1)! Ji ~ et~~l= J]JJ
v r1 v r1
&II= fJ
. ~ j JJJJi =Ill=
n· . c
D
JJQJJ j JJJJ=Ill= JJJJ JJJJC111 D.C.
•.t~ 4~
205.
>
>
>
>
> •
etc.
r1Vr1Vr1V V V r1 Vr1 Vr1 r1 r1 V etc. ~ V r1 V r1 etc.
ffl! J~ j l J1J~~~: i] Jj ] ] JJJJ =Ill= r1Vr1Vr1V V r"1 V r1 V r1
y~ r1V Vr1 etc. etc.
206.
JJ
207.
r1Vr1Vr1V V r1 V r1 V r"1 r1 V r1 V etc. -. V r1 V r1 etc
• ••
• • =i
D.C.
JJJJJJJQ@ =Ill= JJJJJj ] ]JJ J
W
_
D
c
& II=~ ~ JdJlJlJ ;~J~ nJJJJJJJJ =Ill= aaJJJJJJJQ =Ill= nJJJJJJJ] ~ &II= : J: J~ Jj j j}Jk B JJJj JJJJ =Ill= JJJj j JJQQQ =Ill= JJJJ3] JJ.= g4· >
>
etc.
38
Practice this group of eighth notes, accenting the first of two, then as sixteenth notes. 208
.
i1
v
V i1 i1
v
V i1 i1
v
V i1
i1
V etc. etc.
v rl
i-Jtg J @J J J 1J e;~I'J J J J j ¥
it 11=-er E r r r r1 • 209. ~
i1 V i1 V i1 V i1 V etc. V i1 V i1 V i1 V i1 etc. > > > > etc.
~ II= Gift
r F E r: r
J =Ill= ffj
~
D.C.
J J J 3 £H = =Ill= i 1J J J J J iHI
--1
=liP
J
J W W ] j J =Ill= f J J j J J J J =II
~¥1 J J J j J @J@ =I lid J j j J J J j :IJP 2 I 0.
i1
V i1
V i1
V i1
V i1
V i1
V i1
>
>
Lld J 3 =II
D.C.
oJ
J J 3 j J JJ1
V etc.
V i1 etc.
@Ig gJ=J J J 1 J =Ill: J J J J J J J 3 =Ill: f j J 3 t=tJ hJI ~
ek.
>
~
~ lf:
: EFr f fi
:]
:Ill' j
J J 3 J J J~
D.C.
=Ill]
J J J J J J FJ
39
21 1.
~
V
V ~ V
~
V ~ V
~
V ~ V
~
' 11=1 F [ E FE ~
V etc.
~
etc.
ret~ill: Ffij
J J J J fDll
3 J J 3 =llld J J
ua §= f=:tJnJ J Jfi =Il= J#] J J J: =Ill= fHz= =Ill= Jj Jj Hbl 212
.
~ V ~ V ~ V ~ V etc. ~ ~ ~ ~ etc.
v
v
v v
~
>-
>-
~
~
D.C.
etc.
>-
>-
213.
f
VV ~
V ~ V ~ V etc. ~ V ~ V ~ y ~ etc
II= J J 13 J JJ@ etc. =IIi= fJ >-
->-
214
>-
>-
~ V ~ V ~ V ~ V etc. V ~ V ~ V ~ V ~ etc.
±J ] j j J=l!d j j Jj JJ¥ =Ill= R J J ] j JJ8!1 -:J
~
>-
J
~ ~ J~
j- II= JJJTI J JF:lll= [ J j j J J J:: =Ill= fJ d J ; ; •
J
D.C.
=Ill= j JP W L =ll
etc. -.
>-
D.C.
-
::::>
>-
~
215.
y
v ~V v v
~
~
P"!
~
1 1
y etc.
V ~ V ~etc.
J
' II= J J J J JJ J etc. =II PO >-
~
216.
v
>-
..:>-
>-
V ~ V i'1 V ~ V etc. r1
v
r1
v r1 v
1'1
' II=JJ@Ji j QJ
etc.
-
D.C.
llfftJ =Ill= J J JJJJJj =Ill= £J j 3] j j JZ:!I -#
~ ~
J!!=JJ J] J J 3J =lll=lfH j;;
a .. DC
J
=lll=:f# j j WJ= iJ1
>-
217.
V~ V V ~
' II= :
V ~ y etc. ~ V ~ V ~etc.
J~ Jl J
-
D.C.
1]j!!= j J J ] ] ]JJ=Ill= J J j JJJJJ=Il= fj J ] ] jJ}1
40
The studies should be played first as eighth notes, then sixteenth notes with appropriate accent placement. Two more challenging patterns can be applied to these, as well as all previous four-note groups. a. 3 b. 3
tl
J J J J II J J J J II >
i1
218.
>
>
>
V i1 V etc.
V i1
V i1 etc.
D.C
'f IF ~ [ f; ·;~1: j a J J :ill: J J j j :Ill: J 3J J :IIF JJ j j :ill: j J J b ___,
i1 V i1 V etc. V i1 V i1etc.
219.
' II: ;
f [; ·:fil: j JJ 3 :Ill: J JJ j
J
J
:Ill: J J J :Ill: J Jj :Ill: jJ Jj :1
i1 V i1 V etc. V i1 V i1 etc.
220.
' II: [
i1
221.
D.C
r fJ ·;fiF j ] J J :ill: JJJ j :Ill: JJJJ :Ill: JJJ j :Ill: j ] ~ J :1 V i1 V etc.
V i1
' II: [
V i1 etc.
r f=r ·;Iii: J J J ] :Ill: j J J J :Ill: J j -
-#-#
V i1 V etc. V i1 V i1 etc. etc.
D.C
;
J:Ill: j J JJ :Ill: J J Jb
i1
222.
& 11,
,
c[&:ill:
w aa
J :Ill: J a aJ :Ill: 4J J J:Ill: w a aJ :Ill: w a a
i1 V i1 V etc. V i1 V i1 etc.
223.
11,
D.C
cr r1 ·:llF
n
D.C
D.C
j a J J :I IF J a
J3:Ill] JaJ:Ill: J aJ3:Ill: j J J J
:1
41
Apply all previous five note accented patterns.
y r1 y r1 etc. V r1 V r1 V etc.
r1
224.
'
225.
'
II= (
D.C.
f f u ~1il j JJ J J =Ill= JJ j j J=Ill= JJJJ3•Ill= JJj j j =Ill= j J J J J 'II
r1 V r1 y r1 etc. V r1 V r1 V etc.
II= ([ [
D.C.
fJ ~j~ j J J J J=Ill= JJ J J j =Ill: JJJ JJ=Ill: JJ J J j =Ill: j J J J J:II
y r1 y r1 etc. V r1 V r1 V etc.
r1
226.
'
IF (
r r [1 ~lil J] ] J J:Ill: JJJJ J:Ill:
D.C.
JJJJ3•Ill: JJJJJ=Ill= J] ] J J =II
y r1 y r1 etc. V r1 V r1 V etc.
D.C.
228.
V r1 V r1 etc. V r1 V r1 V etc.
D.C.
229.
r1 V r1 V r1 etc. y r'1 y r1 y etc.
D.C.
r1
227.
&II= ( r r fr ~Iii; J J J J ] :Ill: j Jj JJ=II~ JJJ JQ:Ill= j J j Jj :Ill= j fiJTI r1
&II= f f [ f1 ~~~; J J J J ] :Ill= j J J JJ=Ill= J J J JJ:Ill= j J J JJ=Ill= J J J J $:~ &II= E[ r 0
~{fl; J 2J ] J :Ill= J JJJJ:!IF JJgJJ:IIF j JJJJ:Ill= J J ~ ~ ·J1
42
Apply all previous six-note accented patterns. 230.
V r"' V r"' Vetc. V r1 V r1 V r1 etc.
D.C.
231.
r"' V r"' V r"' V etc. V r"' V r"\ V r"' etc.
D.C.
V r"' V r"' Vetc. V r"' V r"' V r"' etc.
D.C.
V r"' V r"' Vetc. V r1 V r1 V r"\ etc.
D.C.
r"'
&II= ff fEff l1; JJJJ JJ =Ill= jJ JJ JJ =Ill= JUJJJflll= JJJJ JJ =Ill= JJJJ JJ =II
t II: 2r fEEr :ifl; JJJJJJ=Ill: JJJJJJ=Ill: JJJJJJ =Ill: JJJJJJ=Ill: JJJJJJ =II r"'
232.
&I = ff frEf ~ifl; J]] JJ3=Ill= JJJJ Jj =Ill= -JJJJ JJ =Ill= JJJJ Jj =Il = j]]] JJ31 r"'
233.
&II= Er FrFr ~iii= JJ JJ aJ=Ill= JJ JJ WJIII=JJJJ urlll= JJ JJ WJIII= JJ JJ aJ =II 234.
r"' V r"' V r"' Vetc. V r1 V r"\ V r~etc.
D.C.
& II= (g [ [[r ~iii= JJJJJJ=Il = j JJJJj =Ill= JJ2JWJ =Ill= JJJJJj =Il = JJ.J JJ)ll r"' V r"' V r"' Vetc.
235.
~4=
V r"\ V r1 V r"!etc.
D.C.
Ef;r(r ~if~ JJ]]]] =Ill= j WJJJJ =III=JUJJJJ =Ill= j 2JJJJ =Ill= JJj j j j =II
43
Apply all previous six-note accented patterns.
v nv
i1
236.
'
II' j
J
:::>
v i1v
i1
237.
¥11: j
J
r1
V
i1 etc.
V
i1
V etc.
j J J etj~l: j i1
V
i1 etc.
V
i1
V etc.
J J Jj_ll: j
J ]
3
JJ J j
J j :Ill:
JJJ
j :III:J J j J
D.C.
:I
J
J J J J J :Ill: J J J J JD.~i
:Ill:
:::>
i1 etc. i1 v i1v v i1v v etc.
i1
238.
' ' ' ' ' '
I= j
~ ~
etc.
:::>
i1 v i1v v i1v ~
i1
239.
I= j :::>
J
II=
JJJJ
:::>
i1 v i1v v i1v ~
i1
241.
JJJ
II= :::>
i1 v i1v v i1v ~ ~
II=
JJ
:::>
i1 v i1v v i1v ~
i1
243.
II=
JJ
:::>
J
J J J =Il =
D.C.
J J J J J :Ill: j 3J J f±11
i1 etc.
V etc.
j
=Ill= etc.
j JJ J
J
=Ill=
j J
J ~ J
=Ill=
j JJ J
D.C.
J Jfl
i1 etc.
V etc.
J
=Ill=
etc.
i1
242.
V etc.
etc.
i1 v i1v v i1v
J J J J :I
i1 etc.
J J :Ill= j
i1
240.
J J J J J =Il= j
J J :Ill: j J J J J :Ill=
D.C.
j J J J
J
=Ill=
J
JJ J J
=Ill=
j J J J
D.C.
J
]I
i1 etc.
V etc.
j
=Ill= etc.
dJ J J
J J =Ill=
J
J J
J
=Ill=
D.C.
f]J
j JJ J ....
i1 etc.
V etc.
j j =Ill= J J etc.
D.C.
J
JJ
=Ill=
J JJ
JJ
=Ill=
JJ J
PJ tll
44 Apply all previous six note accented patterns. 1"'1
V
4 ,
•
V 1"'1
1"'1
V
1"'1
V
V etc. 1"'1
etc.
J
II: J I J J J Llll: J etc. >-
1"'1
245.
&II: 246
V 1"'1
V
i
>-
V 1"'1
1"'1
V
Jj
1"'1
V
V
1"'1
1"'1
V
V 1"'1
1"'1
V
J J J J :Ill:
J J J J J J :Ill: j J J J J t
V etc. 1"'1
etc.
D,
1j JJJ!: j J ] ] ] J :Ill: JJ JJJJ :Ill: j J ] ] ] J ; V 1"'1
1"'1
V
V etc. etc.
1"'1
J
J
'. II: J J J : J J :Ill: J J J J J :Ill: J J J 3J :Ill: j J J J etc.
>-
1"'1
247.
V
V 1"'1
1"'1
V
V 1"'1
1"'1
V
V etc. etc.
1"'1
&II: 1j j : J j J!!: j 1"'1
248 •
V
V i"1
1"'1
V
1"'1
V
1"'1
V
V
V
1"'1
'. II:~ 2 9
1"'1
V
1"'1
V
JJ V 1"'1
. 250.
1"'1
V
V 1"'1
etc.
i"1
V
25 I.
V
1"'1
V
' II: ~ J J
Jj j J J j :Ill: j j j J ] J :
J J J:lli:J J 3 ] J r
D
-
J JD.:
V etc. etc.
1"'1
J
J
] J J J j :Ill: J J J J :lll:d } J J J
D