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The Complete Mel Bay Method For Classic Guitar

BOOK CONTAINS A WEALTH OF TECHNICAL STUDIES, RIGHT HAND EXERCISES, MUSIC THEORY, AND MUSIC FROM THE MASTERS. SELECTIONS FROM SUCH GREATS AS SOR, TARREGA, AGUADO, CARCASSl, BACH, AND OTHERS WERE CAREFULLY SELECTED, EDITED AND ARRANGED THIS

IN

VARYING LEVELS OF

NOW

FOR THE

PRESENT,

DIFFICULTY.

FIRST TIME

WE

UNDER ONE COVER, THE

COMPLETE MEL BAY METHOD FOR CLASSIC GUITAR.

©Copyright 1976 by Mel Bay Publications, International Copyright Secured

All

Rights

Inc.,

Reserved

Pacific,

Mo.

Printed

in

U.S.A.

REQUIRED SUPPLEMENTS

1.

EASY CLASSIC SOLOS

Easy Solos

2.

GREAT CLASSIC SOLOS

Intermediate

—

DELUXE ALBUM OF CLASSICAL GUITAR MUSIC

FLAMENCO GUITAR

Advanced

Intermediate

DELUXE GUITAR SCALE

BOOK

Theory

*1

6.

SOLO FOLIO

7.

GUITAR TECHNIC

8.

GUITAR FINGERBOARD

9.

GUITAR ARPEGGIO STUDIES

Easy

Technic

HARMONY

Theory

Technic rr>(

10.

GUITAR ENSEMBLES

11.

GUITAR DUETS

12.

SACRED GUITARIST

Solos

13.

GOSPEL GUITAR

Solos

ON

Quartets

—

GREAT CLASSIC THEMES

MEL BAY PUBLICATIONS

PACIFIC,

MISSOURI 63069

1

©Copyright 1976 by Mel Bay Publications, International Copyright Secured

All

Inc.,

Rights Reserved

Pacific, -:-

Duets

Mo.

Printed

in

U.S.A.

TUNING THE GUITAR The

six

open

strings of the guitar will

tration of the piano keyboard.

be of the same

Note that

shown

pitch as the six notes

five of the strings

are below the middle

C

in

the

illus-

of the piano

keyboard.

GUITAR NOTATION STRINGS

6TH

5TH

.

l

E

A

G

D

B

E

6

5

4

3

2

4TM

m D

3RD 2ND 1ST

G

E

B

1

ANOTHER METHOD OF TUNING 1.

Tune the 6th

string

to the LEFT of

2.

in

unison to the E or twelfth white key

MIDDLE C on

Place the finger behind the

the piano.

fifth

fret of the 6th

will give you the tone or pitch of the 5th string.

3.

4.

Place finger behind the

fifth fret

pitch of the 4th string.

(D)

string.

This

(A)

of the 5th string to get the

Repeat same procedure to obtain the pitch of the 3rd

string.

(G) 5.

Place finger behind the

FOURTH FRET

the pitch of the 2nd string.

6.

Place finger behind the pitch

of the

1st

string.

of the 3rd string to get

(B)

fifth fret

of the 2nd string to get the

(E)

PITCH PIPES pipes with instructions for their usage may be obtained at any music store* Each pipe will have the correct pitch of each guitar string and are recommended to be used when a piano is not available. Pitch

THE RUDIMENTS OF MUSIC

c THE STAFF: The

Music is written on a STAFF consisting of FIVE LINES and FOUR SPACES. and spaces are numbered upward as shown:

lines

5TH LINE

4TH SPACE

4TH LINE

3RD SPACE

3RD LINE

2ND

2ND SPACE

LINE

1ST SPACE

1ST LINE

THE LINES

AND

SPACES ARE

NAMED

AFTER LETTERS OF THE ALPHABET.

The LINES are named as follows:

^

3 2 1

f

— —

The

M \/

Fine

F

Does

Boy letters

can easily be remembered by the sentence

Good

—

Every

The letter-names of the SPACES are: 4 3 2

They

1

The musical alphabet has seven

The STAFF

is

tetters

speti the

—ABC

word F-A-C-E

D

F

E

divided into measures by vertical lines called

G

BARS

BAR

DOUBLE BARS MARK THE END OF A SECTION OR

* *J

STRAIN OF MUSIC.

MEASURE

MEASURE

MEASURE

THE CLEF: THE

THIS SIGN

OR G

IS

THE TREBLE

CLEF.

ALL GUITAR MUSIC WILL BE WRITTEN IN THIS CLEF.

SECOND

TREBLE CLEF

LINE

OF THE

IS KNOWN AS MANY PEOPLE

THE G LINE. CALL THE TREBLE CLEF THE G CLEF BECAUSE IT CIRCLES AROUND THE G LINE.

NOTES: THIS

IS

A NOTE: HEAD

The

A NOTE HAS

THREE PARTS.

THEY ARE

The STEM The FLAG

NOTES MAY BE PLACED

ABOVE THE

THE STAFF,

IN

STAFF,

3 AND BELOW A

note will bear the

name

The location of a note

in,

THE STAFF.

of the line or space

above or below the

it

occupies on the staff.

staff will indicate the

Pitch.

PITCH: the highness or lowness of a tone.

TONE: a

musical sound.

TYPES OF NOTES

o

THE TYPE OF NOTE WILL INDICATE THE LENGTH OF

V OTHIS

A WHOLE NOTE. THE HEAD IS HOLLOW. IT DOES NOT HAVE A STEM. IS

SOUND.

ITS

0=4

BEATS

A WHOLE-NOTE

WILL RECEIVE

FOUR BEATS OR COUNTS. THIS

A

IS

NOTE HOLLOW.

HALF

r THEHASHEAD A

IS

d TWO

THIS

IS

SOLID.

IS

IT

OR COUNTS.

IS

AN

HI IEAD

#1 =

1

BEAT

A QUARTER NOTE WILL RECEIVE ONE BEAT OR COUNT.

STEM.

IT

pTHE

BEATS

WILL RECEIVE

A QUARTER NOTE

r THEHAS HEAD A J#THIS

2 BEATS

A HALF-NOTE

STEM.

IT

=

EIGHTH IS

NOTE

SOLID.

HAS A STEM AND A FLAG.

J- -

Vi

AN EIGHTH-NOTE

WILL RECEIVE ONE-

HALF BEAT OR COUNT.

(2

FOR

1

BEAT)

6

RESTS: A

REST

is

a sign used to designate a period of

This period of silence will

7

THIS

IS

be of the same duration of time as the note to which

AN EIGHTH

REST

THIS

THIS

IS

A

THIS

IS

A WHOLE

NOTES

WHOLE 4 COUNTS

silence.

HALF REST. NOTE THAT

REST.

NOTE THAT

NH HALF

2

IT

COUNTS

LAYS

IT

ON

IS

THE

A QUARTER

REST

LINE.

HANGS DOWN FROM THE

—— QUARTER

1

corresponds.

it

LINE.

EIGHTH

COUNT

2 FOR

COUNT

1

H

i

RESTS

THE TIME SIGNATURE

THE ABOVE EXAMPLES ARE THE USED IN THIS BOOK.

4 4

COMMON

THE TOP NUMBER INDICATES THE NUMBER OF BEATS PER MEASURE.

4 4

THE BOTTOM NUMBER INDICATES THE TYPE OF NOTE RECEIVING

ONE

BEAT.

SIGNIFIES

TYPES OF JTIME SIGNATURES

BEATS PER MEASURE

A QUARTER-NOTE

TIME.

RECEIVES

ONE BEAT

SO CALLED "COMMON TIME" AND

OF DESIGNATING %

TO BE

IS

SIMPLY

ANOTHER WAY

LEDGER LINES: When

7

the pitch of a musical sound

or between, extra lines called

THEY WILL BE

is

below or above the

staff, the

notes are then placed on,

LEDGER LINES.

LIKE THIS:

THE FINGERBOARD

©©0©©© The

vertical

lines

are

the STRINGS. FRET

The horizontal

lines

are

the FRETS.

The encircled numbers are

1 I STRING-NUMBERS: The

encircled

the

numbers 6 5 4 3 2

1

The charts used

in

this

book

will

have the

VERTICAL-LINES as the STRINGS and the

HORIZONTAL-LINES as the

V

be:

be the numbers of the STRINGS.

©©©©©©

CHARTS:

Reading from

will

number of the STRINGS.

left

to

right

FRETS.

the strings wil

FRET

8

The Correct

Way

To Hold the Guitar

(TWO WAYS SHOWN)

1.

The

Left

Leg Crossed

2.

Placing the Left Foot

THE RIGHT

HAND

(R. H.)

Plucking the Strings

THE LEFT

HAND

CL H.)

The Left Hand Position

Place your fingers firmly on the strings directly behind the frets.

n

10

ON

NOTES

A WHOLE-NOTE (O) :

Jr

receives

"

n

—° —°

1

receives

TWO

o

1

1

ft"-.'

J

fret

FOUR BEATS. ti

A HALF-NOTE (0)

Note that the number of the

THE FIRST STRING

a

Classic G.

M.

I

identical. \

.•ft-"

m

j

12

3

«

12

* j.

l

4

receives

)

BEAT. i

— 3

1

ONE

m i

m

j

0

hi

0~

m i

m

E

—° —°—

1

Z2I

l

COUNT:

Is

1i

1

a:

A QUARTER-NOTE

finger

BEATS.

m

COUNT:

and

2

(3

REST

i

fr-

0-

4

\

4)

ON

NOTES

11

2ND

THE SECOND STRING

B

NUT

THREE NOTES

ON

THE 2ND STRING FRET

C

i (OPEN)

1

D

1p

3RD FRET 3RD FINGER

1ST FRET 1ST FINGER

XE

WHOU O

°

ft*

o—

—o

It

1

HALF MOTES m

i

m

i

m

i

m

i

m

i

i COUNT:

m

i

i

r

r--r f

i

m

ni

i

i

-p

1

R

-.*-f

-r

-j'

1

1-5

4

-t— f-f—

'-f

^

'

=^=^ g

»

Right

imim imim imim imim imim 1X3

4

mm

0 P

\

P 1*

\

"

Hand Study \

|

i

m

i

m

I

1

m mm

imi

J

i

rrrr rrrri rr rfir r^Miri-|M r f rrrrirrf imim imim imim imim imim imim imim imi i

i

Repeat the above study

until

mastered.

Introducing the Right a

m

*

i

a

a

i

Hand

Third Finger (a)

mimi

i

a

0

4 a

4=

f

a

a

\

f

f

»

a

i

J

i

a

m

a

m

a

jam

a

r

r

r

m

a

m

^

*

m

This sign

indicates

THREE-FOUR

_ BEATS PER MEASURE. — TYPE OF NOTE RECEIVING ONE BEAT

THREE-FOUR

time,

we

will

i

i

i

m

i

m

i

J j

r

*

a

m

J

DOTTED HALF NOTES time.

A

A

dot (•) placed behind a note increases

its

value

one-half.

dotted half-note

(

p-)

will receive three beats.

j

(quarter note)

have three beats per measure.

The Merry m

t a

2 COUNTS

*

m

r-*-r-*

by

4

m

J

THREE-FOUR TIME

3

i

1

i

p

ami

m

i

J

i

i

In

m

i

——

1

\

\

i

m

j

m

j. Cf*

= 3 COUNTS

Men m

*

m

a

i

Classic G.

M.

I

— 14

ON

NOTES

4TH

THE FOURTH STRING ON

THREE NOTES

THE 4TH STRING

C

®

NUT

I FRET

2ND FRET 2ND FINGER

(OPEN)

A

VP

,v

o

1

1

3RD FRET 3RD FINGER

(e)

it

(f)

1

WHO! p

o

I

U

1

1

O

o

'

11

1

—o

o

1

1

COUNT: 12 3 4

ha;.? P

COUNT:

12

P

p

p

«

&

p

-on^

p

(Rest)

&

Z2

9

3 4

2 (3 4)

1

QUARTER NOTES

pppp-pppp pppp COUNT:

12

3

4 (Rest)

-m

uc

±^UU

J 1

J

J

2

3

(4)

ON

NOTES

15

THE FIFTH STRING

THREE NOTES

ON

THE 5TH STRING

A

5TH

©

NUT

4 2ND FRET 2ND FINGER

(OPEN)

FRET

3RD FRET 3RD FINGER

1

Q

vvhou; motes

12

COUNT:

3 4

HALF NOTES P

COUNT:

12

IE COUNT:

P

3

P

P

P

REST

P

4

pppp pppp pppp J i fff 12 3

TOW?

'4

4

4

REST

i

-j

j ^ 'i 4 i"4

'4

4 4

PFgf

Two The following solos Play slowly at

Do

first

not raise the

will

be played on the 6th, 5th, and 4th

p

3E COUNT:

12

J?

left

hand fingers from the

I

strings until absolutely necessary.

Leave Thee

P

J j 3

U

1 i

4

i

Adantino

i

strings.

keeping the time as evenly as possible.

How Can Slow

17

Solos

NOTE

The

First

Waltz

m

m

m

String

3>

FRET 5

4TH RNGER

5TH FRET

m

m

1 m

m

i

m

l

l

m

m

m

l

0

1

0~

ra i

i m

THE NOTES

m

1

ON

THE GUITAR IN THE FIRST POSITION

m

i

i

6TH STRING FRETS

0

1

3

Sixpence ^

\

m lini

mimi mimi r

m

p

i

p

rrir J r^< J J^J

p

in

i

mini

m

i

in

Hi

i

19

PICK-UP NOTI One

or

more notes at the beginning of a

before the

strain

first

measure are referred

to

ai pick-up

The rhythm for pick-up notes is taken from the last measure of the selection and the beats are counted as such. Note the three beats in the last measure of the following study.

A

Study Introducing the Pick-up Note

P

i

m

p

3

4

pimp pimp

p

m

i,

a

=6

12

COUNT: 4

m

a

m

i

§ m

i

m

i

p

m

l i

m

l

1 r

p

m

p

i

r i

j

_)

p

p

r

i

r i

m

p

m

p

p

p

i

I j

i

'

P

p

m

p

p

m

mm *n~^

i

1

r

^ m

i

3

m

i

4

m

i

-0

m

i

m

i

m

m

i

m

m

i

0-

m

i

i

m

m

i

f

I j

a

m

mam

pi

p

^

m

l

J

1

j

t

ff i

m

r

ir

i

m

p

p

m

1

i

:

ir

Etude a

m

)

mi

a

m

m

i

m

r

t

a

m

r

r

i

m

a

m

l

m

a

p

p

ir m

i

r i

m

i

ri p

f

A

20

M.M. jl S=108

Moderato

i*

m

mi

mi

mi

p

p

mi .

1

4

JJrrujrr p—

Study By Aguado

p—

p—

pmip

p

m

m

i

p—

p—

p

i

WRITTEN

m

m

m

m

m

i

i

i

i

i

In

m

m

i 1

i 1

i 1

m

m

i

i

i

Hold

L.

m

the

L.

i

m

m

m

m

m

m

i

i

i

i

i

i

i

until

first

necessary.

finger of the R. H., plucking the lower note,

finger of the R. H. plucking the top note.

the following Studies, play the lower notes with the R. H.

Watch

m

i

m

H. finger down. Never raise fingers

the above Example, play the double notes with the

m

i

0-

m

X ):

m

m

m

i

r

r

m

"

THE SAME STEM PLAY THEM AS ONE.

i

and the second In

ON

m

f

f

(x

pmi

p

JrrJUrr

i

X

mi

P

:

WHEN TWO OR MORE NOTES ARE Example m m * m

s

i

p-

••wurrJ

2

ra

l

PPUP p—

—

pmippmiP pmip

m p 0-0

m

i

4

Thumb

(P).

H. fingering.

m

m

i

3l

m

a:

P ni

251

- In

the above selection

r _ p

employ the R.H. pattern

(Pi

3

Pm) throughout except where otherwise shown.

*=

.

55

SIXTEENTH-NOTES common

In

They may be counted

in this

time four sixteenth -notes equal one quarter-note.

manner:

1-six-teenth-notes, 2-six-teenth-notes, 3-six-teenth-notes, 4-six-teenth-notes.

ExampH

mm s

t

n

i

e

o

x

e

t

n

e

t

s

2

s

t

n

i

e

o

s

n

e

t

n

e

t

s

h

j

A

j

imi

imi 1±

in

this

manner:

i

e

o

x

e

t

n

e

t

$

A is

^

Half Rest

Quarter Rest

An

measures of the following study an eighth note

They may be counted

n

Measure Rest

A

JJ JJ

(f ff)

t

RESTS

A Whole

«n ,n

j—j

s

h

AND

j

JTdJ

Sixteenth Notes ninth

°

4

J

j

Eighth Notes

notes,

t

J

Quarter Notes

and

e

TABLE OF NOTES o

Half Notes

fifth

n

j|3|f e x

UJJ

n

t

s

h

Whole Note

the

3

xet

h

in

USJ

UJJ

1

£

Eighth Rest

7

Sixteenth Rest

?

followed by two sixteenth

US US US US

Sixteenth-Notes

imi

imi

TO

| JffljTOJfflJJJ3IJTOJJJjJJ3J33 JBjgajj^ I

^2— —

^

*

Repeat the above using the following R.H. Fingers:

r ©pmam,©pa ma, © pima, © pami w pmim,

CO

.

Prelude i

m

i

m

i

i

i

m

i

m

i

3*3

f

1

56

THREE-EIGHT TIME This sign

indicates three-eight time.

3

—

8

An

eighth-note

MM three beats. am

a

z

p

A

type of note receiving one beat, (eight note)

one beat, a quarter-note sixteenth -note

am a

l

beats per measure.

^

z

i

two beats and a dotted quarter-note

beat.

Waltz

Petite

l

:

j»

pT

a

a

hi

4

i

i

r j

m

a

m

j

r

m

a j"

j

Carcassi's m m m j

r

;

i

i.

a

r

1

'

ni

'

Waltz •

;

m

a

m

imam

.

m

j

m

^1 r

r

MAJOR

THE KEY OF D The Key of D Major To

have two sharps

will

facilitate the fingering

second

fret,

F# and C#.

D Major,

the Key of

in

—

57

it

is

necessary to

move

the

first

the second finger to the third fret and the third finger to the fourth

finger to the

fret.

(Note scale)

MAJOR

THE D 1

3

I

1 2

m

SCALE

2 4

2

1

3

12

13

Exercise

13

tuhi',

j

1

.,'

o- 3 *f—T—

1

ii

1

1

2

p J7T3|^I7^ ^jjn [££^

f

1

2

2

4

2 li j-ii r rJ itf C; rr [ / 1

1

2

1

1

1 MAJOR

THE CHORDS IN THE KEY OF D The ine cnoras chords

in

u D

ma\or are D, Maj o

Bfi

ft

o

G

and A7.

o

S

______ Accompaniment G

D

Q u

* A7

G

/>

.

0

m

A7

' G

D

D

-

Styles

A7

+

D

m

i 4

i ,

*

-1

*

J

1

1

1

m W

i

£f

—

m

i

I

58

THE D SCALE IN 0

1

m

TWO

OCTAVES i

3

7

9

1

3

i4^ff

i

i

f FRETS

10

Prelude m

i

l

a.

l

m

i

1

BE

* ' *

0——0

n

r 0

0

0

f

0

m 0

0

0

0

—0—0

0

r

0 0-0

0

0—z-0

r

r

r

I

r

if

I

r

r

f Etude

lmimimim T 3=

CARCASSI

T

4

f

t'

—

T — *

_1

i

r

— ......

1

r *f

-"

Ji

T

59

THIRDS IN THE KEY OF D

Mi A

«

10

1*

12

l

2

*

ft

Serenade «J

fin

«TT3- >

f

r

f

^— 2^!

o

"

r-f i

t

— J

de VISEE

R.

^P

E

*

t

r

1, 1

giF

rr

>

>

1

S

°n I

J

—IP"

"

ANDANTE

IN

*

f

'F

D MAJOR J.

l

*

J

i

r 1

i

1

3

r j

i

KUFFNER

f

TO71i

J i

d

Jffi

f

J

r

T

r

r

ITT

f

J-J-n T3 r*

x

j.

See Mel Bay's "Guitar Duets on Great Classic Themes

91

T

x

r

i

— 60

D Major

Sor's Etude In Moderato

m

7

%

J)

y

i

3-—

P

J>J.

HP

7 ft

7 ff

r,

J

Spc

Sr,

j

>

,j.

,

/ p>r

7^r

J |

;

^m.

ji^J.

j,J.

'y

»pr

J)

,

J.

jy,

>,l

J) |

J

i

fr

=h^

'c!£j

%r

47^

y-

^ ,y

''pi;^-pr

7

1

,wt

^

'j>J

7«f

l

'^li

r

A-j.

h

J.

A

J)

*p

,

Spf

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Signs Appertaining To Expression .

The Staccato: connected f Tf f

f f f

>-

:

.

f

.

t

f f f or f f f ) indicate Staccato. Tones designated emphasis.

(

and Phrasing

r

in this

manner

will

be played

in

a

dis-

style with

:

Short lines over note indicate emphasis

:

Every tone marked

this

way

and

individuality.

should be emphasized individually and slightly separated.

Accent with sudden force.

Legato

(

):

Gradual increase of

i

The Swell

:

«

(

be connected and played

All tones will

intensity or

Gradual diminishing of

intensity.

—

Increase

-

ZZ

~~

'

):

a flowing

in

style,

volume.

and

diminish volume.

Gavotte

J.

Allegro Moderato

r

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BACH

Mel Bay

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The Key of B Minor

62

(Relative to

THE B HARMONIC rtU

Fingers

1

» 4

1

MINOR SCALES 4

» *

3

\

1

3 4

Major)

4

H ^f- Mfm

j

4

I

2

1

Mj

a

1

4

8

1

q

4

2

„

MElODIC a 4 o

%

4

4

Etude

HARMONIC

COUNT:

D

mm P

ni

i

P

ni

1

&

a

2

&

3

j

a

4

3

ni

i

l

in

mi

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B Minor 1

&a4&a

P

4

P

fff'dSrrfrrcn

Its

Bourree i

l

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,i

(IN

B MINOR) pa.

_

JOHANN

KRIEGER

1651-1735

THE CHORDS IN THE KEY OF B The chords

in

the key of B Minor are Bm, Em,

MINOR

and F#7.

>

3«

Bm

Km

Accompaniment

Styles

Bm

Em

Bm

FfJ

>

flfl

I

,

F#7

SB

it rt4

„

1i

Bm

Em _ _

_ _

,

Bm

F|7 ,

Love Song

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f f r f r

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1

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f f

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f

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f

B ?

r r «r f

p f r

r

65

GRACE NOTES Grace notes are small-sized

notes, which subtract their value from the note they precede.

The technical term for the grace note The grace note

When

will

is

Appoggiatura.

be crossed at the end and

the grace note

is

on a different

string

will

be played the same as

from the principal note, pick them separately.

EXAMPLES

pngi in a note alternates according

produced

is

termed the

to

its

1

and

2

mmm ppy

The When

slurs.

Trill

value, very rapidly with a tone or half-tone

above

it

the effect

trill.

The best produced by picking the

first

or principal note

and

slurring the

upper auxiliary note.

ir Written

4

IE

Played

The Mordente The Mordente

is

a fragment of a

Trill. It is

indicated by the sign: /w

a

Written

m

Played

MORE SIGNS Tenuto

(

*

) :

Hold the tone

its full

value.

Rubato: Stolen from one tone and added to a tone preceding. Luft

Pause

(

//

):

An exaggerated

pause. Uusally follows a note that

is

held by a hold sign, (fermata).

Example: 'p

The

Comma

(J)

is

used sometimes to indicate an interruption

in

the flow of tone.

i

66

THE

F

MAJOR

SCALE

(Two Octaves) 1

FRET

3 FRET

A

Daily Study

i

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fa

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al Fine)

Go

back

to the sign

%

and play

to Fine (the end).

'

D.S. al Fine

W

67

Triplet Etude In

Hand

the following triplet etude employ the following Right

patterns:

i

m

, i

m m mam, i

,

i

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3

3

3

3

anna.

j

j j j

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THE CHORDS IN THE KEY OF F The three chords

X

X

m SI

the key of F are

in

F,

C7

X




c

>

>

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Accompaniment

Styles

— lf"tlfjfl

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GUITAR SOLO

Mode ra to

[

Melody

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in F RUBENSTEIN-BAY

—

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Minuet from Don Juan

69 MOZART

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THE NOTES The notes on the

ON

1

THE THIRD STRING

third (G) string are located as

shown:

Fingers

4

? Frets

G

The

Chromatic Scale

0

Frets

4

2

will

0

4

— 9

7

5

be played on the

10

12

third string as follows

9

7

5

2

—

&

G STRING ETUDE Hold fingers down as indicated. Fingers

O

1

3

1,

3

13

4

4

i

a

4

3

i

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«

4

1

5hF

j>i

4

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n ...

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GUITAR SOLO

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1

HARMONICS Harmonics are produced by placing the finger of the lightly

hand

directly over certain frets pressing very

stopping the open string vibrations.

They are produced at the 12th, 7th, 4th and 3rd Barely touch the strings at

been

left

93

struck. (Teacher

Harmonics

will

any of the above

frets

frets.

quickly removing the finger as soon as the string has

should demonstrate)

be designated by the abbreviations: Har. in this manner.

12, Har. 7, Har. 5,

and Har. 4 placed over or

under the note to be treated

Harmonics are written an octave lower than they sound.

Table of Harmonics 7TH FRET

5TH FRET

3RD FRET

4TH FRET

12TH FRET 1st String

2nd String

3rd String

4th String

5th String

6th String

iWE

i

4 4^

& 1

f

1

i

j

2

f

m

w Exercise 5

4

12

5,

r i

J

Chime

94

GUITAR SOLO .... (All

_A

notes

Harmonics)

in

Bells u , Harmonics) .

(A Study '

.

.

.

.

in

Lento

© © 0

®

g

©®

©

0

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formed

Harmonics in

© ® ®

guitarist to

j

'

® ® ®

"®

i

r

J

©©©©©©©© ©©©© ©©©© ®

®® ®® ®

® ® ® ®

Harmonics

play

notes on the guitar harmonically. They are per-

all

hand on the note

desired.

hand

on the

Place the finger of the

2.

Place the index finger of the right

3.

c

the following manner.

1.

TO

®

®@®® ®®®

©

enable the

will

J

© "

©

© ©

Artificial Artifical

® © ® ®

©

0®

®©

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©

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%

0

©

8

r

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i

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© © © ©

left

lightly

string of desired note

12 FRETS

ABOVE NOTE

BE PLAYED.

Pluck the string quickly with the Right

Hand Thumb stopping

the tone with the pointed index finger.

Example (Artificial)

Harmonics

-r-H-h^-rT r:i?4 'V3 2 ^2 * \

14

FRETS

12

I

1

.

1

^H* 12

lb

1

^ 14

tip

"

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,

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S*w " 14

1

J

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\T~rJJT] 12

12

13

14

P

I

95

r THE POSITIONS The next goal of the student

The material contained first

The

SECOND POSITION

the

In

chapter deals with the

The

first

2345 1 1

1

23 45 1

i

1

7

jiiSjt?* 4

fingers

P4 8 1

will

cover the third

will

in

cover the

fret.

j

j

fly

I

I

2

j

1

1

*

»

3

4

5

J„J j *

fifth fret.

the Second Position

(§) I

fifth frets.

third finger will cover the fourth fret.

Notes

i

SECOND POSITION.

finger will cover the second fret.

The fourth finger

Threads

PI Among

£

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3=

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THE CHORDS IN THE KEY OF D £X

D (DFf A)

55

A7 ( AC # EG )

tit

v

in

G (GBD)

i

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99

55

ni

vii

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7

1

THE HARMONIZED SCALE

—

e.

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9-

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MINOR

(F#A#C$E)

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THE CHORDS IN THE KEY OF B Bm

O

1

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THE HARMONIZED SCALE Bm

F#7

Bm Em

— — —is

a

Ft?

Em

F|7

Bm

Bm

Ff7

(2. 1

*1

5

..

3 7

Em

F|7

"g—

71

Em Bm

—

r

|

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Bm

p

6

Rosario

r

F#7

>

f

THE CHORDS IN THE KEY OF

100

A

A

D (DFfA)

(AC#E)

g

HARMONIZED SCALE A

A

E7

D

E7

D

E7

A

A

A

D

E7

E7

E7

II

THE CHORDS IN THE KEY OF F-SHARP Ffin (F$

Bm

AC#)

MINOR

C#7 (C# E#G# B)

(BDF#)

v 1

vii 7

i

ni

1

1

'

HARMONIZED SCALE

.mm. Ffm Bm

Bm

C|7

C#7

Fjfin

Bm F|m

Bm Cf

F|m Cf7

Cf7

Ff in

Chopin's Prelude

©—

Arr.

by MEL BAY

Slow

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CHORDS

r

KEY OF

IN THE

101

F

"\

THE HARMONIZED SCALE C7

F

C7

Bb j2

C7

Bl>

C7

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E

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F

F

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— THE CHORDS IN THE KEY OF D Dm (DFA)

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THE HARMONIZED SCALE 9-

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"FLAMENCO GUITAR STYLES

r

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THE KEY OF

104

G MINOR

(Relative to B-flat Major)

The key of

G

Minor

will

have the same key signature as

THE

G MINOR

B-flat Major.

SCALES

HARMONIC

w

fete

-

MELOINC >-0

fete V

4m A

MIXED

^

fete 1'

THE CHORDS IN THE KEY OF Gm

-

(G-B!>-D)

I

M

Cm

D7 (D-F|-A-C)

(C-El>-G)

V

HI V M M

III

I

M M

V

M

HARMONIZED Gm

D7

Gm Cm

D7

Cm

D?

Gm

SCALI

Gin

D7

Cm ^Hl

Cm Gm

D7

Gm

(3

3*±

1

4

2

- —

Etude H

G MINOR

S

7TJT NT T 1

in

G

5=^

7

Minor

~ar~g

-

|

j

1

1

I

Ji

33 g r7^53^

r

'or

—

:

The Key of E-Flat The key of

E[? will

@or©

4

have three

@or®

flats.

f2-

^2.

*

11

They are

®or ®

B[?,

and

E(?,

Frets

8

1

4

6

A\)

p ®

©or®

^ & 8

THE

®

z;

fc

Alla-Breve Time When Common

time

is

be played

to

in

a tempo too fast to conveniently count four beats,

it is

then

best to count only two beats to each measure.

Each half measure This

is

will receive

one beat.

referred to as "cut" time.

The time signature for Alla-Breve time

COMMON

Count:

r

12

will

be a

vertical line

drawn through the

C

P

4

r

r

r

P

THE QUARTER-NOTE TRIPLET This

group of notes

Three quarter-notes

as shown:

ALLA-BREVE

TIME

3

letter

(

£HT I^J^

will

)

is

US ed extensively

be played

in

the

in

modern music.

same time required by two.

0

—

—

P

—

—

y

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Caballero

1

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The Key of C Minor

108

(Relative to

The

C Minor

will

be played as shown.

scales will

m

*

3

4

3

be played

the third position with the exception of the higher notes which

in

MINOR SCALES

THE C

r r *rr .

*

2

3

1241

2

34

4 1

is '3

^

1241—1

3*

will

be

4

3

Major)

im

2i 42

4

3

4

2-214213

MELODIC

5

4

3

1

3

1

The following etude

When

explained.

in

431

1

4

alla-breve or cut time. In grade four this type of time has been

playing the quarter-note

triplets, divide

the measures into two beats giving each

one beat each.

set of triplets,

-

Etude

in

C Minor

(Third Position)

A

— » i JJ Count: 3

.

|

Y

1

1'

i

3

.

t—j

1

r

4 *

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1 1

j j if j if r

2

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2

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