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Bal/nni?re', l\f hi/ .s /? r fV rr/id Sold l^ Gto. Ipyili fj.
Price 3 DolJari
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‘‘W /V» '^'^WTO-vt^T^
DISTRICT OF MARYLAND, to wrr:
BE IT REMEMBERED, That on the twenty-fifth day of January, in the fifty-first year of the
j*f^.***t****t Independence of the United States of America, George Willig, of the said district, bath
ISEAL,
jdeposited in this office, the title of a book, the right whereof he claims as proprietor, ia
************* the words following, to wit;
“Improved method for Lecrning the Guitar or Lyre, by H. N. Gilles.”
In conformity with an act of the Congress of the United States, entitled, “An act for the encourage-
ment of learning, by securing the copies of maps, charts and books, to the authors and proprietors of
such copies, during the times therein mentioned;” and also to an act, entitled, “An act supplementary
to an act, entitled, ‘An act for the encouragement of learning, by securing the copies of maps, charts and
books, to the authors and proprietors of such copies, during the times therein mentioned,’ and extend-
ing the benefits thereof to the arts of designing, engraving, and etching historical and other prints.”
PHILIP MOORE,
Clerk of the District of Maryland.
METHOD
OF
PREFACE.
No instrument forms a more agreea-
ble accompaniment for the voice, or ex-
hibits it to greater advantage than the
Guitar; but its inexpressible charm de-
pends on the skill of the performer.
The quality of sound which may be
drawn from it, is an essential point to
which I shall endeavour to direct the at-
tention of learners, by offering them ex-
ercises and pieces which I have com-
posed and marked for the fingers, on a
plan, the object of which is to enable
them, in a short time to overcome, pro-
gressively, the difficulties of this instru-
ment. I particularly recommend them
to study well the general instructions
concerning the management of the neck
of the Guitar, which they will find in the
course laid down in this work, so that
they may mark the distances with cer-
tainty and precision, so as to avoid the
least stiffness in the fingers of the right
hand in practising, and especially in the
beginning of their studies,
I shall make use of English letters
and Italian syllables to designate the
notes.
*The Italians call the French Guitar, that which the Eu^^lisli denominate the Spanish Guitar. The real
Spanish Guitar has double and treble strings fastened-to the silver ones, and tuned to an octave higher. Thenails of the right hand are permitted to grow for the purpose of enabling the performer to strike the double
strings with the necessary force; whereas the French or Italian Guitar, although of the same shape, has but
six strings, and is played with the ends of the fingers and never with the nails.
1. Of the manner of holding the Guitar and placing the hands, -
2. Natural gamut and different exercises to teach the notes in the firstf
four frets, as well as the sharps and fiats, - - . .
3. Of broken chords or arpeggio,
4. Observations on the use of the thumb of the left hand, - - .
5. Of the great and small barre,
6. Of the change of chords and the motions of the hands,
7. Method of tuning the Guitar,
8. Of ascending and descending the gamut in half tones, - - -
9. Fifteen progressive lessons preceded by the scales, and preludes in
the most usual keys of the Guitar, - . - . .
10. Observations on the harmonic sounds, . . - . .
11. Diatonic and chromatic scale on each string of the Guitar, or general
instructions for the management of the neck of the instrument,
12. Of trills, slurs, mordenti, grupetto, and little notes or appogiatures,
13. Of staccato, or separate notes in a quick movement, ? - -
14. Of positions, - -
15. A selection of popular airs of different nations, many of them with
variations or arranged in two parts, r - - ' -
16. Exei-cises of pi-eludes and such keys of the Guitar as are difficult and
little used, .- - ^ - - - - - -
17. Exercises on the scale of thirds, fourths, octaves and tenths, .
18. General table of the harmonic sounds on the Guitar, . . .
I'uhlishe I G. Willi-.
s
^lE'TMOl# 1F(U)K THE Oin’rAJS OB!!, IL.YISK.
'Fite Guitar or Lvtt has hut six strin'fj's’jlliry art* cailetl E. A. D . G . B . E.or
u i. la. re. sol. si. mi.
G. or sol Clef is used for the Guitar, but the sound of tlie notes corres|ionds to F.
or fa Clef.
EXAMPLE OF THE OPEN STRINGS
/ mi \
j
Sixlh Siring1
li
laY' \/
sol \/ si \1
Fifth String 1 Fourth Stringj Third Stringj
Second Stinng
\\/ \
] First String|
1 : || 41 ^ II 11 O" I
1-‘jr 1 1
1 H ^41 e H ^ 11 ^
1J ‘ w0-
F. OR FA CLEF.
1 ' n n 0 n ^1 zi
^4^' —
1
1 il © 1! ^ H 1 f-i1 . 0 li H J1 - -zrzli
POSITION OF THE GUITAR AND OF THE HANDSAfter being sealetl on a chair o^ moderate height, the Guitar sliould be brought
gently near Bie body, without being pressed too closely to it, the neck raised a little altove
the shouhlers and supported by the fii’st joints of the tlmmb and fore finger of the left
han<l, the rest of the fingers should be bent to a circular position and be placed aliove
tlie strings which is easily done by bending the xvrist.
The right hand should be placed on the sounding board between the opening
in the guitar and the bridge, it should be suppoided by the little finger near the treble
or first string, the other fingers should be bent around the instrument, except the
tliumb which is held nearly straight.
To draw forth tlie finest tone care should be taken to bend every finger after
having struck the string, each finger of the left hand should likewise press tlie
strings very close to the fret by which the sound is formed.
THE LEFT HANDThe numbers i 2 34 will indicate tlie fingers of the left hand and the frets on
whicli they should be placed^ this mark o will designate the open string.
THE RIGHT HANDThe thumb of the right hand will be designated by a cross -j- and the other fin_
gers by 12 3.
4
NATURAL GAMUT WITH BOTH HANDS
EXERCISESto the learner tainillar with the natural notes* of the Guitar.
EXERCISESteaching all the notes comprised in the four first frets on the six strings .
Guitar
EXERCIISES ON THE SlUKPS
EXERCISES OX THE FLATS
EXERCISES ON THE OCTAVES3 O 2^
1
1 ^ 3lQ 3 2o3i®i^ m T r7«
: 1'
1 0^ a !
•_ J r ^
- IIffil P J d 1
* •
—
1 1 = 1
1 1 J IIvL/ J , m1
•1 t 1
^ w ^
v * Y T ++ +
h*
1
•+ 1+1 1 + 2 + 2 + 2^2-^
EXERCISES ON THE DIFFERENT ARPEGGIOS OR
1
BROKEN CHORDSjy t >, • a m n M m . . II
1 Z jf' m s tl x-r -r mr 2^' IIW^’fr
w r tT - '.r .'.-.H- 2
: 2 “-lij: ^12 ZIl 2
1
—ffi* X\
I" r H iy a* a MM ^ Tf
:;^ 1 2 1
J^!LiaC_L—BOO 1
—4“
—JLi 1 ^ Ji:
L ^ —t-
# w^ Tlii» mark ^ or is an abrevi atiou often useib it that the forr^oiii^ chord is to be played over again.
'^nltar
6
ARPEGGIO WITH FIVE OR SIX NOTES
III the first instance the thumb of the ri^ht hand ought to strike the two left strings
in passing from one to the other; in the second instance it should strike tliree in retnrning
to tlie same notes the first finger should strike two or three notes,but the last note in
descending should be struck with the thumb.
1 1 i la r
OBSK K VAT JOXS1
OX THE USE OF THE THUMB OF THE LEFT ilAXD.The tn.unh (if tlir iefl hauW is ,„>( u^d in ih«. ^ainnt,l)n1 i1 is very usernl in ex _
ecntin. the has. note, on the .ixth string and sometime, on the first in pieees of mnsir
EXAMPLEof two or tliree parts
OF THE GREAT AND LITTLE BARRE *Tlu re are certain clior.ls which cannot be executed withcrt placing tl.e first
finger of the left hand horizontally on all the strings, which is called the great Barre-when .t ,s only necessary to press two or three strings with the first finger it i. calledth e si*iaUB arre!
EXAMPLE
GREAT BARRE
The first diffienlty to be overcome on the Guitar, is to pass quickly from one chordto the other:the following exercise are blended to enable the learner to acquire that fa -C.fitj ...a short time. The fingers of the left hand must be placed successively in theor.Ier ,n which the notes are written, until they can be aU struck at once. The wristshould move correspondently to the chords, and be elevated or pressed down asmay l.e required in order to give tiu more freedom to the hand
8
iV Tiino tlie string A or la by the tniiing fork or the A or la of the Piano Forte.
‘2.* Put one finger on the 5ih fret, which makes D or re, and tune the string D or re
Iti mii-on with tlie fifth string.
Put one finger on the5ih fret of the string D or re and tune the string G or sol in uiJson
4*1' Put the finger on the 4ih fret of the string G or sol and tune the strlni; 1> or si in
nnison
.
rvl' Pnt the finger on the 5th fret of the string B or si and tune the string E or mi
in tini''on.
t). Finally tune the 6ih string E or mi with the treble or first string, to tije donhJe
ttevave.
The octaves must then he compared to each othei* to ])rove that tlte Guitar
is in perfect tune.
O CTAVES
f • II i t;> r.
0
\
SC ALE OF SEMITONES
ASCENDING BY SHARPS AND DESCENDINC; BY FLATS.
15 PROGRESSIVE LESSONS.
Gi; I
A ndaiileI
3 2
gffFpfirff
3 I i
...0-0 J3
-is3 12 :52:
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ti i
i
1
^i
^ n
g"-jJJl4rnsrtTrir.[.
0 c'1
=w
^ Tli«- <1 ols »hfw that the left hand mint he k>|»t on the fifth fr^t.
"I" You must ke^p thf fin^^er ou thr notet inarkfd a« ininiiiis their rig;ht value. (• oi r
!0
NV , rC , m, ’r^j , nfri-n..-
3 'pi J-
'
ij-' * * i
2
- i?-J-#h- m-m -.<2-
1 1
1
' A A ‘ fl** •
~
1
ml^i£Ea;
^JJl:
J mUr*^---l-V If
- IP
2 1 4 3 2 4 '
VnciitlUino
N'.'
P RTi^=?iF^^ • j 01^ f-• >=»3• 7 -O-
1
pi .J- - 1 « 11 • 4 # i1
* W # - • t-
A or L:
1 * —
^ 1^3 .^. J..--.-^ ....—‘-- ^ m !••**-: —1
IP- II
-X^ ^ J- J <
* -•t —
2 1
I P m 1 3
Tlieir two linf* in form of an anitr signify tliat a sWpU shouir) bp given to the sounds, when they
are marked in this manner *^*y ni"st be diminished .
Go it a r
fl
Wlien t\^o ii<)< 4‘S are macie on the saiin* string, the higher is marie in its proper
place and the lower on the next strin;^ in descenriinj^,
D. or re on tlie !<trin^ B. or si
ExA>n*LF:s p or si on tlie stj*in^ G. or sol
•y* 70
G.oi* sol on the strings; E.or mi -Or%-E. or mi on the striu;;^ B.or si
.j
—py*p
A fTettnoso.
iV V =i=#6 i_^
P ^~~==^ •
—»——
f*'*
*— H
i
Bn ^ ^ W-
1
aj 0 r 1 11
2 » •x -
^L
1
1
1—^—1 Vi"*n
0,,, 2 i 2
‘rfer'^'Fl
s II
i™TIor S0I./I2
—<r
*
-^- 11
=^1
pr f<Cr
g- * ^a-r J IT .
^ -<JIT, 2
= —IF^ J"^‘2 1
Minnetto
.
IV- 0 ^
a * yw V '^
• » .
1
,.^ !i , . h . - .J
0
—
.z! ?, ..gj , ,. 1 ,1 , _ ..
.2 0
2. ^ 1^?—
—zJk
^AlIesrH(o. ' ^ <1^
3 2
iji I e-J4[a' ijOj-ciLi' Crf*'
CJ 11 i ( a r
12
* 1) cr Kr aiul F or Fa on tli»- 7’,^'Fr.et S'} string aiiH 2'^ string, D or Re octave on the tenth fret
f - r»t «'ri ns •
f» iti f a r
fru ifa p
r,
w
^ The ll fin^cT must fflidp on D.,or Rr ancl roturii to the Cjt or Do in orrier not to tlisplace the h»n<is.
~j” Sli<ie ihe 4'.’ fiii;;;er from the td the I'il* frei .
Gu itar
16
^ F Or F:» <loiit)lp sharp ^ or Sol Uxiist hr j>la\p<l,
"f* Alakl" a bar "with t)jp -l<h fin^r on B, D, G, or Si, Re, Sol
Guitar
17 .
OBSERVATIONS ON THE HARMONIC SOUNDSThe Guitar produces harmonic sounds as well as the harp, but with this diffemice,
that but few can b« executed on it without difficulty; of the former only I shall offer
examples, and at the conclusion of this work, a o;eneral table of those in use .They can
be performed with all the fingers. It is niost important to place the fingers on the frets
indicated, and to hold them somewhat oblhpiely, the string should be scarcelv touched
with the left hand, but forcibly struck yith the right near the bridge.
Ouifa r
The lir.iMnonic sounds are desigiiated by har: soiiu'Uines by or ^arinoniri^
I have uiarked them by^bar:^ .
’
Tbe barinonic.'sounds form the octave above tbe notes wbieb indicate them.
When tlie harmonic sounds continue dots are placed above them. When tbe.souiKk
becomes natural tbe dots are no longer placed above them-, frequently authors write
over tbeni ‘common sounds'.'
Har
;
..Harmonic
1^3^
Strins»
Sirturs
—'
jTir
Ot
H^r: O —
"O - rh4«>* I
£> • A"S • n O*ih
.
>\ ^ KC/^A t\loJcPAtO ^
isA, P \
'"/iu)r D-'"' *
f ^ //> fj W 9 9 i — J<'rr« . r •
I
5 '.'IT /•<
1 -S'-"1* t> s •
Fi tir
lay,! ore .J, H rn > ^[2^9 -a
--—• 1*#*[— y o
1±^
fpi Tf-*
^hihi •i
Harmonio-
Giiita
'•J
GAMUT OF EAril STRUNG OF THE GUITAR
A iinut may he executed on a single strinji; from the first to the twelfth
The same fiii^ein^ is marked foe each stririj" .
^ =.— S-^ . # w .—
^
First String: • .
fret
Secoiul .
Third .
Fourth .
Fifth .
Sixth .
’oi}
G
'J1
I
P
frO» . .' . >2
Filli,•'r^ . 1
,j
I
*
T-3
iCH
T"3 I
n—[»r
3
33:#22:
£
9
3
T ^ cc
SS 3^ 2 ST ^r? §; I"
3- »
Ji
Z Ts. i r !r
•s
5 » » "53 ^ ••
El 3
— ’“ iC. c
ro
"s 1 =
I « 3- 25 5
.
3' =
Sr -
; 33 a
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- a
^ s3“ ^
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7 ••'
^»tii tar
20
ADDITIONAL NOTES ON THE SOUNDLVG BOARD
OF TRILLS, SLURS, MORDENTI, GRUPETTO,
AND OF GR ACE NOTES AND APPOGGIATURA.The-^e diffVrt'nl einbvllishinents 4)f melody are executed on tiie Guitar by
pressing; down tlie fingvM*s of the left hand, and then lifting them up again from
1\ie strings after having put the strings in vibration with the right hand.
The dotted notes must be struck and the finger let fall on the rest w ithout
using the right hand in the performance of the slurs.
Several passages may also be slurred in descending; in such case the first
m»te only iniisi be struck and the rest ^lounded by the weight of the lingers on the
strings , The trills (^Ni’l) will be performed so, andthe secon on 2 dilTei'ent
«lrini;
Strike the It note only wth the R.H.
Put the fir.t
finger jn
N?2.A or La &the
J
ourth ojiG-or
SolSl’fr.2‘istring.
Example or slurs
By the M'eight of the finger
on A or La and on U or Fa .
{ Strike the first note only with the R.H.
ind sound the rest by the
is,ht of the finger^-
2t
3JORDEXTI.^ A»
GKl PETTO.
n r Q. ax: A T
—
nU \\ r i 1 1 r nOk ^ ^ J (tII9 1
" -a — U
Pla
3?Fh
.V' fr
EXAMPLE OF AX ARPEGGIO .
/'
ill wliirh the effect of one string more is produced by means of G or Sol uliich
is slicTcd >%it]j the fourth and third fingers of the left hand.
0 * 0.13 4 4 44
PRELUDE IX C OR DO WITH SLURS IN ASCENDING.
PRELUDE IN COR DO WITH SLURS IN DESCENDING.
I 1 *
Strike only the dottefi notes
OF STACCATO.When notes are to be played in a tprifk movement, several fingers are to be used on the
same stidng, which is contrary to the usual method in regard to the right hand -.
Example.K.H.
r.'iii r
OF POSITIONS.We term positioQs the frets on Avhicli the first finger is to he placed when
a passage or chord requires the left haml to move from its iisna’ place. >lany.»
nia tei's of the art have regulated them hy the rules appPeahle to the violin; hut
this method, although very good, is not generally adopted. I therefore conform
to the custom of marking the positions hy the frets, which are thus indicate<l
position Ate which signifies to place the first finger on the first (ref. on
the second Ate as far as the twe Ifth.fret, w heu the additional notes are used.
The dots thus placed (* . . . mean tiiat the I- . hand sho iJd not he
disturbed and that all the notes shouhl he under the fingers until another pos-
ition he indicated.F. X A M p L K
.
SCALE OF THE fourth position the first finger on the Ft)lJllTH FRET.
6
EXERCISE on the fourth POSITION.
In transposing the foregoing five exercises • a fret higher, many of the different
positions used throughout the neck of the guitar w ’ill be seen, and at the end of
this work will be found exercises’’calculated to impress them on the memory.
Guila r
23
S E C O X D P A KT.
SELECTION OF POIM LAR AIRShoine of* uliicli willi variaiions or arrau^etl with two }>arts.
Air liv Alo/arl with variationsBv H.N.tiilIrs.
m
/-
Rii't »r
I
xMARCH IX THE SPANISH STYLE.
J • S :—
^
c re
«
H. X. s
.
TRIO.
^ '. -»- + ’
. 4- -<- '-I
<26 ti
SPANISH DANCE^
PASTORALLA.
^ThU dvncP is published with variatioii-s for the Guilar Ac Piano Forie ad lib:bv 1h<- Author of this TAork.^ ^
This air wifh var. for ihe Gviilar is ,ins1 published arranged bv the Author of tliis work and for sale at \Nilljgs
in;tsic store. Guitar
27
TAMBUHIXO ALLA SPAGJVOLA*
or ualt'/, ill tlir i^j»aiii>li st\'lr.H. X. (;ilL s.
* III ll'.r tuo fir-t iiiirt' oflliis pieoo <lip firsl chord should h<- sdti. k with ihr ri/^hl hand, ihrn thp^** <^l»ord v ilh the
ll fi .1 a ud the 3'' w ith the nail of the I’.lin;, which i.i ••ailed ^all •'.._-|>a;;;nola^ al ler the w ord n<^ it is r V‘'<i *** usual.
•2^
FAVOLRITE FANDANGO.
Wi < li iM irk n w
FAVOURITE PI EMOXTiUS AIR.
AiidiJuliiuviC-jt
f-•
swess9is
--
>
rT: I
'5^m •*-
.»» j i f'l i JTTni -•h
F SS^ / '/
:ft^pi
fiiiHaf
3v>
FAVOLRTTE AVAET7
(Tiiitsf*
3 I
I .
/
J.)
FOLK EXKKCISKS• %
inrorin of* j>iflndfs in lilllr u-ed nn the Guitar .
Guitar
,34
MI> OR C OR DO.
The Guitar may he played ^vith many mure flat hut only in hurt modulations
in a piece of music; for the key of A <»r La flat D or Re flat and their relative
minors prese\>t much greater difficulties. The Italians make use ot Avhat is called
tlic Capo D’astro when the Guitar is played in the ahove mentioned keys.TIiis is
;\ >00111 instrument which may be placed on all the trets, then the Guitar may be
j»lave<v in the favourite keys as is done on the Clarionet the French horn and other
instru nu'iits
.
* SJiaj.e of Capo I) nslro.
tJVMUT BY35
Tliirds^ Fourths, frequently perloriiied on the Gnitar.
GENERAL TABLE OF HARMONIC SOUNDS.
First String
,
Second . . .
Third . . .
Fourth .
Fifth . . .
Sixth . . .
rr -
~-C
iip’OlS.IS 12
f
5
o
I
m=
Ouil:
BOSTON PUBLIC LIBRARY
3 9999 08665 515 4
