Playing Guitar

8/22/2019 Playing Guitar

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How to • Play Guitar - The Concept • Must read!

Playing any instrument, and guitar in particular, combines lots of elements coming together at the some time: Holding

the guitar, left and right hand positions, plucking, reading notes, tempos, the sound of your guitar, expression... etc.

The beginner may find it complicated to cope with all of these elements within the first lessons.

In this method, I suggest a graduated method to learn how to play guitar in an easy and direct way.

My purpose in the Play Guitar method is to teach ANYONE that has the willingness, to learn how to play the guitar.

The goal here is to guide you in the successful studying and playing of the guitar!

Bestowing good, basic, fundamental elements for the guitar are most important!!!

A guitar student that does not have proper basic elements of holding the guitar and placement of hands and fingers

will surely enter the track of struggling with the instrument. In the long term, he or she may feel uncomfortable

playing the guitar.

All the basic elements will be discussed out in the "How to..." chapter. Pay special attention to those pages.

After the "How to..." chapter, we shall start learning how to play, I suggest a numeric system, called Tablature or TA

in which you will easily and quickly be able to achieve good, basic, fundamental elements of guitar playing.

The numeric system (TAB) has limitations, but since it based on graphic realization it has some significant advantage

for the beginner because we can locate each tone visually.

Please read the explanation about our TAB system on page 7. It is not like the

usual TAB - it is easier! If you want to skip the TAB to concentrate on the

notes instead, please click

We shall use the numeric system (TAB) in Chapters I, II and III to accomplish two major goals:

1) Obtaining good basic positions and technique.

2) Playing some small pieces and melodies such as the Waltz, Malaguena, Blues, etc. within a short time. It may take

only a month or two.

Than we shall progress to Chapter IV where we learn notes. We will find it much easier because we have already

achieved some very important basic elements of playing the guitar.

In Chapter IV, Learning Notes, there is a significant expansion of music!

In fact, it is an entire Guitar Notes method - within the Play Guitar program!

Click for more information. Click the: "Compose & Play" button to see how you can study notes in

a creativity and enjoyable way

In the last chapter, Chapter V, let's presume you are a guitarist on the road. You will be working on your first guitar

repertory. I selected some charming guitar works, which I hope you will enjoy learning.

I wish you an interesting and exciting guitar course.

I humbly invite guitar teachers to use the Play Guitar method in order to guide their own pupils.



• Play Guitar - The Chapters • Must read!

The Play Guitar method is a process for studying guitar that has five logical chapters, and an opening chapter named

"How to..."

How to...

The "How to..." chapter guides us in all of the "how to..." areas:

How to hold and place the guitar.

How to place your right and left hands in correct playing position.

How to tune the guitar.

How to read the numeric system (tab), and more.

How to stroke the strings with your right hand fingers.

How to read and practice durations.

"How to..." is an extremely important chapter! Please read it all and assimilate it step by step.

Chapter I. Privatization

In the Privatization chapter, we shall learn to activate each hand and finger separately.

That is way the name of this chapter is: Privatization.

We will practice the right hand thumb on the bass strings, than the right hand fingers on the treble strings. Then, we

will practice each of the left hand's fingers - separately.

The Privatization chapter is an important preparation for the next chapter: Combinations

Chapter II. Combinations

In this chapter we shall combine the individual elements into integrated and coordinated playing actions. First, theright hand thumb playing against the other fingers, then gradually we shall combine the left hand fingers...

Chapter III. First pieces

Now let's say you are a guitarist on the road... and it is about time that you will play some pieces for your friends,

parents, teachers or anyone.

In this chapter you will find some really nice pieces such as a short Baroque piece, Waltz, Autumn Leaves, Malaguena

and even a Blues. Do learn some of them by memory; - they are easy and great fun.



Chapter IV. Notes

Here, we shall gradually learn how to read and play notes.

It will be much easier now, as we already know the basic playing positions, so we can concentrate on the notes.Gradually, note-by-note, finger-by-finger, string-by-string, we shall play notes.

In Chapter IV, Learning Notes, there is a significant expansion of music!

In fact, it is an entire Guitar Notes-method - within the Play Guitar program!

Click for more information.

: Learning guitar's notes is easy. Now you can learn notes in a creative and

enjoyable way by using: "Compose & Play" boards...

On the last pieces of every page - In Chapter IV - you will see this image: When you will click the "play"

button, you will get a playback arrangement for the current piece. Let's call this option: "2 play" . For more informatio

click:

In this chapter you will have some beautiful tunes as preparation for the last chapter:

Chapter V. My first guitar repertoire

I selected a lullaby as the opening tune for this Chapter.

It is an amazing beautiful melody by its innocence and simplicity.

Than we shall play some short guitar pieces written by great guitar masters such as: Giuliani, Carcassi, Carulli and Sor

I strongly recommend that you learn these compositions by memory ...while you are improving your sound and dynamics

for an intimate performance for friends or family.



You are at Chapter "How to play a guitar" • Holding positions • Exercise it for few days!

Lesson goal:

Obtaining a basic holding and playing position from which you will grow to play freely and naturally.

1. Guitar positioning

Sit on the last third of the chair, lean your body a bit forward. Elevate your left leg by a footstool (15 to 18 cm high) Place the guitar on your

left knee, braced by the right knee, and lean it slightly back, so the

guitar's surface will be directed a bit upwards. Now, balance it so that

the guitar's body will be parallel to yours. This is your opening guitar

position...

2. Right hand positioning

First, position yourself in the opening guitar position. Now raise your

right hand in a rounded shape and place it in front of the strings, but

do not touch the strings yet. The wrist should be free and a bit round,

so the palm will lean naturally and loosely as a continuation of the arm.

Form the fingers just as you see in the photo.

Stay in this position for few seconds and concentrate on unlocking your

wrist.

3. Left hand positioning

After placing the guitar and the right hand into their positions

raise your left hand so that the guitar's neck will be located in

the palm, just like it is in the photo. Let your thumb go

completely loose to the left.

Round your fingers so they will gently touch - with their tips -

one of the middle strings.



Principal parts of the guitar

In Words: Strings, numbers and letters

The guitar strings are divided into

two groups: Bass strings and Treble

strings. The basses are wounded withmetal wire and the trebles are plain.

Each group contains three strings.

All six strings are marked with a

number inside a circle. String No. is

the lowest and string No. is the

highest. See the photo on the right.

In order to distinguish the right

hand fingers from the left, the right

hand fingers are marked with smallinclined letters. The Spanish terms

are:- pulgar.

i - indice.

m - medio.

a - anular.

Tuning your guitar:

The Bass strings:

• String No. = E

• String No. = A

• String No. = D

All three Basses:

The Treble strings:

• String No. = g

• String No. = b

• String No. = e

All three Treble strings:

The basses are written with CAPITAL letters.



Your right hand's thumb is called- p

After positioning your right hand move your arm and palm closer toward the

strings. Then relax your p (thumb) so that it lies in its resting position, which

is your p zero point. Remember, the p and its adjoining muscles should be loo

and free, always! Make sure that your thumb is never locked by its muscles.

The p plucked

From its zero point, the p will stroke the string in an ellipse. It is important

understand that the p will not pluck the string by pushing it down, but rather

should stroke the string by doing an ellipse. After plucking the string p is

again at its zero point, ready for its next action. You can now pluck notes of

long time values - on string .

Plucking with my i, m, a fingers

First, move your palm closer towards the strings. Than see that your fingers

i, m, a, will meet the treble strings - naturally - diagonally, on their upper left

sides! True, we shall pluck the strings on our upper left side directly into the

palm. As you stroke the treble strings release the top portions of your finge

so that the strokes will act easily. We shall call this stroke Free Stroke. Try

it ...

The nail setting

Playing with a professional nails arrangement will improve the sound and

technical possibilities. Yet, you can start playing without nails - but as you

progress, you should grow your nails so they will grow past your finger

tips by 1 millimeter. Then you shall polish them as demonstrated in the

photo:

Leave a little wall on the left side and create a slope to the right side.

The treble strings will meet the wall (while the basses - the slope)

After shaping the nails, it is necessary to do a finishing process. Polish

them with delicate sandpaper, gradually changed from 400 or 600 grit to800 to 1200 ...up to 4800 grit.

The numeric system, in other words, Tablature, has some significant advantages for the first steps. You can locate

each tone visually, as it based on graphic realization; and that will serve us for the start.

If you want to skip this (not recommended) and start playing notes right now, please jump to Chapter IV...



Let's see how that works:

• There are six lines here (not five as usual) each line representing a string:

String is the lowest bass pitched, string is the highest treble pitched.

• The left hand fingers are marked as a numbers from 1 to 4.

The zero is an open string, indicating that no finger is acting upon the string.

• The right hand fingers are marked as italic letters: p - i, m, a. (see page No. 5)

• At the end of the measure No. 2 - in the demonstration below, there is a tie between two equal notes; that

means that the note you play will last TWO beats! The tie here, is the passive legato mark.

See the illustration in the photo to the right. Finger No. 2 is pressing string

upon the second fret. Please pay attention such that your pressing finger is

located just a bit before the fret itself.

First position

In this method we shall play in the guitar's first position.

The first position is the area of the first 4 frets, next to the guitar's

head.

It is intended for your left hand only.



You just entered Chapter I • Page No. 8 • Plucking with my p on open bass strings

We shall start with our right hand, with the thumb. The thumb - p, is the key

for your right hand playing. After each stroke it has to reach it's resting

zero point. Practice the opening pages slowly!

This means playing on open string No. . Your left hand fingers will not

participate, as it has a zero number.

The "play" button will activate a midi file so that you will have an idea of

how the music should sound. Midi files don't sound as good as your guitar!

Midi sounds change from one soundcard to another. The midi files will not

perform repeats at the end of the exercise, in order to save you time.

The Thumb and the Bass

1. First touch... Move your p in an ellipse mann

2. An open bass string melody ry to do as if you are throwing the p against the strin



3. The jumping thumb Before and after each stroke, the p is at the zero resting poi

The wrist must stay loose while the thumb is stroking. The thumb ( p) track is an ellipse.

Each stroke will start and end at the zero p point, which is your natural place for p.

4. From string No. to Missing the bass now and then, in our first steps - is natur



5. Basses in pairs... Try to play these notes as a melo

6. Little dialogue between part A to B Play the A part as a question and the B as an answ

Your right hand fingers: i, m, a, should touch the strings diagonally on their upper

left sides! The direction of movement is into your palm! The little finger will not

play and it will follow the a finger.

To see more about right hand position see page No. 6.

7. Strings imitations As you play, keep an eye on your p to make sure it is not ten





As you playing with i, m, a, fingers, make sure that your thumb is resting at its

zero point! The little finger is close to a and your wrist is unlocked!

11. Playing on neighboring strings Balance your right ha

12. Melody on three treble strings As you play - look at you right han

13. Movement for i,m,a Make sure you are playing i,m,a correct



14. Static and little Arpeggio First, play each measure a few times to get accustomed to the i,m,a ord

Take a second look at your left hand position!

Place it naturally without any effort or strain. Make sure that your

wrist is not locked but rather free and loose. Hold this position for a

few seconds. Try to feel as if your hand is floating.

It is important to understand that there is no counter pressing

from the left hand thumb - the palm's mass will be enough - (if

you will locate your left hand and wrist correctly).

The wrist is free and move slightly, giving support to the fingers -

accordingly to the fingers' pressing action.

Mark and Press

"Mark and Press" is an important preparation exercise for your left hand's fingers. Practicing it will enable each of

your left hand's fingers - to act independently. The target here is to play with a certain finger, without carrying your

hand, wrist or others fingers into action.



1.

After placing our left hand, as demonstrated above,

touch the third string slightly with your first finger at

the tiptop of your finger - see the photo below.

Place the acting finger just a bit before the fret.

We shall call this action: Mark.

2.

After the "Mark" action we shall go on and continue to

the Press action by pressing your finger against the

string. While pressing, we should not operate a counter

press with our hand or thumb; the mass of our palm wi

be sufficient! This way we are able to keep our left ha

free while playing.

The "Mark and Press" is a most important exercise! This practice will release each of your fingers for an

individual action - which is so important for playing the guitar. So practice this one every day for few minutes

before entering the regular study time. Do it for at least two weeks!

The Mark and Press exercise will enable you to control each

left hand finger individually. Because of its significance, keep

this practice for at least two weeks - while you are

progressing with the next lessons.

15. Mark and Press for finger No. 1 Perform these exercises very slow



16. Mark and Press for finger No. 2 See if you are Marking and Pressing with your fingert

17. Mark and Press for finger No. 3 As you Press - see that your finger is still rounde

18. Mark and Press for finger No. 4 ...As you press, look at your wrist to see that it is not lock

The Time

Music sounds - as they heard in compositions - are organized in tempos and rhythmic structures we call Time.

The time signature - on the first staff to the left, shows us how the time is organized - within one measure - into mete

units and their qualities.

For example: If the Time signature shows 4/4; the upper 4 means that you will have four unit-meters in one measure,

while the lower 4, means that each one will last a quarter. Or if you have 3/4, the upper 3 means you will have three unmeters in a measure, the lower 4 means that each one will last one quarter, etc.

The Beat

Without knowing or understanding too much about time and time signatures... we can always feel the music's beats. The

feeling of the beats is our immediate self-reaction and it changes accordingly with the music and its styles.

We can easily follow it with our leg as it moves up and down as we listen to the music. That is why I strongly recommen

adopting the BEAT as the principal measurable time meter. It is easier to do it that way and you can be your own teach

just by moving your leg up and down (in fact we shall say down and up because we will always start from up).

Please look at the animation below: we are getting a "V" as we move our leg up and down.



Notes and rests durations See how we can measure the notes' duration just by using the "V" as it shaped by our leg's movement.

Click each of the note heads below to hear their durations... When you hear the sound, try to fit in the "V" leg

movements according to the beat numbers.



DOTTED NOTES

A dot, next to the note head, at the right - refer to the note's duration! The dot means that you will have to add

duration to that note. The addition will be half of the note's normal duration:





20. Little Arpeggio The p stroke by performing one ellipse moveme

21. Little Arpeggio - advanced Using the a finger does not change the hand's positi



Now it is time for your left hand fingers. Gradually, one by one, you will

combine each finger. It is important to locate your left hand palm

correctly, so that you can press upon the strings without a counter

press with the thumb; the mass of your palm will be sufficient. The

pressing action of the string must last a while, so that the sound will

last. Locate the pressing finger just before the fret!

While practicing, take a look at your left wrist to see that it stays freeand loose.

22. Finger No. 1 Finger No.1 will press the string a bit on its side because of our hand structu

23. Finger No. 2 Meet the string at your fingert

24. Finger No. 3 As you press, make sure that your finger is rou

25. Finger No. 4 Practice the 4th finger slower and gent



26. Combinations within a melody Support the rhythm with your leg's "

27. Melody with two endings

Play 4 measures, up to the repeat Then start from beginning, sk

measure No. 4 (first ending) and jump to the last measure (second endin

Andres Segovia (1893-1987), a Spanish musician and the most important

classical guitarist of the 20th century, re-established the guitar as a

serious instrument for concert music. He made his first concert in

Granada at the age of 14 and began an international career in Paris in

1924.

Segovia made many transcriptions for guitar, especially from lute and

harpsichord music. Several important contemporary composers created

works for him, such as the Brazilian H. Villa lobos - 12 Etudes for guitarand Five Preludes.

Etude No. 1 - by H. Villa-Lobos

28. Finger No.1 Locate the pressing finger just before the f



29. Finger No. 2 As you are pressing, make sure that there is no counter press by your left hand thum

30. Finger No. 3 Finger No. 3 has a tendency for collapsing, so watch it and make it roun

31. Finger No. 4 Practice your 4th finger slowly and gent

32. Little tune Fingers No. 1, 2, 3, and 0 (open string

33. Little tune - advanced In this piece, each measure is a phra



On this page we shall start to combine bass strings, treble strings and even few left

hand fingers. Play slowly!

< (9456 ?p18-1.j

34. Small Chat The p strokes and then rests at its zero point while the other fingers mo

35. One direction Arpeggio Play all four notes as one motion, insert them into a one beat durati



36. Balance between Trebles and Basses Place your right hand, wait few seconds, then pl

The Vihuela is a six-course plucked instrument from the 15th and 16th century.

The vihuela belongs to the guitar family. It was most popular in Spain, as a

solo instrument as well as accompaniment for singers. An impressive repertory

of music for vihuela survived in printed Tablature. Today, there is a new

generation of vihuela builders and players, in Spain, that have revived the

vihuela tradition. Fantasia for Vihuela - by Alonso de Mudarra (Spain 1536)

37. Bass steps, and open trebles: Confirm that both of your wrists are fr



38. Treble steps, and open basses strings: Emphasis the soprano li

39. Children's song, maybe you've heard it before...

Little intervals - stroke them together and keep the la

finger's joint fr



Francisco Tarrega (1852-1909) Most important

guitarist and composer from Spain. Tarrega had

the good fortune to acquire an unusually loud and

resonant guitar - on the left - designed and

constructed by the famous luthier Antonio Torres.

Tarrega was to prepare the way for the rebirth ofthe guitar in the 20th century. Tarrega was a

friend of Albeniz and Granados and was the first

to transcribe their works for guitar.

Recuerdos de la Alhambra, by Tarrega.

40. The Tremolo Try to perform this tremolo also with this right hand patterns: p-i,a,m and p-m,

41. The passage Combinations: p and i



42. The Triplets: Three notes in one beat! Insert three notes to one "V" leg moveme



The Legato

Playing a group of connected notes is a legato. The type of the legato is indicated by the composer's instructions or b

the player's musical-taste. The legato techniques are done only by left hand stroke actions! In technical terms, the

legato can be achieved in four ways:

__Up-stroke legato

1. Passive Legato:Holding the same note, as it connected by a

tie.

2. Up-stroke Legato: Play only the first note (b) than hit the

string with the left hand finger! This legat

is always from a lower tone to a higher one

Go to practice...

3. Down-stroke Legato: Play only the first note, then pull your finge

down and out so that it will produce a new -and lower tone. Go to practice...

4.The "Triller": Performing Up-stroke and Down-stroke

Legatos rapidly, one after the other will

produce Go to practice...

The Vibrato

A slight fluctuation of the pitch, which produced by a motion of the left hand in which

the pressing finger is swinging to the side such that the sound is affected.

The Apoyando stroke

The Apoyando stroke is a right hand stroke technique: The right hand finger presses the string (by sliding on it) until

departure... then the finger rests upon the adjacent string. Now, another finger will follow. It is recommend that younot use this technique in the first year of study! The reason is that you will have to use a certain amount of force in

your right hand fingers, and that can cause damage in the early stages of learning.

The Flamenco

A southern Spanish (Andalusian) folk music, primarily songs and dances. Flamenco is a mix of the Arab musical

influences as well as the strong and emotional Spanish, Sephardic and Gypsy temperament. Flamenco was shaped in th

early 19th century and also called the "deep song" (in Spanish: "cante hondo"). Usually its context is highly emotional

feelings, and the words of the songs are tragic.

Solea (dance) - Guitar flamenco by - Miguel Angel.



You are at Chapter III • My first guitar pieces

43. Start walking... First, learn the melody - then add the open string as an accompanime

Hand positions from the Gaspar Sanz guitar book: "Musica sobre

la Guitarra Espanola" (1674). Gaspar Sanz was a most important

guitar composer. His five-course guitar books were printed in his

time and were most popular and significant. Sanz (1640-1710)

based the majority of his music on dance forms such as the

canarios, the folia and the espanoleta.

Espanoleta - by: Gaspar Sanz



44. The Baroque flavor - Prelude Take a musical breath at the end of each r



45. Johnathan the Tiny After playing all of it, start to learn it by memory, measure by measure



46. Your Waltz The A part is almost identical to B. The B has an Arpegg



47. Autumn Leaves The melody is in the ba



48. Malaguena - from southern Spain First learn the bass part. Then add string No.



49. Walking Bass Blues Watch the bass fir



50. Asturias (simple) Start practicing this work very slowly, and from the bass part fir



You have just entered Chapter IV • Learning notes • Bass string E • Easy...try it

51. String No. - E (Mi) Read the notes by their names first - than play the

NEW: Learn notes in a creative and enjoyable way by using: "Compose & Play" boards...

52. Finger No. 1 and an open string Read the notes out loud and in correct rhythm, then play the

53. Finger No. 3 and an open string Have your 3rd finger round and place just before the fr



54. My first piece from notes Bravo!

One may think that the transition from one system to another is confusing - but it's NOT! On the contrary,

learning a second language is always easier. In exercises No. 51, 52, and 53 there is equalization between the

Numeric system (TAB) and the conventional notes. Go over the notes, learn their names, and play each page fo

few days, so you will be able to play them fluently. Read the note's name in the correct rhythm, aloud first,

than play it.

55. String No. - A (La) Game: Read the notes in a mixed order and than play each note you as you say

: Learning guitar's notes is easy. Now you can learn notes in a creative and enjoyable way by using: "Compose

Play" boards...



56. Finger No. 2 and an open string See that both of your hands wrists are loo

57. Finger No. 3 and an open string Read the note name first, then pl

58. String No. - playing from notes only "Bravo



59. Two bass strings. Two musical phrases, each on one stri

60. Game - on two strings Emphasize the first beat (>) in each measu



61. RainThe dot means staccato. We can control the length of the sound by damping

the string with the pad of your thumb - p

The Lute

A plucked instrument related to the guitar - in its music. The word lute derives from the Arabic instrument UD, which

means: "wood". That is because it had a soundboard of wood, which gave it a distinction from stretched skin. The lute

family has some seven groups that are distinguished by the length of the neck, the number of courses, the strings

tuning intervals and by the sort of frets: Gut or Metal. In the early 16th century the lute become the most important

instrument in Europe. Bach wrote four solo suites for the Lute. In England, John Dowland (1563-1626), composer and

lutenist, was one of the most important lute performers:

Lachrima e - by John Dowland.

62. Three Open treble strings Master them by their names and by the strin



63. Pairs of open strings Perform this row with: i - a

64. An open string melody Use the old "V" trick to play the correct duration of each no

65. Bass and the open strings At first, play the bass line separate

66. String No. (Si) Test yourself by naming (mixed) notes - then play



67. Melody with double notes Play this exercise also with: i

68. Dialogue Look at the notes first, understand the structure, than play the



69. The Cowboys Dance Watch the basses! The treble is mostly open strin

70. String No. (Re) Learn the note names, Then play mixed notes as you call out their nam

71. The Sharp

Raising the note by a half tone, in other words, one fret. As you press with your 4

finger, always move the wrist and the palm as a counter-base for the 4th fing



72. Spanish melody (...with a surprise) Take a second look to see how to use your

73. Little Waltz See that the F is Sharp, 4th finger on the 4th fr

74. String No. - g (Sol) We shall start with only two natural notes on the g-stri



75. The Flat The Flat decreases the note's pitch by a half tone, in other words: one fret ba

76. The 16th and the quarters Start slowly, then accelera

77. Israeli folk song 6/8 time, so go slowly, insert 3 tones into one beat, use the leg trick "



78. String No. - e (Mi)

Learn them, then play the mixed notes game: calling their names (

even singing them) while playing

79. A row with a Sharp

A sharp next to the clef means the specific sharped-note (in this case it is "f

will stay a half tone up (one fret forward) throughout the whole li

80. A melody with two voices See that the bass voice is open strings on



81. Israeli Song - 12 months It is not so easy! Start very slowly ...after few days accelerate, but:

"poco a poco"



82. Arpeggio Etude This is a typical accompaniment part - to accompany son



You are at Chapter V • My first guitar repertoire • Melody and Chords

83. The Hyacinth - A Lullaby:

The right hand fingers i, m, a, are arranged according to the motion of the music - and not

according to the strings order. This way, the melody can flow and the performance will come out

better - but... it is harder to learn.

Studying a composition for performance demands a bit more! You have to study the work until you know it by

memory, and that is not too difficult! First go slowly over the whole work, than divide it into musical sections

and work out each section (see the green A, B, C, D sections) Now, learn the first measure in the A section til



you can play it three times, one after the other. Then, take measure No. 2 master it the same way. Now then

play both fluently etc. When you will be able to play the A section go to B...

Mauro Giuliani (1781-1829) was a most important Italian guitarist.

He established his guitar study and career in Vienna and was the

greatest guitar virtuoso of his time. In Vienna he played with well-

known musicians like Diabelli, and performed some solo guitar

recitals. In 1819 Giuliani returned to Italy and settled in Rome

where he continued to give recitals. His daughter Emillia was also a

talented guitarist and so they performed together in Italy, Vienna

and Paris. Giuliani composed 300 guitar works including some

concertos for guitar and orchestra.

Sonata Eroica, Op. 150 - By Mauro Giuliani

84. Andantino More arpeggio practicing



85. Saltarello - the circle dance



Ferdinando Carulli (1770-1841) was a great Italian guitarist and composer.

Carulli wrote a full method for the guitar that established generations of guitar

players. Carulli, like many other guitarists, settled in Paris where he composed his

guitar sonatas, concerto, and published his works with an important music-

publishing house.

Andante - by: Ferdinando Carulli

86. Andantino



87. Spanish Nights

Watch the right hand fingeri



Julian Bream - born in 1933 in England. Bream is one of the greatest

guitarists of the 20th century. As a child he played piano and jazz guitar.

Segovia was impressed by Bream and offered him to teach him the classic

guitar. At age of fifteen he was awarded a full scholarship at the Royal

College of music in London. Bream is also a great master of the lute and h

recorded a few records of solo lute music. His TV programs - about the

Spanish guitar - has brought the Spanish guitar music to millions of houseall over the world.

Asturias - (a mountain province in Spain) - By I. Albeniz.

Fernando Sor - (1778-1839) was a Spanish composer

and guitarist. He was born in Barcelona and educated at

the choir school of Montserrat. Sor wrote a tremendous

number of guitar compositions that lifted the guitar

repertory much higher. In 1815 he moved to London, and

there he wrote operas , ballets and music for piano.

Influenced by Haydn and Mozart, Sor wrote Sonatas

for the guitar and music in multiple voices. Sor equalized

the guitar to piano, and that is a remarkable element in

his guitar music.

Etude in Em for guitar - By Fernando Sor.



88. Andantino For the music terms page



Heitor Villa-Lobos (1887-1959) The most important Brazilian and South American

composer. H. Villa-Lobos' music was completely new and influenced by different

sources: late Romantic and Impressionistic periods, National elements, Bach, Brazilia

folk music, undeveloped tribes and more. He wrote in a very special way and created

whole new style for the guitar using the string intervals for repeating wonderful

chords in chromatic and diatonic ways. In 1945 he founded in Rio de Jeneiro the

Brazilian Academy of music of which he was president until his death. H. Villa-Lobos

used to say: "...I do not know what the word inspiration means. I create music out of

necessity, biological necessity"

Etude No. 1 - for guitar - by H. Villa-Lobos

89. Etude No. 1 From: 7 Etudes for the young guitar art



90. Etude No. 6 From: 7 Etudes for the young guitar art



You are at Chapter IV • Page No. 36 • More... Introduction for Scales

Scales in General

The tonal material of music arranged in order of rising pitches is a scale. There are a large number of scales because

there are many varieties of tonal materials in different periods and in different countries (e.g. China). I shall show

here the two main scale streams that are integrated in the European music: The Major scales and the Minor scales.

The Major scale tone intervals arrangement is: T-T-S-T-T-T-S (T = Tone, S = Semi-tone)

The Minor scale tone intervals arrangement is: T-S-T-T-S-T-T (natural minor scale)

The minor has two more variations besides the Natural Minor: Harmonic Minor: T-S-T-T-S-T+-S and Melodic MinoT-S-T-T-T-T-S.

Each scale can be transposed by starting from any tone of the twelve defined tones - but that change the key

signature!

See a recommended way to practice a scale. Play each option up and down [Ascending & descending]

For the full "Guitar Scale" book, follow this link...

Three Major scales

We shall practice three Major scales and three Minor scales

C Major scale Play slow

G major (Sharp) Try to play all notes equally in leng



F major (Flat) Play this one as a crescendoed melo

Three Minor scales

A Minor scale Pay attention that the notes are connect

E Minor scale After playing it as written - double each no

D Minor scale Play this one decrescen

You are at Chapter II • More... Practicing how to produce Chords

Chords

The simultaneous sounding of three or more tones is called a chord. Two tones are an interval. Chords can be divided



into two main classes: Consonant Chords and Dissonant Chords. What matters here is what intervals does the Chord

have in between its tones. Basic, traditional three-tone Chords are constructed of three-notes from the scale: the

first tone of the scale, the third tone and the fifth tone.

The Major and Minor has to do with the third tone of the scale. If we have two tones in between the root-note of th

scale (tonic) and the third we have a Major chord. If we have a tone and a half than we will hear a Minor chord.

Hey, you don't have to know all the chord theory right now! This page is intended to prepare you for how to play the

chords.

As you practice playing Chords, please notice that the thumb will stroke a bitoutwards ...while the i, m, a, fingers' stroke direction will be inward toward

your palm. The actions are synchronized.

Don't throw your hand and wrist out as you produce Chords. Keep them free

and steady.

1. Two notes together (intervals) Stroke direction is into your palm. Don't throw your hand outwar

2. Two notes and bass The p will stroke a bit outwards, the i, m, into the palm



3. Three notes together Is your wrist free and loos

4. Three notes and bass The p (bass) acts against the i, m, a, (treble) at the same tim

There are guitar methods, and some teachers, that begin teaching guitar by teaching chords. I think that it c

cause damage because a guitar pupil should develop his hands so that each finger will be able to act and

perform an individual role. What we have in Chords, are left hand patterns, and that is bad - unless you are

practicing them like the above exercises: - lots of open strings, as the practice here is for your right hand.

You are at Chapter III • More... Musical Terms



Symbols and Shapes

Repeat

Crescendo (abbr. cresc.)

Gradually increasing the

volume.

Tied notes, see Legato.

Decrescendo (abbr.

Decresc .) Graduallydecreasing the volume.

Broken chord - performed

with: p,i,m

Broken chord - performe

with: p sliding over the

strings.

Sharp - raises the pitch

by a half tone -or one

fret. Sharp next to theclef (blue) will affect the

whole row.

Rasgueado - Strumming up

and down with all right ha

fingers briefly over a grouof strings, usually from

. Common in Flamenco

guitar music style.

Flat - lowers the pitch by

a half tone, or one fret.

Flat next to the clef

(blue) will affect the

whole row.

Natural (red) cancels a

sharp or flat and the tone

is natural. Here the B-flat

will change to natural b.

Notation of Natural Harmonics

A diamond-shaped note with a numbered fret [ex: H.12] indicates

that this note should be performed by touching the string slightly

over the indicated fret [ex: H.7] with your left hand, while you pluck

the string normally with your right hand.

The harmonic-effect will produce a sound of bells.

Musical Terms



Adagio - Very Slow Chromatic - By semitones Molto - Very...

Al Fine - To the end Cavatina - A short sentimental song Piu - More...

Allegro - Quick, lively Crescendo (abbr. cresc.)- Gradually

increasing the volume Piano (abbr. p) - Soft

Allegretto - Less quick then Allegro Da Capo (abbr. D.C.) from the beginning Poco - A bit, a little

Andante - A bit slow Da Capo al Fine - From the beginning to

the word Fine Rubato - Play freely

Andantino - faster then Andante Decrescendo (abbr. Decresc .) Gradually

decrease the volume

Triplet - three tones played the time of a one beat

duration

A tempo - At the original speed Diminuendo - Gradually diminished Presto - Very quick

Beat - A unit partition in a measure Espressivo - With expression Scale - A tonal pitch orderin

Cantabile - In a singing style Fine - The end Sempre - Always

Canto - Song Finale - The end Staccato - Short, detached

Coda - Ending section Forte - (abbr. f ) - Loud Soft, Piano = p

Calmo - calm, relaxed Grazioso - With Grace Softer, more Piano = pp

Con brio - with vigor and spirit Largo - Very slow Forte, loud = f

Concerto - A composition for specific solo

instrument(s) and Orchestra Legato - Tied sounds Louder, more Forte , = ff

Chords - Sounds played together Lento - Slow Mezzo (half) Piano = mp

Chitarra - Guitar, in Italian Melancholy - sadly Mezzo (half) loud = mf

You are at Chapter II • More... Arpeggios practicing... • Have a nice practice

The Arpeggio



When we play the notes of a chord, one after the other instead of simultaneously, than we are playing an Arpeggio.

The word Arpeggio comes from the Italian word Arpa, which means Harp. An Arpeggio is an imitation of the harp.

When you practice your right hand - especially Arpeggios - try to keep in

mind that the right hand's wrist must stay loose and free all the time!

In the practice below you have three right hand plucking patterns (see

Line No. 1). First play each pattern four times... then add to each

pattern an open string bass movement - like on Line No. 2. Then try toadd patterns, such as a melody line - like you have on Line No.3.

Line No.1: Arpeggios patterns - for right hand practicing. Play each pattern (A, B, C) four times. Practicing Arpeggios

- Advanced

Line No. 2: Open bass strings. Play each above Arpeggio pattern with this open bass string line. Listen to it by

pressing the "play" buttons below the line. Practicing Arpeggios - Advanced

Line No.2. Open string with the right hand Arpeggio patterns: A = B = C =

Line No. 3: Melody line. Play each above Arpeggio pattern with this bass melody line. Listen to it by pressing the "play

buttons below the line. Practicing Arpeggios - Advanced

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