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R I C H A R D P I C K
S c h o o l o f G u i t a r
Volume I
T h e Gu i ta r
in
Pedagogy
Practice
Performance
Editions Orphee
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R i c h a r d P i c k
S c h o o l o f G u i t a r
The G u i t a r
i nPedagogy - Pra ct ic e - Pe rf ormance
—*m*—
Volume I
Editions Orphee
Columbus
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Table of Contents
Volume IPre face v i i
A Word f r om the Pub l i she r v i i i
I n t r o d u c t i o n x
B o o k I
T h e N a t u r e o f t he G u i t a r x i i
T h e R i g h t H a n d x i i i
T h e L e f t H a n d xx i i
Prac t i ce Ro u t i ne xxv i
C h r o m a t i c Ca l i s then ics x x v i i i
B o o k I I - T h e S h a r p K e y s
C Ma jo r - A m i n o r 1
G Ma jo r - E m i n o r 20
D Ma jo r - B m i n o r 36
A Ma jo r - F* m i n o r 50
E Major - C # m i no r 62
B Major - G # m i no r 77
F* Major - D # m i n o r 89
C # Major - A # m i no r 102
Volume IIB o o k I I I - T h e F l a t K e y s
F Ma jo r - D m i n o r 118
B b Ma jo r - G m i n o r 134
E b Ma jo r - C m i n o r 149
A b Ma j or - F m i n o r 166
D b M aj or - B b m i no r 181
G b Ma jo r - E b m i n o r 196
C b Major - A b m i no r 206
B o o k I V
A p p e n d i x A - Ch o r d Nom e n c l a tu r e 2 17
A p p e n d i x B - S ing l e S t r i n g Scale Pat ter ns 220
M o d a l Scale C o m p a r i s o n s 221
A p p e n d i x C - Ch o r d F o r m s a n d T ype s 222
I n d e x o f I n t e r lu d e s a n d O th e r Se l ec t i ons ( In order o f key s e q u e n c e ) 243
Glossary o f mus ic al te rms 246
On e Day I n T i m e Sui te 250
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P R E F A C Egenera l i n te nt and purpose o f th is School ofGuitar is expressed i n its subt i t l e , viz; Pedagogy, Practice an d
per fo rma nce . It is an earnest endeavor to prese nt a logica l, compr ehen siv e an d systematic appr oac h to the
gui ta r by prov id in g study mate r ial o f a pract ical an d pe rma ne nt nat ure. Th e two volumes cons t it ut i ng this
w o r k are i n ef fect the c u l m i n a t i o n o f the author 's previous publ icat ions for guit ar i n s t r u c t i o n whi ch conta ined
ma te r i a l encompassing from the beginning to advance study. These books featured both a chromatic and
d ia t on i c ap pr oa ch to th e in st ru me nt , wh i c h in cl ud ed a system of fingerboard ha rm on y, a system of scale
pat t e rns invo l v ing chroma t ic and d iaton ic scales applic able to all keys an d posit ions on t he fi nge rbo ard .
T h e previous mate r i a l has been e xpanded i n greater deta i l a n d l eng t h to i nc l ude a l l ma jo r keys a n d the i r
relative mi no r. Mo st of the studies, compo sit ions a nd exercises have r em a i n ed w i t h i n the bounds of d ia ton ic
harmony . However , a tho ro ug h bac kgr oun d i n the tradit ional system sho uld prov ide a f i r m basis for the
co mpr eh en si on of ne wer systems, such as, serial music, non -t ona l musi c, the use of t ri ch or da l structures,
polychords, etc., etc. These systems pro pe rl y req uir e a me th od specifically devo ted to ex pl or in g the
possibiliti es a nd li mi ta ti on s i n th ei r ap pl ic at io n to the fingerboard o f th e gui tar.
T h e tex t i s n o t des i gned n o r i n t en de d f or the novice o r y o u n g be g i n n i n g s tudent o f the gui tar ; however,
once past the i n i t i a l stages of study it can be used as ma nu al or me th od solely an d/ or w i t h supplementary
ma te r i a l an d repe rtoi re. For the professional artist, per for mer , a daily selections of diff ere nt keys sh ou ld ho ne
faci l i ty in sight reading skills. Furthermore, slow, careful and persistent review of the various keys provide a
f o u n d a t i o n on which to select a var i ed repertoi re an d generate conf iden ce f or pe rf or ma nc e i n diverse keys.
T h e final desig n o f the text evo lved over several years by testing the material in a teaching environment
i n order to achieve the most ef fect ive format. Many students of v a r y i n g degrees of prof ic ien cy o n thei r guitars
were i n ef fect par t ici pants i n the devel opme nt of the project , their positive responses wer e con sid ere d factors
i n th e org ani zat ion o f the subject matter. Especially hel pf ul was J o h n Ke nn a wh o st udi ed an d played the
various pieces and Inter ludes in actual per formances. A lso Michael Kurtz provided invaluable assistance in
tea chin g an d ense mble activities at De Pa ul Universit y i n ad di ti on to par ti ci pat in g i n test ing the effectiveness
of this mat er ia l i n Maste r Class presenta tions.
Interspers ed t hr ou gh ou t the text are short sketches enti t le d Interludes. Th ei r or i g in al purpose was to
i l lustrate cer tain appl ica t ions of melodi c, ha rmo ni c or technical nat ure i n a recre at iona l fo rma t. As more of
these sketches w e r e composes they d eve l oped a di rec ti on of th ei r ow n as mi ni at ur e impre ssio ns of places,
scenes an d activities recal led.
Ur ge d by teachers an d students to in cl ude descriptive com me nts for these sketches an d also the larger
pieces, I f ou nd the muse sometimes i l lusive. I n those instances Kr i s t in Vond rus ka' s tal ent for poetic expression
was genu ine ly appreciat ed an d aide d d i rec t l y i n an nota tio ns fo r various Inte rlu des . I n ot he r instances, favorite
quotat ions f ro m Ralph Waldo Emerson Essays were d rawn wh ic h seemed pe r t i nen t to the sp i r i t o f mus i ca l study
a n d to over-al l universal tho ug ht an d observat ion.
Foremos t a mo ng those persons to w h o m I am most grateful ly ind ebt ed is, fr ie nd, co l l eague and partner
i n gu itar du o per fo rmanc es, Patr ick Ferer r i , wh o devoted countless hou rs i n appl y in g his genius i n of fer ing
pract i ca l suggestions, su ppl yi ng research materials an d pr oo fi ng to detect oversi ght an d omissions i n not at io n
a n d fingering. Th is task was real ize d by re ad in g t hr o ug h the ent ir e ma nu sc ri pt , a gest ure sure ly above and
beyond the service o f a fr iend.
T h e mos t r eward i ng exper ience i n a teaching care er is the pr ivi lege o f hav ing k n o w n spe cial individuals
wh o came as student s a nd re ma in ed e nd ur in g friends . Th ei r names are here in cl ud ed as an expression of
my d e e p rega rd for the ir constant suppor t an d fr ie ndship. Jo hn Tokarski was the first to receive his Masters
i n g uit ar at de Pa ul University, fol low ed later by An it a Fiel d, Step hen Suvada an d Ly n Vallow. Ri ch Fiasco's
i n s p i r e d enthusiasm cont inues unabated over time and distance. Regina Martinez in previous years was a
freq uent par tne r i n two guita r per forma nces, alon g w i t h Shirley Foote and Susan Gulick. These and many
ot he r gif ted stude nts of th e past years shall re ma in in my fondest recoll ectio ns.
Final ly, special ackn owle dgeme nt an d en co mi um are due to my studen t Matany a O p h e e who has earned
a n i nte rna tio nal re put at io n as scholar, entrep rene ur an d one of the fore most autho r it i es on the guitar .
Ophee ' s indefat igab le zest for research an d insistence o n accuracy co nc er ni ng persons a nd hi st ory su r r o und -
i n g th e gu it ar mu st surel y en ha nc e its accept ance as a maj or i n s t r u m e n t . I t is assuredly a dist in ct priv ile ge to
be incl ud ed i n the new an d ex pan di ng publ icat ions of Edit io ns Orp hee .
Richard S.B. Pick
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A Word from the Publisher
I t i s a un i qu e p r iv i l ege t o p resent i n p r in te d fo rm , the knowledge, exper ience an d creat ive insp ir at io n of my
teacher R ichard P ick . The b read th o f pedagog ica l w i s d o m encompassed i n these pages, i s unp rec ede nte d in
the history o f the guitar . H e r e , f inally, we ar e given a practical means t o escape the con f in eme nt o f the f ew
so-called " favorable" keys of the guitar. This is the first pr agm at i c s trategy to wa rd the acq uis i t ion of wor kab le
s ight-reading sk i l ls o n t he guitar , an d i t w i l l conclus ive ly enab le gu i tar i s t s t o earn the i r p roper p lace in th e
family of music.
S tudy ing the gu i tar w i t h Ri ch ar d P ick was a un iq ue exper i ence , as can be attested by the many students
wh o ha d this pr iv i l ege over the last 50 years. Wh e n I first came to study w i t h h i m i n 1960, 1 already consi dered
mysel f an acc omp l is hed p layer. On his first l is t eni ng to my p lay ing , Ri ch ar d P ick lo ok ed at me straigh t i n the
eye and said:
' That ' s no t bad , but i f you wan t to s tudy w i t h me, we w i l l s tar t f r om the beg inn ing . Th e process o f l e arn ing
d e mand s muc h unlearning. We shall cover t h e g r o u n d f r o m zero t h e r e b y guaran t e e ing tha t we bo t h speak
the same l anguage. Take i t o r leave i t . "
I to ok P ick on his term s. I n the two years tha t I spent w i t h h i m , I also b e c a m e a com pet ent p layer wi th
above average s i gh t - read ing skills. My wi l l ingness to accept Pick's app ro ac h t o the gui tar an d i ts pedagogy was
because I also spent a consi derab le po rt io n of my l i fe f ly ing airp lanes an d tea chi ng othe rs ho w to do i t .
T h e process o f teac hi ng, i n ma ny disparat e discip lines , is essentially simila r. However , there is a vast
d ispari ty i n the latitudeihe teacher may assume in any g iven d isc ip l ine . In the teaching of music , teachers may
f ree ly indu lg e in any nu mb er o f theor ies , inane dogmas, superst i t ions, p seudo sc ient i f ic theor ies an d oth er
alchemies or any co ngl om era t io ns of h istor i cal an d aesthet ical b lather. Thi s does no t subject th em to any
penalty and causes l i t t l e or no damage to the students. I f y ou r p a r t i c u l a r me t ho d o l o gy w o rk s , t h e n t h e y wil l
become go od mus ic ians . But i f i t does no t , they wo ul d have only lost time an d money . T h e y c o u l d also become
exce l lent music ians in spite of it. I n the t each ing o f f l y ing , know ledge can be t rans fer red f r o m teacher to
s tudent on ly in d i rec t re ference t o the rea l wor ld . I f the s tudent p i lo t does n o t l e a rn t o fun c t i on p ro mp t l y
and e f f ic ient ly and in perfect harrnonyv/ith the physical laws of h is en v i ro nm en t , i f h e does n o t l e a rn t o recognize
the precise character is t ics o f the a r t i f i c i a l ins t r ume nt he in tends to operate , as it was designed and built and i f
he fails to grasp t h e f u l l me an i ng o f t he c omp l e x symbology used in av ia t ion , no t on ly he would have wasted
t ime and money , h e w o u l d also mos t certai nly expir e . You e i the r b e c o m e a g o o d p i l o t , o r you become,
inevitably, qu it e de ad.
T h e im p l i c a t i o ns o f th is analogy are clear: the teac hing of a mu lt i fa r i ou s d isc ip l ine such as music
per fo rmance , can achieve i t s m a x i m u m effectiveness i f i t is taught as if the student 's l i fe d ep end s on i t . That
means tha t in the process o f pass ing knowledge, the in te l l i gent t eacher shou ld ensure tha t th is knowledge
wi l l enab le the s tudent t o func t ion p rompt ly and e f f i c i en t ly and in perfect harmony with th e phys ical laws of his
env i ronment , l earn to r ecogn i ze t h e precise characterist ics of the ar t i f ic ia l i n s t r ume n t h e i n t e nd s to operate,
as it was designed and built and to grasp the f u l l me an ing o f t h e c omp l e x symbology used i n music .
Most o f the met ho ds pr in te d i n the last thre e centuries , were addressed to the ind iv id ua l s tu dent d irect ly .
Often they were c l ear ly d es i gned t o bypass the teacher entirel y, even i f on e was ass umed to be usi ng th em .
Most senza-maestro m e t h o d s were des igned as comm erc i a l endeavors, a n d were n o t e x p ec t ed t o p ro duc e mor e
than a bas ic ins t r um ent a l p ro f i c i ency .
T h e psycho log ica l i n t e r a c t i o n p r o v i d e d by t h e s i t ua t i on o f a g i ven teacher a n d a g i ven s t ud e n t is u n i q u e .
I t can never be dup l i c a ted . A m et ho d boo k cann ot poss ib ly address itsel f to al l possible teacher -student
combinat ions. Yet , tha t does no t p reve nt man y authors o f met ho d books f r o m i n s i n u a t i n g themselve s betwee n
teacher a nd stud ent l ike an inv is ib le bu t constant ly present ent i ty . Profess ional gui tar teachers are com pete nt
a n d knowledgeab le an d the y can trans fer the ir store of know ledge a n d exper i ence without the ai d of someone
else wh o is no t prese nt i n the music studio , the me t ho d writer .
R i c h a r d Pick's School ofGuitaris n o t a me t h od b ook in t h e t r ad i t i ona l sense. I t assumes t he presence of a
knowledgeab le teacher. I ts ma in t h ru s t is to prov ide b o th teacher a nd studen t w i t h p rac t i ca l mate r ia l wh ichcan be used in bu i l d i ng a so l id und ers tan d in g o f the com p le x symbology used i n gu i t ar mus ic . Nevertheless,
i t co ul d be use d as a self-study ai d i n the acq uis it i on o f f ingerboard h a r m o n y a nd sig ht- rea din g skills, p rov ided
the indi v i dua l user already possesses g o o d t e chn ica l co mm an d o f the in s t r um en t an d a basic un ders tand ing
of music theo ry.
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Bo ok I is an overv iew o f the probl ems enc ount ere d in the pedagogy of th e guit ar. Th is sh or t tex t is mean t
to he lp teachers i n f or mu la ti ng for themselves a nd for th ei r students a pract ical strategy i n org ani zin g the
tea chi ng activity efficiently. I t does not presume to t e l l the teacher how to ply his trade, but attempts to
crystallize the ma i n pr obl em s as they ha pp en i n the real wo rl d. Th e b ri ef discussion o f tec hni que is meant
to descri be t he basic ele ment s o f s o u n d pr od uc ti on on the guitar . Al th ou gh the d iscussion of t e c h n i c a l matters
assumes the classic guitar, the musical material included in these pages is equal ly applica ble to othe r
i n s t r u m e n t s of the gui ta r fami ly played w i t h a p le ct rum .
Boo ks I I a n d I I I are ded ic at ed to the sharp an d fla t keys respectively. Ea ch key is pre se nt ed i n a grad uat edexposition of basic scales i n the first posit i on, a cadence of the pr in ci pa l chord s, an exte nde d scale, the scale
i n tr iads i n all possible inve rsions in bot h op en an d closed voicings, a similar tr ea tme nt of al l seventh chords
o n the scale, ending w i t h a series of resolution studies. Each section includes a short recreational Interlude
w h i c h rei terates the pr in ci pal ha rm on ic and melodic attr ibutes of the mater ial .
The r e are many ways this ma ter i a l c an be used by the te acher. A l t h o u g h the keys ar e presented according
to the circle of fifths, the mat er ia l co ul d also be trea ted chr omat ica lly , i.e., C, C#, D^ , D, an d so f o r t h . The
ima gin ati ve teac her may pres ent th e mat er ia l to a giv en stu den t ei the r vertica lly, i.e., on e key at a time f ro m
to p to bo tt om , or hori zon tal ly across the book , deali ng w i t h a pa rt ic ul ar aspect o f each key i n a dia ton ic o r
chromat i c sequence. The unde r ly ing pr inc i p le i s that i t is th e notation o f gu i t a r music, p a r t i c u l a r l y in the mor e
d is tant keys, which poses the ma in obstacle i n trans lati ng the wr it te n or pr in te d musi c in to the physical
movements that prod uce soun d. Wi th ou t using the ope n str ings, the movemen ts re qui re d for the executiono f mu si c i n th e keys o f C $ or , are the same as those re qu ir ed fo r music in the key of C. T h e no ta ti on is
mo re c omp le x, hen ce the diffi cul ty expe rie nce d by man y i n sight-r eading music in these keys. Systematic
dri l l s lea ding to a prof ici ent under sta ndi ng of al l possible c ho rd for ms an d the contex t in wh ic h they are
f o u n d , canno t f a i l t o enh anc e the player 's rec ogn it io n of these form s as they occ ur in a musi cal c ompo sit ion
a n d enable h i m to instantane ously translate these wr it te n or pri nt ed sequences i n t o th e co rr ec t fingering
r equ i r ed f or t he ir exe cut ion . Sight read in g facil ity, a majo r weakness i n the fo rm at io n of mos t guitarists, is
thus rendered an achievable sk i l l wel l w i t h i n the grasp of the assiduous student.
Bo ok I V cont ains several indexes a nd glossaries d eal ing w i t h music the ory and the par ti cu la r matt er of
the bo ok itself. Ap pe nd i x C i n parti cular , is a co mp en di um of fingerboard ha rm on y exercises i n wh ic h the
a u t h o r org ani zed systematically the ch or d for ms and types wh ic h are based on the to pog ra phy o f the
fingerboard a n d the physical attr ibutes of the hu ma n han d. These exercises can be used as supplemental
dri l l s to the main body of p edagog i c matter of the book.
Th i s bo o k conta ins ma ny p ieces of a larg er scale, as we ll as several tr ans cri pti ons o f we ll -k no wn and n ot
so wel l-known p ieces from the general repertoire. Both the or ig inals and transcr ipt ions were selected so as
to allow teacher an d stu den t to b u i l d up o n and to enhance th e technical mater ial covered. Th e ma in conc ern
i n m ak in g the tra nsc ript ions was to modi fy th e music so that it is i n f u l l musi cal an d pedagogi cal agreeme nt
w i t h the contex t of this book, p rov id ing a th oro ug h unde rst andi ng of the stru ctur e of a piece.
I n his art icle on the hist ory of Amer ic an gui tar methods, (The Guitar Review, Ne w York, 1959, N 9 23, p. 30)
J o h n C. Ta nn o h a d thi s to say:
"It is significant that between the period 1924-1952 no new American guitar methods were written or published in
this country. In 1952, RICHARD PICK, eminent guitarist and composer brought his 'First Lessons f or ClassicGui ta r , " published by Forster Music Publishers, Inc., Chicago. Pick's Method is the first American classic guitar
method written since 1924. This work is a stimulating and original endeavor and is written in the modern music
idiomfor the guitar ... [ i t ] represents the ultimate in modern classic guitar and ushers in a new era in the modern
guitar idiom"
S om e of Richard Pick's earlier books are no longer in p r i n t . I t is fervently h op ed that thi s ne w wo rk by
Ric har d Pick, the cul mi na ti on of a teachin g an d compo sing career spann ing mo re t h a n 50 years, w i l l finally
b r i n g Ame r ic an gui tar pedagogy to the level of professionalism l on g enjo yed by ot he r ins t rumenta l i s ts i n our
conservator ies and colleges.
Matanya Ophee
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T E A C H I N G C L A S S I C G U I T A R
I N T R O D U C T I O N
I n the elegance o f it s f o rm an d th e e c o n o m y o f its des ign , th e classic gu it ar is as si mp le as a canoe. E x t e n d i n g
this analogous compar i son somewhat fur ther , the gu i tar can peruse s t i l l waters of expressively qu iet music or
p lung e th ro ug h the rapids of mo re spectacular work s. Whatever course is pur sue d d epends solely o n the skill,
mood , and exper i ence o f the per f o rm er .
Here i s one o f the mos t in t ima te an d natur a l o f mus ica l ins t rum ents , in dep en den t o f e l ec t r i ci t y w i t h its
acco mpany ing wires an d ampl i f ier s . I f the p o w e r s h o u l d fa i l or the fuses blow, the classic style guitar can st ill
be heard , and the pure un f i l t e red tones can be savored by any who care to l isten.
Am on g t h e many r e w ard i ng exper iences i n teac hin g o r p lay ing c lassic guit ar is the versat i l i ty in he re nt to
this s ty le o f pe r fo rm in g o n the ins t r ume nt . O f a l l the many co nte mpo rar y var ia t ions o f gui tar , non e has qu i t e
encompassed the range an d de pt h of music al express ion at tainabl e on the c lass ic guitar .
T h e t e r m "c la ss ic " is pe rhaps u n f o r t u n a t e a n d somet imes mis l ead ing i n that the wo r d i tse l f tends to
conno te no t onl y a speci f ic type of guit ar bu t also tha t onl y "c lass ical " music is int r in s ic to the ins tr um en t .
Th is assumpt ion c o u l d be a n i n h i b i t i n g factor to those wh o are not par t ic ula r ly inter ested i n pu rs ui ng ser ious
music as a career o r w ho associate onl y rec i tal pe rf or ma nc e as reason fo r s tudy.
M u c h to the contr ary , the classic gui ta r is un iq ue ly effective in s imp le pieces p layed fo r one 's ow n pleasur e.
I t is also an i d e a l i n s t ru me n t f o r t h e ac c omp a n ime n t o f t r ad i t i ona l f o l k songs, s t and ard p op u la r songs, and
art songs, as well as for duet playing or ensemb le p a r t i c i p a t i o n w i t h o ther ins t ruments .
I n a dd it io n, study o f the classic gu it ar can be an inva lua ble a id to any genre o f guitar p lay ing. Study on
this ins t ru men t p rov ides i n -de p th ins ights in to the fun dam ent a l n atur e o f the gu i tar an d generates mo re
in te res t ing an d or ig in a l mus ica l ideas tha t can be ap pl ie d to any style o f guita r. Moreover , i f a pat ie nt , receptive
a t t i tude is mai n ta ine d towa rd deve lo p ing a deg ree o f skil l i n p lay ing an d teachi ng t he guitar , i t can ad d
immeasurab ly t o pe rsona l fu l f i l l men t an d qua l i t y o f l i f e .
I
T H E I N I T I A L S T E P S
I t is surpris ing how seeming ly prosaic items as music stands, foot rests, and suitable chairs can become
imp or t ant fac tors fo r ma k i ng p rac t i ce an enjoyable adventure ra t her tha n an unc omf or t ab l e chore .
Most guit ar per for mer s favor p os it io ni ng the gui tar o n the le f t leg midwa y b e tween the knee and h ip wi th
the left foot elevated about s ix inches, more or less, by a foot rest. G o o d posture is enco urag ed by sitt ing well
fo rwa rd on a straigh t chair . A s impl e ru le to apply is to al ign the p layer 's c hi n, the top up pe r bo ut o f the
guitar, the l e f t knee , an d l e f t foo t . The in s t ru me nt i s thus n ice ly ba lance d a l lo w ing fo r a m i n i m u m o f ho ld in g ,
g i v in g b o t h hand s max imum f r e ed o m o f move ment .
Relatively inexpensive guitars o f g o o d q ual i ty are readi l y avai lable ; hence , the in i t ia l out lay o f large sums
o f money is no t necessary, especially f o r the beg in n i ng s tudent . An y mus ica l in s t ru me nt shou ld be eva luated
for its un iq ue an d in di vi du al character ist ics a nd no t necessarily f or its exot ic n am e o r its pri ce tag.
A n o t h e r in i t ia l step o f te n insuf f ic ie nt ly s tressed is a th or ou gh expl an at i on o f music nota t i on a nd
termin ology. Musi cal terms are a new a dd it io n to a student 's vocabulary, an d an un de rs ta nd in g of the essent ial
rud imen ts i s im po r t an t fo r es tab l i sh ing c l ear ve rba l com mu ni ca t i on between s tuden t an d teacher.
I I
M E T H O D S
A me th od is , o f course , necessary as a ma nu al for deve lop ing a systemat ic pr oce dur e of s tudy. I n addi t i on
to the tra di t i on al texts o f the late 1 8 t h an d 19 t h c en tur ies s t i l l i n use, ma ny new publ i cat ion s have become
readily available, especially since 1950 .
Teachers o f guit ar general ly a nd unde rst and abl y use met hod s they are mos t fam il i ar an d comf ort able
wi th and tend to avoid us ing any new or chal lenging approaches t o gu i tar pedagogy.
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The r e are some met hods used whe rei n the authors ind ulg e in "spoon-feeding" the student and apparentl y
presume to i ns t ruc t the in st ruc tor as well . Thi s type of app roa ch c an verily stult i fy a teacher' s prerogat ives
a n d relegate h i m to a mere page tu rn er an d assignmen t dispenser.
However, regardless o f wh at me t ho d one chooses, i t wou l d seem p e r t i n en t t h a t respo nsib le teachers be
knowledgeable w i t h as many methods as possible and have these in thei r musi c libr ar y for objective evalua tion
a n d co mpari son. Mos t such publ ic at ions cost less t h a n a single lesson fee, a nd at least on e use ful idea c ou ld
be glean ed for the overall tea chi ng expe rienc e.
A m e t ho d is a tea chi ng aid or to ol, an d as w i t h a ny too l it is, fo r th e most pa rt, n o bet ter or worse than
the indi vi dua l usi ng it. Ideally, a me t ho d sho ul d be compr ehen siv e technicall y, theoretical ly, an d musically,
thereby enabling a student to deve lop an enthusias m for le arn ing a new skil l an d to achieve musical matu rit y
i n i mag inat ion and inte rpreta t ion .
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B O O K I
i
N A T U R E O F T H E G U I T A R
f u n d a m e n t a l charac te r i st i c o f an ins t ru me nt , whe the r i t be a bowe d , w in d , pe rcuss ion , o r keyboa rd
i n s t r ument , is obv ious ly the mos t im po r t an t s ing le fac tor de t e r mi n i ng the speci f i c t echn i ques re qu i r ed to
play i t effectively.
Yet, i n spite of its l o n g histor y, a n exac t eva lua tio n of the specific na tu re o f the gu it ar has rar ely beenc lear ly de f ine d. I t has genera l ly an d vaguely b e en desc r ibed to be a "p lu ck ed " in s t ru me nt , the s tr ings be in g
act ivated somew hat i n the ma nn er o f a ha rp .
Almost inev i tab ly , the f i rs t t enden cy o f the be g i nn in g s tude nt i s t o " c lu tch an d p u l l " at the strings w i t h a
r esu l t ing noisy, t h i n , and a l t oge ther unp leasant t one . Indeed , th is first t en dency has f req uent l y been
ra t iona l i z ed an d fo r mal i z e d as the re co mm en de d t ech n iq ue fo r the r i gh t ha nd , thus b l i t he ly suspen d ing the
physica l laws o f t one p r od uc t i on .
T h e p r i n c i p a l character ist ics t ha t d e t e r m i n e t h e speci f ic t e chn iq ues r e q u i r e d a n d t h a t ef fectively descr ibe
the nat ure of the gui tar may be c lass if ied in to the fo l lo wi ng thr ee categories.
1. Th e gu i ta r i s a pe rcuss ion in s t r um en t .
2 . Th e gu i ta r i s a chr oma t ic ins t r um en t .
3 . Th e gu i ta r i s a po l yph on i c in s t r um en t .
1.
T H E P E R C U S S I V E N A T U R E
T h e gu i ta r is es sentially a pe rc uss i on i n s t r u m e n t ; hence t he str ings are , for th e most p art , s tr uck ra the r tha n
p luc k e d . T o Pluck i s by de f i n i t i o n to pull, o r pick off o r out, also t o jerk, tivitch, or to twang as the str in g o f an
archery bow.
So un di ng a gu ita r s tr ing i n th is fas hio n al lows the str i ng mo re time to "wr ap " i tse l f a ro u nd the finger at
the point o f contact , to such a degree, that a d is tor t io n occurs p r od uc in g a g reat nu mb er a nd in tens i t y o f
h igher par t ia l s an d f reque ncy bands a ro un d the fun da men ta l , res u l t i ng i n a t h i n and noisy tone.
To strike, o n the cont ra ry , imp l i es t o touch o r hit w i t h v a r y i n g degrees o f force , thu s caus ing a str ing to
sound. By this ac t io n the re is less time fo r in ter fer en ce o r "w ra pp in g" since the finger t i p sweeps across the
str ing w i t h g r e a t er m o m e n t u m and v el oc it y. H ence , there is less d i s tor t io n i n the s t r ing ' s v ib ra t io n resu l t i ng
i n a tone o f grea ter c lar i ty a nd stre ngt h.
I t is obvio usly dif f i cu lt to def ine sha rpl y or describe th e exac t acti on o f th e fingers f r o m one in sta nt to
ano ther s ince fingers are re ma rka bly f lex ib le a nd subt ly versat i le as co mp ar ed to the r i g i d mec han ism s o f the
p iano or har ps ic hor d . Thu s , in some techniques and for spec ial effects t h e r e w i l l occur g reate r o r lesser
degrees o f "p lu ck in g " w i th ou t sharp dema rcat i ons i n the ac t ion o f the fingers, bu t ra t her t rans i t ion f r om
strictly p lu ck in g ac t ions, t o par t ia l p l uc k i ng , t o s t r i k ing , t o the pu re percu ss ion o f rasp in g s trokes , as in the
rasgueado.
2.
T H E C H R O M A T I C C H A R A C T E R I S T I C S
T h e simplest, m os t obv ious ly l og i c a l scale o n the gu i t ar f in ger boa rd i s the chrom at i c scale. Yet curiously this
very un iq ue character is t ic o f the gu ita r has no t b e en t ak e n advantage o f in t each ing the ins t rument . Mos t
methods a nd ins t ruc to rs t reat the gu i tar d ia ton ica l l y an d in t ro du ce chro mat ic s igns on l y th ro ug h key
signatures.
However, i t is pat ent l y s impler , even for very young students , to p lace each finger i n ch ro ma ti c sequence
on the fingerboard ra th er t ha n sk ip pi ng ce rt ai n frets. I f at th e same t ime all th e ch ro ma ti c signs are ex pl ai ne d
i n t h e b e g inn ing stages, m o r e r a p i d progress is ach ieved in bo th read i ng ab i l i t y an d overa l l com pre hen s io n
o f th e gu it ar fingerboard.
T h e ear ly g u i t a r m e t h o d s were wr i t t en du r in g per iods wh en mus ic was s t rong ly d ia to n ic , an d unders tan d-
ab ly a d ia ton i c approa ch wo ul d have b e en i n k e e p i n g w i t h the times. However , i n mo re rec ent a nd
c on t e mp ora ry mus i c w i t h the g reate r emphas is on chr omat ic i sm s an d atona l i t y , a chr oma t ic appr oach to
guitar p l ay ing w ou ld seem t o be mor e ap pro pr i a t e an d p rac t i ca l fo r a l l purposes .
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T H E P O L Y P H O N I C C A P A C I T Y
gi l i ts i r is e m in e n t l y ef fect ive as a |M>lyphonic as wel l as a ha rm on ic i ns tr um en t capab le o f hav in g m o o r
m o r e voices so un de d s im ulta neous ly is in a fugu e o r ca no n. Th is capacity o f the gui tar bo pr od uc e voice
sepa rati on ma kes it especial ly ef fect ive in the co nt ra pu nt al music o f the bar oq ue per io d as wel l as the music
of late i per iods, i nc lu di ng [ l ie dem and s o f the co nt em po ra ry music o f the present day.
n .
T H E R I G H T H A N D
T h e classic g u i t a r is o ne o f t h e le w s t r inged i n s t r um e n t s played c n t i r e l v w i t h o u t an ar t i f i c ia l a id such as a
bow, key, keyb oar d or mal le t . Th e r ight ha nd f ingers must assume the ro l e o f a so un di ng mec han ism ;
there fore , cons iderab le a t t en t ion w i l l need to be focused on this aspect o f c lass ic guitar technique.
H i t t h u m b an d thr ee fingers a r c i m -d to ac lrvate t i le s tr ings, the l i t t le o r fifth finger is ge ne ra ll y no t use d
bv mosi plavers w i th th e ex ce pt io n of its use in ce rt ai n rasgncado passages mo r e c o mm on t o Ih c l l ame i i c o
guitar . Us ing the f i l t h l ing e r fo r no una I p l ay ing necessitates increa s ing the be nd or cucve of the other l ingers,
thus encou rag ing a p l uc k i ng or c lu tch ing ac t io n ra the r th an a percuss ive s t roke .
F inger ings lor the r ig ht ha nd are most co mm on ly ind ica ted hv le t ters its fo l lows:
T h e T h u m b ( po l ex ) is in di ca te d as p
T h e I nd e x ( indices) is in di ca te d as i
1 h e M id d l e (med ius ) Is ind i cate d u in
T l i e A n n u l a r (a i iu la r is ) is i nd i c a te d as a
T h e F i f th ( m c n i q u e ) . w h e n used . V i n d i c a t e d a s q { o r e )
F ingerna i l s are an im po r t an t fac tor in t one p r od uc t i on : however beg inner s h ad best k eep nails very sho rt
at the outset an d onl y gra dua lly increase the ir len gth s as the fingen are bro ug ht un de r co nt ro l.
T h e r c c o t n in en de d le ng th is a relatively sho rt nai l a l lo win g lo r bo th the f in ger t ip flndthe nai l to contact
the su in g; hence , the nai ls ex te nd only s l ight ly beyo nd the f inger t ip and are care ful ly f i le d , hu l l ed , and
po l i shed in to the shape p r od uc in g the c l eares t t one . Wh en we lt gu mm ed , the shor te r na i l is also s ignificantly
stron ger . mi l far less p ro ne to be ing damaged tha n a long er nail.
T h e h a r d sur lacc o f na i ls p r o d u c t s h i g h e r partiafs o f the s t r in g w i th a resulta nt th in ne r mo re metal l ictimbre, wh er ea i the f lesh o f d i e f i ng c i i i p pro duc es mo re fun da me nt al w i th a mo re su bdued mut ed t imb re .
T h u s a c o m b i n a t i o n o f na i l s aw* f inger t ips w i l l pro du ce a mo re l> alaiue d (one an d result i lk greater c i m i m !
over the var ie t y o f t imb re changes.
T H K R I G H T H A N D P O S I T I O N
P t a d u g t l i e t h u m b an d the three p lay ing f ingers on a s ing le s t r ing as shown i n the fo l l ow in g pho to gra ph
(Fi gur e 1) is usua lly th e mo st ef fect ive way o f dem ons t ra t in g the r i gh t hand pos i t i on .
P lac ing the ha nd in this pos i t i on iH fr equ ent Interval s an d on var ious str ings du r in g the in i t ia l stages o f
dev e lo p in g right ha nd tec hni que can consider ably hasten the le ar ni ng process. Th e f o r m o f the ha nd sho i dd
remain the same wh et he r the fingers are all o n an yo n e o f th e six strings o r di st ri bu te d over any four of the
six strings.
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T he f ingers are pe rpend ic u l ar t o the s t r i ng and at a right angl e lo Lhe back of th e ha nd . Th e knu ckl es,
i.e., Lhe metacarpal /ihfittiugeal jo ints, are then directly over the s t r ing on which the f ingeis and thumb are
rest ing.
T he l ip j o in " o f the t hu mb sho uld be ext ende d in a na tura l pos iti on and shou ld always be somewhat ahead
of the index f inger. The i h u m h may not always be in a straight line since the backward bend of the lip jo int
may vary for some ind ivi dual s fro nt bein g relatively straight to havi ng a con side rable angle.
T he t h u m b is extremely i mp o r t a n t to r i g h t ha nd tec hniqu e and . bei ng the opp osi ng memb er o f the hand ,
inqu i res specia l attent ion . Th e t hu mb sho uld move h u m the wrist {carfxHttrt'ictirjNd) in co nuu ry mo t i on to
(he ot her linger s wi t ho ut any Hex ing of the tip jo int .
Finally, it is pe rt in en t to realize that the. r i g h t ha nd te chn iqu e here re co mm en de d is no t necessarily a
" n a tu ra l " one since the f ingers of the hu ma n ha nd are pr imi ti vel y and" inst inctively pron e to gra spi ng raUicr
than s tr ik ing. Therefo re, mu ch time and patience must be exp end ed to deve lop die necessary ne ur al p a th ways
before the technique and form become a norm al and na n i r a l response.
R I G H T H A N D T E G H N I Q U E
R i g h t ha nd Technique is generall y characterised and di vi ded int o two Ijiisic strokes in wh i ch die actio n o f
the f ingers or d i um b, af ter so und in g a s t r ing , is topped by an adjacent s i r ing ; o r th e fingers an d t h u m b . aRer
s o u n d i n g a s t r ing , fijjpossihe adjacent str ing.
T h e action o r the f ing er s, no t m e n d i n g the t h u m b , is som ewh at ana log ous to die swing of a fle xib le
p e n d u l u m tha i is adjusted to sirike one s t r ing but is in t er rup ted by an adjo i n ing s t r ing , or Is aga in ad ju st edto strike a s t r i ng w i th a fol lo w-d uo ugh . by-passing the adjoining str ing.
T ims, except for th e rasgue ado, Uiere is essentially on ly on e str oke o f the fingers, whi ch fo r te chn ic al
purposes isdi v ide d in to two parts, each part de pe nd en to n the d i rec t ion , of the stroke an d o n whed ie r pl aying
a single s t r ing o r two or mo re strings simultaneousl y.
Hi e terms most co mm on ly employ ed to describe lhe "slopped™ act io n o f the f ingers or d u i r n b are:
ham inpr.it11M frpoytindo, rest-stroke, and supported stroke. This touch by its nature is restricted to single str ing,
scale-like, melodic, or bass passages and should always be executed w i t h two or ihre e al te rn at in g f ingers or
the thumb alone.
The terms generally used to ident i ty the "unstopped" action o f di e fingers or t h u m b are : esatpement stroke,
Irmmfa. free slrok^. and imsupfwrted strotte,
T H E R I G H T H A N D T H U M B
T h e overal l t e chn ique or the right h t i i d is largely depe nde nt o n die eff icie nt use o f the i h u m b . I k i n g the
heaviest an d su on ge sl an d i n many ways the most agile me mb er of th e ha nd , the t h u mb has its ow n special
technique.
T h e no r ma l angle of the t h u m b from die back o f the h a n d t o ihe s t r i ng is about 45 degrees (Fi gur e 2a).
However, this angle can be altered Lo produce certain changes of ti mbr e. Th e mu re parall el the th u mb is to
lhe s t r ing the mor e surface and f lesh contact the sm ug , res ult ing in a to ne closely rese mbl in g that of a bowed
iusu u m e i i i (F igure 'lb) . O r the th um b can be br ou gh t to a nearly vertical pos it ion to create very pow erf ul
tones especially on the bass strings (Figure 2c}.
Fig ure 2a Fi gu re 2b Fig ure 2c
T h e most effective st roke for the th um b is simi lar to die ham me rs tr ok e or "sl opp ed a ct io n" o f the f ingers.
The t h u m b s hould always be used i n this manner when playing bass passages or when an adjacent s i r ing is
ftee,
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T h e escapement stroke is necessary w h e n t h e t h u m b m i g h t i n t e r f e r e w i t h a susta ine d ton e on an adjo in in g
s t r ing o r in p lay ing the inner voices o f an acc omp ani men t . I n the p lay i ng o f b lo cke d o r rap id ly a rpegg ia ted
chords invo l v in g ad jacent s t r ings , the th u m b sho uld "snap u p " aga inst the in de x finger w i th ou t any mov em ent
i n the hand i tsel f .
T h e t h u m b s h o u l d alwa ys be k e p t e i t h e r r e s t i ng o n a s t r i n g i n p l a y i n g pos i t i ons o r v er y close to the strings
an d sh ou ld no t be f l a i l i ng abo ut in mid-a i r whe re i t can give n o su pp or t fo r th e ot he r fingers or th e h a n d
itself . I f the t h u m b is a l lo wed to fo l lo w t he f ingers at a d istance o f one or two str ings, i n ef fect to " tag a long",
the f o rm o f the h an d is th en n o t d i s tur bed as i t i s m o v e d f r o m t h e f o r e a r m across the six strings.
A mo s t i mp o r ta n t t e chn i q ue f o r the t h u m b is t o p r e ven t bass no tes f r om so un d in g bey ond the i r ac tua l
t ime va lue . Two ob jec t i onab le fac to rs r esu l t f r om a l l ow ing bass no tes to " r u n on " :
a . Even wh en t he bass i s a c om m on ton e to the nex t cho rd , a b l ur re d ef fect i s gen erat ed for the new bass
note.
b . W he n the bass is not a. c om m o n to ne to the ne x t ch or d , an unaccep tab le d i ssonance occurs .
T h e t e c h n i q u e r e q u i r e d is i n effect a delayed s tacca to tou ch in wh ic h the t h u m b re t urn s to the prev ious
str ing immed ia te l y a f te r hav ing sounded the new bass no te .
S P E C I A L E F F E C T S
I n a dd i t i o n to no r m a l p l a y i ng , the r i g h t ha nd also c o n t r o l s degrees o f dynamics , t i mb re changes, t a m b o u r
effects, muted s t r i ngs , some forms o f staccato , art i f i c ia l ha r mo n i c s , va r i o us rasgueado effects, an d t r em o los .
Dyna mi cs (Degrees o f vo lume)
T h e qual i ty , varie ty, a n d v o l u m e o f t o n e is en t i r e l y d e p e n d e n t o n the m a n n e r i n w h i c h th e str ings are
sounded . Var ious degrees o f in tens i ty can be bro ug ht to bear i n s t r i k in g the str ings, f ro m a very re laxe d stroke
p r o duced by g endy cu rv ed fingers to an inc rea se d rig id it y a n d straig htnes s of th e f ingers. T h e degree o f
intensi ty w i l l increase or decrease the effects o f mass, m o m e n t u m , an d veloci ty, en ab l i ng th e r i gh t ha n d fingers
to pro du ce a cons iderab le range o f dynamic s f r om very sof t , r o u n d tones to the m a x i m u m vo l ume obta inab le
f r o m the i ns t r u men t .
T i m b r e ( t one color)
O ne o f the out st an di ng character ist ics o f th e c lassic gui t ar is the rem ark ab le effect o f t imbre va r ia t i ons .
I n a dd i t i o n to the t im br e contrasts o f the ha mm er ( apoyando) a n d escapement ( t i r an do ) strokes, ma ny subtleor stron gly con tra st ing ton e co lors are achie ved by so un di ng the str ings f r o m very near the br i dg e to we l l
over th e u p p e r e n d o f th e fingerboard.
T h e nea r e r t h e s tr ings are s t ru ck t o w a r d t he m i d p o i n t o f t h e i r l e n g t h ( 12 t h f r e t ) th e m o r e o f th e
fundamenta l s a re sounded . As the hand i s m o v e d toward the br idge , more and more o f the s t r ings ' h i gher
part ia ls are a ctiv ated .
Cer t a in te rms are enco un te red i n va r i ous ed i t i on s o f gu i ta r mus ic to ind i c a te the effect o f the br idge
t i mbr e . T h e r e are, however, no te rms to ind i ca te o ther areas o f the str ings. However , a very s imple symb ol
can be used to mark over c e r t a i n passages, as a r eminder o f the t imbre effect des i r ed . Th e symbo l
represents th e so un d ho l e an d the str ings to wa rd the br i dge . I t may be ma rk ed in the fo l l ow in g ways:
indicates a strongly fu nd am en ta l t one
indicates the normal p laying area
indicates a more b r i l l i a n t t i mbr e
indicates the br id ge t i mb re , sometime s i ndi cat ed as metallico, ironica, chevalet, sulponticelh, etc.
T i m b r e changes sho u l d a t f i rst be pract i ce d us in g s impl e chr oma t i c exercises because the left hand can
be stron gly a f fected by th e mov em en ts o f the r i gh t ha nd . Th is is due t o an inst i nct i ve rea ct ion ca l led a " m ir ro rre f l ex " i n wh ic h one ha n d tends to imi t a te the o th er as th ou gh re f l ec ted in a mi r r o r .
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T a m b o u r (percussion effects)
A mo n g the mo re spectacular effects obta inab le o n the gui t ar are the var iety o f percussion effects p r o d u c e d
by st r ik ing the str ings or d i f ferent areas o f the face o f the i ns t r ument w i t h the th um b o r f ingers .
These effects are genera l ly i ndi cat ed by sho rt va lue not e stems w i t h an abbrev ia t i on o f tambour over the
no te . However, a more de f in i t i ve no ta t i on to ind i ca te tambour effects can be used to mark specif ic areas o f
the gui t ar to pro du ce disce rnable p i tches.
T h e f o l l o w i n g d i a g r a m ( f igure 3 ) i l lus trates the specifi c s t r ik ing areas for the t h u m b an d f ingers. T h e
areas vary i n p i tc h registers an d can be i ndi cat ed by the specia l sta f f no ta t i on sho wn be low the i l lustrat ion.
Figure 3
Tarn. Tarn. Tam. Tam.
^ P 7 P 7 P 7
8 (1) (2 ) (3) (4)
T h e ac t o f s t r ik ing the str ings at var ious distances f ro m nea r the br i dge (area 5) to over the upp e r po r t i o n
o f the fingerboard (area 6 ) is desc r ibed by the te rm batterie o r golpe, i .e. , beating.
T h e ba t ter i e ef fect i s ind i ca te d w i t h no r m a l no ta t i o n o f a ch o r d ( E x a m p l e l a ) . C ho r ds ca n also be sou nd ed
with a bel l- l ike ef fect by s t r ik ing th e str ing s sh arp ly agai nst th e fingerboard exac tly twelve fr e ts f r om the ch or d
fingered by th e lef t h an d . Th is ef fect can be no ta te d by d i am on d shaped no tes ind i c a t i ng har mon ics w ith
the tambour abbrev ia t i on (Tam. ) p l us the a r t i f i c i a l ha r mo n i c i nd i c a t i o n ( E x a mp l e l b ) .
IV
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I t is im po rt an t to d i f fe renti ate the percussive tap ping s o f f la me nco gui tar p la yin g f r o m that o f the c lassic
gui tar. F lamenc o gu i ta rs a re equ ipp ed w i t h p last ic guard plates to protect the sound board o f the gui tar s ince
the percussive effects are d on e w i t h th e finger t ip a n d na i l . Percussion effects on the classic guitar must always
be done w i t h the f la t f leshy po rt io n o f the finger t i p or t h u m b as sho wn in the fo l low in g ph ot og ra ph (Figure
4 ) . They m u s t never be d on e w i t h the nails.
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t ignre 4
A n o w l e f f e c t o f m a re d r u ms can also be nseful i n acc ompa nime nts an d even i n a solo or ens embl e piece.
T h e eff ec t is made by cross ing t he s i x ; h s u i ng rwerthe f i f t h su in g, pre fer ably : n lhe seventh fret. T h e stringsare th e n so un de d by lhe back or the nails as i n pl ayi ng a rasgu eado. Th is effect can he noi at ed as in the
f o l l owing exam ple [Exam ple 2 ) .
Sn, D. Sn. D.
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Example 2
M U T E D 5 T R I NC 1 S
T h e d i r ec t i on for m u l i n g lh e strings is ind ic ate d by such te rms as .\anlatm>nie(h.) mu f f l ed . damp ed , m ule d ;
ft<>u to sm ot he r or dead en the tone ; and pizzicato (It,) abbr. pi//., l i teral ly p in t fu d or plucked instead
o f bowe d. I n gui tar music these terms are syno nymou s. Al th ou gh the l i t era l def init ion of p izz icato does not
i m p l y m u t i n g , it is a mor e Convenient abbrev iati on and is gener ally t he pref er red te rm for diis reason.
T h e strings are m u t e d by p lac ing the ou te r sid e o f d i e r i gh t hand f i r m l y on the saddle ol th e bri dge . T he
strings are then sounded w i th the t h u m b , w h i ch must remain fini/illd lo the s t r i n g l i e in g p laved. hi mo vi ng
f r om s t r ing to s t r i n g the ha nd mus t, hc re fo rc . slide al on g the saddle lo ac co mmo dat e (he parallel posit ion
o f the t h u m b . Th e h and can bes omc wha i arch ed since onl y that por t ion Of the hand tha t is i n line w i th the
t h u m b n e ed s t o contact the s i r i n g . Occasi onall y Othe r fingers are used w i t h the t h u m b ; I n iwever, sin gle s i r ing
passages* wh et he r bass or tre ble , are Always played w i t h the t h u m b .
The Ha lf -P iz zi ca to (abbr . \/'2 piz£)
A, l unusua l effect is achieve d if. after so un di ng a mut ed st r ing . * ! ho r i g h t h an d is inu ned iat elv released fr om
•he saddle. The res ul ti ng mu t ed tone is thus sustained w i th a slight increase i n vo lu me si mul at in g a Ix mc d
s t r ing lone.
Right Band Staccato
JK. clear, clean staccato is perhap s one of th e mor e d i f f i cu l t l ec hn in ue s to master on the guita r. Th e staccato
t o u c h Involves t w o d i s i i n r i ac Uonso f the fingers, viz., on e to stal l the tone and ano th er lo slop the tone-
In a series o f siaccal o tone s o n a single s i r ing , each a l ic nu ui ug l inger must moment ar i l y s top on d ie suingIn-fore complet ing i ts t t m k c . As a rale, single s t r ing stitccatcis are general ly mo re c uV ci he i f escapement
strokes i i r c used.
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H i t - th um b, o f course , must do i ts own s topp ing ; however, i f th e i h um b r ema i ns close en ou gh no the
StringH ih i scan be very ef fective, especial ly on the bass str ing s,
Staccato b locked o ra r pc gg ia i ed doub le s l ops an d three o r l ou r s i r in g chords Invo l ve lhe same p r o cedur e
o r dr op p i ng d i e l ingers an d I h u m b d i r eel l y back l o th e si r i ngs j u si sounded. Choir ls invo lv ing l ive or a l l s ix
si r ings a re Mopp ed bv dr op p i ng the open pa lm o f d i e ha m ! across lh e str in gs.
T h e l e f t h a n d can also a id considerably in the overa l l effectiveness of "the staccato w he n the I wo ha n dsa l e
su f[ i ci end y co on I i i i a i e d .
A R T I F I C I A L H A R M O N I C S
U n l i k e ualum! harmonics, wh ic h can be pro du ce d on ly a l cer ta i n Specif ic f rets, artificial or octa l* hanaorua
Can be prod uc ed at anv f ret by the index u id an nu la r l in ger s o f d ie r igh t han d.
T h e i ndex f i nge r t ouches lhe s i r in g ver y l i gh t l y w i t h o u t depress ing i t e xact ly twelve frets distance directly
fliw die f ret f ro m e i the r an ope n su in g or a s lo ppe d st r in g. Th e a nn ul ar str ikes the s i r in g at lh e same insLam
an i l lhe hand i s imme dia t e ] v w i t hdr awn lo avo id in t er f e r i ng w i th th e r esu l t ing ha rm on ic . T h e tona l s t r ength
o f the ha rm on ic is usual ly greate r i f the ann ula r is pos i t i one d as 6 u be h in d the ind ex as possib le (F i gur e 5 ) .
Figure 5
Art i f i c ia l h arm oni es are gene ra l ly ind ica ted in on e o f two ways, e i t he r by an abbrev iat ion o f harmonic and
rWmtfover the no ta t io n (Hnr, Sva) ; or by in di ca t i ng the f ret Where the index Anger touches the su in g (Ha i .
15),
Enulish folk tuncr u r . ova - — - - - - - - - - - - — - - - - - - - - - ~ - - - - —
f i r * p r P i r t r n n r r J* i J P r t^=\
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Ha r. M 13. IS. 12. 14.12 . IS. 1Z 12. 14.12 . 13. 14 .1 4. 1 1 1 4 . 12. 12. 14.
f n . h r p r ^ r f r n i f i ' O i f Ju. i
Example 3a.
Art i f i c ia l harmonics can also b e e j e c t e d o n two o r mo re ad jacent s i r ings o r in cer ta in co nf i g ura t i ons o f
< ho rd s, Th e right ha nd is dr aw n quic kly across the s t r ings w i i h the ind ex a r id an nu lar he ld i n ihes ame pos i t i on
as for a s ingle str ing harm on ic , h ut in e f e c t t r a c i n g a n o u t l i n e o f the cho r d w i t h the in dex l inger .
Occasional ly passages are wr i t te n w ith no r ma l t o nes a cco m pa ny i n g l he ha r mo n i c s . I n some instances the
annul ar mus l s t rike no t on l y d i e ha rmo nic bu t also cont in ue to sou tu I the normal lone on the str ing adjacent
t o i l . Mean t ime , the th um b may he invol ved w i t h o t he r suings.
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Har.15 13. 12, 12. 13. 15. 12. 15. 13. 1 1 13, 14.
Ex am pl e 3 b
T H E R A S G U E A D O
J^fisgitrwh, also rrjjigffffa. abb r. rasg., .ite ral lv rasping. In gu i in r pl ay in g the l e r m refers l o ce rt ai n specifi c
percuss ive t echn iques and rhv thmic effects used in sou nd i ng chords , Th e effects are especially chara cteris t ic
a n d p ro in i iH -u i in f lam enco mus ic .
AJ th ou gh rasgucado tec hni que s are universal l y associated w i t h t h e I lam e nco guitar , composers o f mo re
recent co nt em po ra ry musi c have d raw n up on some o f these co lor ful and very gui far is t ie effects n> ad d ye t
an oth er d i me ns io n to the class ic guitar . Th us , the wide d ispari ty that on c e existed between the two styles of
p lay ing i s cons iderab ly an d grate fu l l y d im in i she d .
I h iwcver, not al l f la me nco techni ques are feasib le o r re co mm en de d fo r c lass ic p lay in g; ther e for e , only
those effects that mi gh t be en co un ter ed or considere d pract i cal or useful are here d iscussed,
Rns gnc ado sar cc l lec ied by the inc ex f inger alone or by three f ingers (a. m h i ) of the right hand" sweeping
across the str ings to pr od uc e a character is t ical ly s tr i dent lone in the p l ay in go f chords , F lam enco p layers
also use the f i f th or Mule l i ng er (me fuq uc) as wel l as the three f ingers de pe nd in g on the effect des ired.
T h e d o w n w a r d s troke is p r od u c e d by t h e back o f t h e nai ls w h i l e t h e i nd e x o r a l l three ( o r f o u r ) l inger s
b e g i n n i n g w i th t h e ann u la r ( o r me i i qu e ) a r e m ad e lo fan out across th e strings. Th us , on e f ing er is
imme d iat e ly fo l l owed by an od i e r u n t i l the stroke is co mp le te d by all lhe finger s (F igu re t ic) . Th e h a n d as a
who le shou ld not move and should be supported 1 l>v re si in g (he t h u m b firmlvon th e edge of" the fi ng er bo ar d
or on the s ixth s t r i n g -
I n consecut ive series o f cho rds, the index f ing er al one is mari e to sweep back and f o r th across di e string s
inv o lv ed Th i s t ech n iqu e i s usua l ly ind icated by arrows ma rk ed before the cho rd s to show the d ir ec t io n o f
the strokes (F i gur e 6a ) ,
A t r e mo lo effect is ach iev ed whe n the finger s sweep back and f o r t h across the str ings in a co nt i nu ou s
series o f over lap pin g rasgucado strokes. Th us , the an nu la r starts in lhe opposit e d i rec t i on before the middle
a n d ind ex com ple te the or ig in al s troke. F igures f ib and be i l lustrate the forw ar d and backwa rd stroke of the
fing ers. Th is ac ti on co nt in ue s For the ti me valu e required.
Fig ure 6a Figure t ib Figure 6c
T h e f o l l o w i ng examples (Examp.es 4 an d o) i l lustra te the not at io n for in d i ca t i ng the rasgucado. I t isi m p o r t a n t to inte rp re t wha t actual ly occurs in the thr ee or fou r f inger lasgueado becaiLsc the iudtx wilt nfawyi
ilffertahtf the atrritt. I n classic g ui ta r mus ic, the rasgucado is occ asi ona lly ind ica te* I as a i r i p l e t o r q uad rup l e t ;
however, th is not at i on i s rhy th mica l l y inaccurate . Th e an nu lar and m id d l e f ingers ant i c ipate , as grace notes
w o u l d , the accent cre ated by th e ind ex finger, as sh ow n in ex am pl e 5.
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I n flamenco pl ay in g th e t h u m b is also use d i n so mew ha t th e same way as th e i nd e x i n bac k a nd f o r th
sweeps across the strings. Thi s tech niq ue is mo re a rh yt hm ic device a nd is no t exact i n its no ta ti on . Henc e, it
w o u l d n ot lik ely oc cur i n mus ic for classic guit ar.
N A I L E F F E C T S
A n unusua l t im br e effect can be create d by sli din g the back of the th u m b n a i l across the strings, be gi nn in g
wi th the treble str ings an d movi ng up wa rd tow ard the s i x th s t r ing . Sim ilar ly sl id ing the back of the in dex nai l
i n a do wnw ard di re ct io n near t he bri dg e fr om bass to treble creates a ti mb re closely re sem bl in g a ha rp o r
harp s i c ho rd . Also, using the back of the index n a i l as i f ho ld in g a guitar pic k and s t r i k i n g i nd i v i dua l strings
creates an extremely percussive metallic effect, especially when done near the bridge.
T H E T R E M O L O
T h e t r emol o is de f ined as a r a p id f l u t t e r i n g re it erat ion of a tone or cho rd , pr od uc in g a tre mul ous ef fect
wi tho u t apparent breaks in the c o n t i n u i t y of the sound.
T he ras gue ad o t r emo l o di scussed previously con f o rms m or e nearly to the de f i n i t i on o f a t rue t r emo l o
that is obtai nable o n th e guitar. Wh at is usually ref err ed to as a tr em ol o i n gui tar tech niqu es is mo re accurately
described as a series o f r ap id l y repea ted t ones by the r i g h t h an d f ingers o n a single str ing. Th er e are, however,
very apparent breaks in the sound even wh en ar tic ula ted very ra pi dly and smoothl y. Thi s type of tr em ol o is,
nevertheless, a very attracti ve an d typically guitari stic effect, the t ech ni que o f whi ch wh en prac tic ed is
benef icia l to the ove ral l flexibility an d in de pe nd en ce o f th e r i g h t h a n d fingers.
Init ial ly, pract ici ng arpeggios whose sequence o f al te rna ti ons are the same as those used in the tr em ol o
is hel pful as pre par ato ry exercises. T he mos t co m mo n a lt ern ati on i n classic guit ar tr em ol o is (p, a, m. i) ;
however, ot her alter nati ons can be useful since repe ated notes can occ ur i n man y co mbi nat io ns t h a t are not
necessarily tremolos.
5 6
p a m i P m i m P i m i P i m a P i a m i P i m a m i
Example 6
The above alt ern ati on sh ou ld be prac tic ed slowly an d evenly w i t h al l the fingers a r t i cu l a t i ng on a single
string. It also applies to the foll ow in g exampl es of arpeggi o patt erns .
Example 7
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A very effective exerci.se for developi ng co nt ro l an d evenness of d ie al ter nat ion s is l o use die t hu mb in
p lawng a chromat i c scale s t a r l ing w ith the sixdi s t r i n g and con t inu ing f r om s t r i n g to s t r i n g ascending and
des cen ding as show n in ex amp le S. T h e t h u m b mid the three fingers nse hammerstrokes on the first f igure.
•The i h n m b th en jo ins the f ingers on die f i rst string w i t h escape ment strokes. Th is fo rm ul a can be app lie d to
the second and t h i r d strings in the sarac manner.
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TExample 8
f
Ot he r for ms of tr em ol o can be el fected o n one or mor e str ings by ra pi d alte rnati ons between die th um b
a mi one , two, or thre e fingers as show n in ex amp le 9*
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Example 9
T H E D O U B L E H A M M E R S I ' RO K E
F r o m [he fore goin g sect ions i t becomes quite obvious that classic as wel l as fl ame nc o g ui ta r techni ques
p r i m a r i l y and predom ina nt l y conce rn the r i g h t h a n d . C o n c l u d i n g th is por t i on of the me th od is the Doubk
fIn irimin.itm ice fa poy and o. rest stroke , etc) (Fig ure 7), a final tec hni que [hat may wel l be the most im por ta nt
i n relat ion lo the right han d posi t ion and the cu lmi na t i on o f r i g h t hand techniques.
E igure 7
T h i s techn ique inv olves lhe i h u m b a n d an y one o f the three f ingers, al l ho u g h most o f ten used wil l be the
annular . Th e t h u m b and the ann ul ar st l ike simult aneou sly on th ei r respect ive str ings, bo th f ingers b ein g
sloppe d by the adj oi nin g suings, the i h u m b so un di ng a bass s t r i n g a nd the annu la r a treb le s t r ing . This
te chn iq ue is very easily maste red if die fin gers are straight and pe rp en di cu la r to the sirin gs. It is v i r tual ly
impossible, however, if die fingers are curved as in a clutched b u n d pos i t ion .
T h e douh le -hamine rs t roke cr ea tes a very s t rong and c learlv d e f ined vo ice separation between the bass
and u eble voices and allows for yet anodier vo ice separat ion for d ie inner voices p layed w i d i escapements:
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Examples H) and I I i l lustrat e s imple appl i cat io ns o l [he dou ble -ha mme rst rok e lo the mel ody a nd Lhe
uass w i i h escapements ap p l i e d l o l h e c ho rd ac c omp an i me n t
- ± J —
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i n
T H E L E F T H A N I 1
T h e le ft h a n d p i eparcs wh at the right l ui nd cx ec tu cs , wh et he r it is a singl e scale-l ike l ine or aseries o f con ip l c\
chords , T l i e l e f t hand cont ro ls degrees o f legato p lac ing f rom long sus ta ined l ones to various types of slurs.
11 a l i o cont r o ls the v ib rato , some forms of staccato, scale p lay ing , an d f ing erbo ard har mon y .
I f the posture i n ho ld in g lhe guit ar as prev iously descr i lx ' d , v iz. the c h i n , to p up pe r bou t , an d the le f t
knee and foo t f o rm in g a straigh t l ine , the p la ceme nt of the le f t ha nd sho ul d o i le r lew pro blem s.
M a i n t a i n i n g th is pos i t ion, lhe le f t arm should be in a na tura l , r e laxed a l t i t ude an d wil l n ot necessitate
d i p p i n g lhe shoulder or reaching unnecessari ly lor lhe first f r e t
T h e r e c o m m e n d e d h a n d pos it ion is i l l u s i r a t c d in Figure 8, in which the lour fingers arc placed on the
first s u i n g i n a c h i o mat i c sequence, each l in ger occ upy in g i ts ow n fr et
Figure H
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T h e fingers are seat ed squar ely o n the i r t ips, the index especially describing a high arc and facing in a
do wn wa rd di re ct io n slanted tow ard the bod y of the guitar. Thi s creates a very stron g, secure, yet comf orta ble
feel o f the fi ng er boa rd since ther e is no di st or ti on or twis ting of the wrist thus re du ci ng fatigue an d av oidi ng
the possibility of devel opi ng t endo nit is.
Wh en the f ingers m ov e f rom the f i rs t st r ing towa rd the s i x th s tri ng or i n ma ki ng a barr e, the flat plane of
the pa l m w i l l vary f ro m about 45 degrees to nearly parall el to the fing erb oar d. Th e wrist can, in mos t instances,
r e m a i n straight; the ha nd an d wrist merel y t u r n as a u n i t from the forearm.
T h e t h u m b acts as a counter-balance to the f ingers and , hence, w i l l be cons tantly shi fti ng on t he back of
the guitar neck. Th e bal l o f the th um b presses gen dy against the nec k wi th ou t un do gr ip pi ng or squeezing.
I n fact, when applying the vibrato, single strings and barred chords are often played w i t h the thumb entirelyfree of the guitar neck.
N O R M A L F I N G E R I N G P R I N C I P L E
T h e p lac ement o f t he f ingers i n chromat i c sequence establishes a st and ard fo r the Principle ofNormalFingering;
thus, in the first po si ti on , fre t a nd finger n um be rs co rr es po nd . N o r m a l fingering is th e n observe d i n any
p os i t i on o n the fingerboard a n d establishes a st an da rd fo r id ea l fingering a n d a means for eval uat in g th e
effic acy of fingerings i n ed it io ns o f g u i t a r music . App l ica t ion o f the nor ma l f inge r ing ru le can serve as a guide
for detect ing an d el imi nat in g errors in f in ger i ng and for establ ishing sensible, ef f icient, and econo mical
fingerings f or th e le ft h a n d .
N o r m a l fingering w i l l serve mo st co nd i ti on s o n th e fingerboard, however, whe n depar tures f r om no rma l
fingering ar e necessary, extensions an d contractions o f the fingers s up pl em en t the ru le . Fi nge r ext ens ion oc curs
w h e n a finger oc cup ie s a fr et higher'm p i t ch than i ts no rm al f r et w i t h o u t a shift of the ha nd . Finge r co ntr act ion
occ urs w h e n a finger o ccupi es a fr et lower'm p i t c h than the no rm al fret , again wi th ou t shi f t ing the hand . Man y
c h o r d fo rm at io ns invo lve exten sio ns an d con tra ct io ns as we ll as n o r m a l fingering, wh ic h, of course, are
self-evident necessities. Fingerings t h a t are designed to enha nce the in te rp re ta ti on of a musi cal phrase,
however, may dep art consi derabl y f r o m no rm a l fingering i n ord er to serve musical rather t h an technical
considerations.
S H I F T I N G A N D C H A N G E O F P O S I T I O N
I n sh if ti ng the left h a n d wh il e asc end ing or des ce ndi ng th e fingerboard, use th e first finger as a guide finger
to det ermi ne the posit ion numb er. Th e h an d moves in a smoothly f lowing motion from one posit ion toanother by g l id ing the first finger, whene ver possible, alo ng the str ing wi th ou t pressure yet wi th ou t releasing
i t . T h e o t he r fingers are use d i n th e same manner ; however, the posi tio n is always de te rm in ed by where the
first finger w o u l d n o r m a l l y fall.
U t i l i z i n g a n ope n s tri ng as a ton al bri dge or l i n k , when possible, w i l l allow the hand to move freely,
especially i n the l on g skips o f wid el y separa ted posi tio ns.
T H E P R I N C I P A L P O S I T I O N S
l h e N or ma l Fi ng er in g Pri nci ple is the de te rm in i ng facto r i n the logica l divi sion o f the fingerboard in to
Three Pr inc ipa l Po sit ions , vi z. , the First, Fifth, a nd Ninth Positions.
T h e three posit ions ar e d e t e r m i n e d by the ph ysical d iv is ion o f the chromat i c octave f r o m the op en strings
to th e tw el ft h fre t by th e f ou r fingers o f the left h a nd pl ac ed i n an or de rl y sequence o f n o r m a l fingering. Th e
first finger w i l l always de te r mi n e pos it io ns o n th e fingerboard.
Th i s d iv ision gready simp li f ies c ompr ehens i o n o f the ent i re f i ngerboard si nc e, i n e x a mi n i n g the do t t ed
lines o n the fo ll owi ng chr oma ti c ch art of the six strings (Ex ampl e 12), certai n logi cal consistencies can be
observed betwee n the strings an d the pr in ci pa l positi ons.
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First position
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F i f th position N i n th position F i f th posi tion First posi tion
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Example 12
W 5 5 :
Half-step exceptions to the u n i f o r m i t y o f the f ing erboa rd w i l l always occur between the second and th i rd
strings. Otherwi se, betwee n o th er pairs of adjacent strings, the ope n s t r ing and the f i f th fret note of the next
lower s t r ing w i l l be the same, as w i l l be the f o u r t h fret and the n i n t h fret notes.
T H E L E G A T O T O U C H
o ne of the most i m p o r t a n t aspects o f l e f t h an d tech niqu e is achieving the hig h deg ree o f economy o f m o t i o n
that is the pr im e requisi te i n dev elo pin g a legato t ou ch .
Legato is de fi ne d as bound o r tied, ind ica t ing t h a t musi c so ma r k e d is to be pla yed sm oo th ly an d closely
connected, each tone being held u n t i l the next is sounded. Lega to playing is fundamental to all musical
performance and, unless otherwise indicated for special effects such as the staccato, is the basic technique
that underl ies any f o rm o f artistic expression.
Th is evaluat ion is pa r t i cu la r l y p ert ine nt to guitar tec hniq ue since the r i g h t h an d can no t aid i n sustain ing
tones. Once the s t r ing is sounded by the r i g h t h an d , i t is ent ir el y u p to the left ha n d fing ers t o sustain or
overlap tones, as in playing slurs.
Ce r t a in factors can aid consi derabl y i n dev el op ing legato play ing, as i n pl an ni ng bo t h left an d r i g h t hand
fingerings f or ent i re passages an d phrases. Thi s pr oc ed ur e can assist i n de te rm in i ng consistent an d eco nom -
ical fingerings that shoul d be adhere d to once dec ide d up o n. Su pp le me nt in g no r ma l fingerings wi th
extensions and cont ract ion s to avoi d "h o pp i ng " the same finger f r o m on e s t r ing t o anoth er is an im po rt an t
a id in legato playing.
Perhaps the single most i m p o r t a n t factor i n legato tech nique s is PivotalFingering. Pi vo ta l fingering involv esr e ta i n i ng the fingers o n the strings as m u c h as possible a nd carefull y obs er vi ng wher e a passage, phrase, or
c h o r d revolves aro un d a re cu rr in g or suspended tone, s t r ing , o r fingering.
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A n effective exercise for deve lop in g legato pla yin g is the practi ce o f a s imp le chromat ic sequence on each
s t r ing in the f i rst po si tio n. Thi s sho ul d be pra cti ce d slowly, an d mo re slowly, u n t i l b o t h r i g h t and left hand
fingers are per fect ly synchron ized. Most beg in ni ng and novice per f orm ers invar iably att emp t to play i n mu c h
faster tempos t h an the ir tec hniq ue al lows, a tendenc y that can gready retard technical progress.
L E G A T O S I G N S
T h e most c o m m o n i nd i ca t i o n o f lega to p lay ing is the slur, wh ic h is a cur ved l ine conn ect ing two or mor e
notes of d i f ferent p i t c h . When ex t ended over several measures, the curved line is used to indicate a musical
phrase. The phrase m a rk is un fo rt un at el y no t gener ally us ed i n mos t music for classic guit ar; its use shoul d
be enc ou ra ge d, as th e phras e ma rk is a val uabl e visual ai d to i n t e r p r e ta t i o n .
Ce r t a in s lur signs are ind ic ati ons for t he r i g h t ha n d used to ou tl in e arpe ggiat ed c hord s, to indic ate a
t h u m b glide, or to indicate the vertical slur. Mos t slurs invo lve th e lef t h a n d an d are, in effect, on e o r a series
of tones produced solely by the percussive action of the finger tips. T h e f i rst tone of the various left hand
slurs is usually i n i t i a t e d by the r i g h t hand .
On ce mast ered, slurs can create very de fi nit e musical effects a nd sho ul d no t be used indi scr imi nat el y as
a technic al convenience. Slurs d eve l op subtle rhy th mic ef fects, w hi ch can disto rt the rhy thm ic patt ern of a
figu re or an ent ire phrase if used incor rect ly. Th e c onst ant practi ce of slurs, furthermore, is a valuable
calisthenic exercise fo r dev elo pin g a st ron g an d overa ll ap pro ac h to left h an d te chn iqu e.
T H E V I B R A T O
o ne of the most music ally pleas ing effects o f left han d tec hniq ues is the appl ic at ion of a vibr ato to ad d
expr ess ion to sustai ned tones o f a mel ody , to double -sto ps, and to cho rds .
T h e v ibrato is de f i ned as a v ibrated, t r emul ous , a n d resonant qual i ty o f t one as opposed to a pure , even
tone . Th e effect o f the vi bra to prod uce s very subtle, wave-like alter ations in the p i tch.
O n t he gui tar the vib rat o is pr od uc ed by a mo re or less rap id oscilla tion o f a fin ger wh il e it is f i rm l y seated
o n a s t r ing . The mov em en t is i n i t i a t e d by the forearm w i t h the ha nd relatively free o f the guita r nec k except
where the fingers touch the strings.
T he v ibrato can be i n t r o d u c ed r easonably early i n a student 's p ract ice r o u t i ne by app ly i ng t he technique
to r an do m tones prefer ably o n the bass strings an d i n the mi d area of the fing erb oar d. The secon d fin ger is
usually the best fi nge r to beg in t he practi ce since the ha nd is mo re evenly bala nced .
A n ef fect ive vibrato adds wa rm th an d col or to a tone wit ho ut be co mi ng too obvious; therefore , the
osc i l l a t i on sh ou ld be nei th er too rap id no r to o slow.
T H E G L I S S A N D O
T h e effect o f the glissando slide o r glide is to co nne ct i n a sm oo th , u n i n t e r r u p t e d manner two ascending or
des ce ndi ng successive tone s, double -sto ps, or ch or ds that may involve a small or large interval.
T h e gl issan do is ind i cat ed by a stra ight l ine d r a wn between the f i rst and last tones, sometimes w i t h an
abbreviation of glissando (gliss.) over the line.
T h e t e chn ique is the same as i n sh i f t ing posit ions except t h a t the gliding finger slides along the string
urithout releasing the pressure. In a single s t r ing gliss ando the same finger may co mpl et e the t rans i t i on f rom
one ton e to the ne xt , or it may stop j u s t short of the final tone w i t h anot her finger co mp le ti ng the effect w ith
a strong ly percussive slur.
One type of ascending glide that is par tic ula rly effective on the gui tar is the deceptive glissando, wherein
the in i t i a l tone and the slide are effected on one s t r ing and the final tone is sou nded on ano the r s tr ing. This
type of glissando is dece ptiv e i n its effect since th e slide an d th e final to ne are separa ted by a wi de in te rv al
ye t the impress ion is that o f a continuous tone.
T h e first ton e of a glissando is usually so un de d by the r i g h t hand , the final to ne may or may no t be
de pe nd in g on the desi red effect. A stronger, mo re clearly de fi ne d effect is obviou s if both the f i rst and the
final tones are so un ded by the r i g h t hand .
O R N A M E N T S
Qrnaments, o r Grace-notes, are a class of subor dina te notes played as emb ell is hme nts in a musi cal co mpo si ti on.
Or na me nt s i n gene ral are special not ati ons con side red t o be delicate ado rn me nt s to music an d do no t
inter fere or i n t e r r u p t the no rm al mov eme nt o f the melody or rh y th m.
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To c omp i l e a l ist o f the ma ny types of orn am ent s that have been used from early music to the present
w o u l d be imp rac t ic al here . To t reat emb el l ish men ts exhaust ive ly con ce rn in g the ir des cr i pt io n, s tyl ist ic modes
o f execut ion , an d in te r pre t a t i on wo ul d requ i re a t l east a chap te r devoted to this subject alo ne.
Fortunate ly , the m o d e r n ten denc y is to ind ic ate in smal ler no ta t i on the precise ef fect des ired for most
orna ment s . Th e mos t co mm on ly used or na me nt s at the presen t t i me are the short , lo ng, an d d ou ble
appoggiaturas, the t r i l l , th e t u r n , and two types of mordents .
Embe l l i shme nts o n the guita r are , for the most par t , p layed as fa ir ly ra p i d s lurs w i t h the le f t hand f ingers .
Ther e are also instances whe re the r ig ht h a n d can aid i n the p lay i ng o f cer tai n o rna men ts .
L E F T H A N D S T A C C A T O
T h e lef t h a n d p roduc es st acc at o o n e i t he r single tones o r c ho rds s imp ly by r e l a x i ng the pressure o f t he
f ingers wi th ou t re leas ing the str ings. P l ec tr um gu ita r p layers are wel l aware o f the effectiveness of the left
h a n d f ingers as dampers wh en p lay i ng rhy thm ic , ch or d accomp an imen ts . Th is same tec hni que can be used
to so un d very sho rt staccato tones (staccatissimo) a n d lo n g det ac hed tones (detache) p r o d u c i n g a n effect
somew hat betwe en a staccato a n d susta ined t one .
W he n o pe n strin gs are invo lve d in a ch or d, th e staccato can be ef fected by a qu ick smother ing ac t ion o f
a finger, usually the f o u r t h f inger, across the str ings. Thi s is a useful an d valuable tec hni que no t only fo r
p roduc ing s taccato but also f o r deaden ing an un wa nt ed t reb le o r bass t one f r om sou nd i ng bey ond i t s
designated note value.
I V
P R A C T I C E R O U T I N E
T h e inev i tab le a n d cr i t i cal c ouns e l i n g that must be d o ne is i n adv is ing students on the am o un t of t i me to
devote to pract ice . Often at the outset o f a new and exc i t ing endeavor th e en thu si asm is so grea t bu t the
capacity to assimilate so small that pract i ce must be care ful ly regu late d.
Practice can be v i ewed as a t r a i n i n g p e r i od in mu c h t he same sp i r i t as an athle te mus t spe nd countles s
hours to pe r fec t h is sk il l s fo r com pet i t i on . I t is o f p r i ma ry conce rn that corr ect prac t ice at t i tudes an d habits
be establ ished f r o m the very begi nn in g. T h e r e are few thin gs mo re d i f f i cu l t t o correc t t h a n unp rod uc t i v e
habits that have been i n g r a i n e d t h r o u g h i m p r o p e r t ra in ing .
T h e pract i ce p e r i o d can be m a d e m o r e manageab le and st imu lat ing bo th physical ly an d psycholog ical ly
i f measured in ha l f -hour ra ther t h an the t rad i t io na l ho ur d iv i s ions. Re mai n in g seated in the same pos i t i on
for more t h an th i r t y min ut es is usual ly coun ter- prod uct i ve , especial ly f or the nov ice s tudent . I t is bet te r that
pract ice be in te rr up te d fo r a rest pe r i od of several min ute s by str etch ing an d mo vi ng ab ou t before r e s uming
pract ice . Var y in g study mat er i al f r o m one pe r i od to the ne xt also offers a re f resh ing change o f pace, mak ing
pract ice mo re r ewa rdi ng.
T h e f o l l o w in g ge nera l p rac t i ce r o u t i n e is d es igned to organize a l l the necessary e lemen ts o f techn ical an d
musica l deve lopm ent in t o an orde r ly p roced ure o f study .
Each ha l f -hour per iod covers a specific area of study w i t h the comp l e te ro ut in e to ta l ing fou r hours . Th is
schedule must , o f course , be mo di f i ed for the be gi nn in g stu den t an d to acc omm oda te those indi v idu als no t
yet hav ing su f f i c i ent m a t e r i a l f o r a l l areas l isted.
PR AC T I C E S C H E D U L E
(30 minute pract ice periods)
1. Scale practice, . . , (major, mi no r, chr oma t ic pat terns )
2. Repertoire review
3. Fingerboard harmony (p ri nc ip al ch or d, triads, sevenths, etc.)
4. Repertoire review
5. Special studies. . . . . ( pos it i on etudes, tre mol os, etc.)
6. Repertoire review
7. New projects. . . . (new rep ert oir e, studies, techn iques , etc.)
8. Repertoire revieiv
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T h e r o u t i n e may be c o m p l e t e d i n o n e day o r sp read over several days as necessary, w i t h each sectio n,
t a ken i n o rd e r f r o m t he p o in t o f i n t e r r u p t i o n , c o n t i n u i n g u n t i l t h e cycle is com ple te an d then start ing again.
I t is also r e c omm e nd e d t ha t a l l r e p e r t o i r e pieces be l is ted o n 3 x 5 fi le cards t ha t sh ou ld be rot at ed in
regu lar sequence as practice proceeds. Th is systemat ic ro t a t i on o f reper to i r e pieces al lows for a constant,
o n g o i n g review thus avo i d ing t he t endency o f p ra c t i c ing on l y cu rr en t " favor i tes " a t the expense of the total
reper to i re .
Mo r e advance d students ofte n b e c om e s o c onc e rne d w i t h a ccu mul at i ng a reper to i r e tha t they neglect
the scale an d f in ger boa rd ha rm on y p rac t i ce so essentia l t o t echn ic a l an d theore t i ca l deve lo pment . P rac t i c ing
pieces to the exc lus ion o f techni cal s tudy is analog ous to pa rt i c i pa t in g i n a spo rt i ng act iv i ty wi th ou t pro per
cal is thenic exercise an d tr ai ni ng . Th e actual per fo rm an ce is onl y the tip o f the iceber g wh i le ful ly 7/8ths in
preparat ion l i e s b e l ow the surface.
T h e p rac t i ce r o u t i n e is also he l p f ul du r in g a lesson p er io d i n tha t i t a l lows an ins tru cto r to focus on any
speci f ic area tha t may req uir e mor e c l ar i f ic at io n an d emphasis . O n occas ion the lesson per io d can be a k ind
o f " m i n i - r o u t i n e " a n d serve as a mea ns o f revi ewi ng all or some selected areas of study.
T h e r o u t i n e is es pecially h e l p f u l f o r those a d u l t s tudents w h o m u s t d iv i de t h e i r t i m e be tween o t h e r
ac ti v it i es . Fo l low ing the rou t i ne w i l l in sure against the desu ltor y pract ice habi ts i n wh ic h ad ult s tudents are
prone to indu lge .
M a i n t a i n i n g a set program of study, f u r t h e r m o r e , is effective in ove rco ming those inev i tab le pe r iods wh en
enthus iasm waxes a n d wanes l i k e phases o f the mo on . Enthu s iasm canno t rea li s t i ca l l y be expected t o remainconstant or at fever p i t c h . T h e r e a re t imes wh en ro ut i ne p rac t i ce becomes a cho re , wh en se l f -d irected
disc ip l i ne must be exerc ised. Bu t i t is en co ur ag in g to be assured that these occas ional doldrums are a pass ing
phase and are , in fact , an important aspect o f t h e l e a rn ing experience.
Fu rt he rm or e , an ord er l y use o f time, resu l t ing f r o m the d isc ip l in e req u i red fo r deve lop i ng skil l i n
mast er ing a musi cal in st ru me nt , may e f fect ive ly be ext end ed an d tra nsfe rred to ot he r act iv i t ies o f dai ly l i fe ,
a n d to achiev in g sk i lls i n ot he r endeavors an d d isc ip l ines . This i l lustrates one of the man y func t io na l values
i n s tudy ing musi c o f an overal l gene ral na tur e .
I t ha s b e en genera l l y observed that s tudents wh o have t r a i n i ng in mus ic an d p lay some mus i c a l i n s t rum e n t
cons is t ently a t ta i ned h ighe r scho last i c ach ievemen t tha n the i r non-mu s ica l peers. This again i l lustrates the
pract i ca l values of cou nse l in g and enco ur ag in g studen ts to s tudy musi c whatever the ir ul t im at e goals may be.
" B u t w h y m u l t i p l y these top ics , and the ir i l lustrat ions, wh ich are endless? Life brings to each his task, and
whatever a rt yo u select, a lgebra , p lan t in g , arch i t e c ture , poems, comm erce , po l i t i c s , — a l l are at tainable , even
t o the mir acu lous t r i u m p h s , on the same terms of se lect ing th at fo r wh ic h yo u are apt ; beg in at the beg in ni ng ,
proceed i n or der , step by step. 'Ti s as easy to twist i ro n anc hor s an d bra id cannon s as to bra id straw; to bo i l
gra nite as to bo il water, i f yo u take all th e steps in o rder . W he reve r ther e is fa i l ure , there is some giddiness,
some supers t i t i on about luck , some s t ep om i t t e d , w h i c h na t u re never pardons . "
R a l p h Wa ldo E m e r s o n f r o m Consideration By The Way
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V
C H R O M A T I C C A L I S T H E N I C S
For F lexib i l i ty , Independence , a nd Ve locity
A l l o f t h e f o l l ow in g exercises cap ital ize o n the un iq ue chr oma t ic charac te r is t i cs o f th e gui tar . Th e studies
are chromat ic pat t e rns o f f i n g e r i n g tha t can b e m o v e d a s c e nd ing o n e f r e t a t a time t o th e 12t h fre t an d
descending to th e s tar t ing pos i t i on . Ap p l y var ious r i g h t hand t ouc he s w i t h d i f f e r e n t c omb ina t i ons o f
alternat ions. S lurs may also b e a p p l i e d f o r ad d i t i on a l le f t han d d eve l opment . T h e bene f i t de r i ved f r om the
calisthenics is enhanced i f the l e f t ha nd f ingers are re ta ined o n the str ings whe re ve r possible.
| l | Apply to all strings and positions
fi 0 1 2 3 , 4 3 2 1 0 0 1 . 2 3 3 2 1 2 3 ,,4 ,segue
3 2 l
m i m ia i a ia m a m
| 2 | Apply to all strings and positions segue
Q 2 1 3 2 a 4 l 3 1 0 2 1 a 3 l 2 ^,l Z 1 0 a 2 l 1 3 a 2 m 3 i 1 0 2 . l 1 m %$*\\" 1
M r rfr f fir l ^ S
I 3 | Apply to all strings and positions segue
0 i 4 1 4 2 4 3 4 2 4 1 4 0 4 1 4 2 4 3 4 , 2 4 1 4 0 j 1 j „ 2 1 3 j 2 j 1 4
50-^50
To al l positions an d strings @ and ® strings only
f T ] ® 4 0 4 4 0 4 4 04 4 0 4 40 4 4 p4 4 0 4 4 0 4 4 0 4 4 0 4
m4 - T O - P ^ L C T I ^ I I , ^ -
40 4 4 Q 4
n mim\lo a i a
® amaP
To all positions and strings ® and ® strings only
| S I 3 0 3 3 0 3 3 0 3 3 0 3 3 0 3 3 0 3 3 0 3 segue
fay V % x t V f "f r y r'p a ma
To al l positions and strings ® and ® strings only
| 6 1 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2
• * n • — ^ — * n • * • ^ 0 U~ —* tr?
segue
cm
To al l positions and strings ® and ® strings only
r y j I O I i o i 1 0 1 I o 1 1 0 1 1 0 1 1 0 1 segue
mft
^ mi mil C ' ^ 3 ^2 " j o " ^ 2 ' ta 1 aama
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Independence Ca l i s then ics
T h e f o l l o w i n g studies ar e a l l based o n mo va b le F o r m I , Type 1 d i mi n i sh ed seventh chords . Each c ho rd
is m ov e d chrom at i ca l l y u p the f inge rbo ard to the 12t h f r e t an d descends to the f irst p o s i t i o n . E a ch exercise
stresses ind epe nde nce o f the l e f t ha nd f ingers in l i f t i n g an d sett ing do wn one f ing er at a time wh i le ke epi ng
the o thers f i r m l y seated. Th e n p airs o f f ingers are trea ted in the same fash ion, an d f ina l ly thr ee f ingers are
l i f ted an d set leavi ng one f ing er seated in p lace. Some i n t e r e s t i ng effects are created w i t h these exercises
when the chord i s m ov e d r an do ml y o r by des i gn by sk ipp ing cer ta in f r e ts .
. . Sustain three fingers, lift one
4 , c
' % ^ I 1 ^1 1
; _ segue
8* i y r 0 '* r 9 m ' r r f ' i f
•9
0 1 0 0 1 0 0 1 0 0 i 0 1 0
Continue as above
E E ] 0 J ^ J ) 2 0 2 0 | 10 |
40 3 0 3 0 3 0
4
0 4 0
segue
4 0 4 Q
O Q09-
12
Continue as above, sustaining two fingers, lifting two
4 y r i f a ]
03ted*
segue
f0 1
GEContinue as above
4feo i l
segue
11
Sustain one finger, lift three segue
18
H-»»
1 A ^
2 :1 •
— ± H
#
- t r f 4 I S
8- 3 * 1 H I 1 1 s J Ji —
Continue as above
••
s | —
4—B ~ #
segue
5 l
•0—0- Hi d
» — -
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Thr ee Oc tav e Chro ma t i c Sca le Ex er ci se s
T h e f i rst scale is sh own in its co mp le te f o r m ascending the f i rst s t r ing to the 12th f r e t and descending on
the same str ing. However, each succeeding scale ascends on a different s t r ing in the order of the six strings,
b u t always e nd in g o n the f i rst s t r ing at the 12 th f re t . Con t in ue ascending an d descend ing in this m a n n e r u n t i l
al l six string s have be en trave rsed at the 9 t h p o s i t i on . An extension of the f o u r t h finger is necessary at the
12th to the 13th f r e t for every s t r ing except the t h i r d s t r ing , as ind ic ate d in the pa r t i a l l y completed scale
shown i n the fo ll ow in g two examples, 23 an d 24.
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Book I I - The Sharp Keys
I N D E X
C M A J O R - A M I N O R
N Q T ITLES PAGE
1 C Majo r Scale - First Position - Cadence 2
2 C Maj or Scale - Extensi on - Scale Patterns 2
3 Tria ds on the C Majo r Scale 2
4 Root Position Triads - Close Posit ion 2
5 Root Posit ion Tria ds - Op en Positi on 2
6 First Inversion Triads - Close Posi tion 2
7 First Inversio n Triads - Op en Position 2
8 Second Inversion Triads - Close Posit ion 3
9 Second Invers ion Triads - Op en Position 3
10 Sum mar y 3
11 IN TER LU DE I : ... On the Meadow 3
12 Seventh Cho rds on the C Maj or Scale 413 Pri nci pal an d Secondary Sevenths - First Posi tion 4
14 Root Posi tion Seventh Chor ds - Op en Posit ion 4
15 First Inv ers ion Seventh Chor ds 4
16 Second Inve rsio n Seventh Chor ds 4
17 T h i r d Inve rsi on Seventh Chor ds 5
18 Summa ry - Seventh Ch or d Inversi ons 5
19 INTERLUDE I I : ... View from the Hill 5
20 Leadi ng-t one Sevenths - Reso luti on Studies 6
21 Summary - Hal f-d imin ish ed Inversions 6
22 SIMPLE GIFTS (Shaker Hy mn ) 7
23 Natural Mi no r Scale - First Posit ion 8
24 Harmo nic Min or Scale - First Posi tion 825 Melodi c Mi no r Scale - First Posit ion 8
26 Har moni c Mi no r Triads - Cadence 8
27 Harmon ic Min or Scale - Ext ens ion 8
28 Triads on the Melod ic Mi no r Scale - Extended Cadence 8
29 Melodic Mi no r Scale - Exte nsi on 8
30 Triads on the Natu ral Mi no r Scale 9
31 Root Position Harmonic Minor Triads - Close Posit ion 9
32 Root Position Ha rmo ni c Mi no r Triads - Op en Position 9
33 First Inversion Minor Triads - Close Positi on 9
34 First Invers ion Mi no r Triads - Op en Position 9
35 Second Inversion Minor Triads - Close Posit ion 9
36 Second Inversi on Mi no r Triads - Ope n Position 937 Seventh Chords on the Ha rmo ni c Mi no r Scale 10
38 Pr in ci pa l an d Secondary Sevenths 10
39 Root Posit ion Sevenths - Op en Posit ion 10
40 First Inv ers ion Sevenths - Op en Posi tion 10
41 Second Inve rsi on Sevenths - Op en Posit ion 10
42 Second Inv er si on Sevenths - Set 2 10
43 T h i r d Inve rsio n Sevenths - Op en Posi tion 11
44 Summa ry - Seventh Ch or d Inversi ons 11
45 CORRENTE (G. Fres cobal di) 12
46 I N A WO OD ED GL EN 13
47 PRELU DE-A naly sis 14
48 PRELUDE 1549 ALLE G R O 16
50 A N D A N T E (J.S. Bach) 18
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C M a j o r - A M i n o r
W i t h some exceptions, blocked close posi ti on seventh ch ords are, fo r the most part, imp rac ti cal o n the guitar
finge rboard unless arpeggiated i n par t or totally. The bloc ked chord s thr ou gh ou t are presented prin cipal ly for
reference.
C M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
$«jjjUfli rrrrricri r m m j i ' m \j i m < ns 0 H 3 F T I
A u t h e n t i c C a d e n c e
Th e Pr incipal Chords
C F C G7 C
f T Ti r v i | v - 7 i
C M a j o r S c a l e E x t e n s i o n : T w o c o n j o i n e d t h r e e - s t r i n g s c a l e p a t t e r n s .
c
1 2 4 1 ^ J ^ - n 1 3 1 Z m-*-*- f-m-m > ^ 2 1 4 2 4 1 2 3
Dm
T r i a d s o n t h e C M a j o r S c a l eEm F G A m
Toni c Super-tonic Median t sub-dominant do mi na nt sub-mediant
B° cleading-tone Tonic
1
3=p
I I in i v :
-Lower Tetrachord- - - 1
; v v i v n °
i Upper Tetrac hord - -
R o o t P o s i t i o n T r i a d s : C lose Position 1 • 3 • 5
U i l j - P l j f f f l f ^ i ^
R o o t P o s i t i o n T r i ad s : Op en Vo i c ing 1 • 5 • 3
r rF i r s t I n v e r s i o n T r i a d s : C lose Po si ti on 3 * 5 * 1
2
F i r s t I n v e r s i o n T r i a d s : O p e n V o ic i ng 3 * 1 * 5
•? ? 0 . 3 1
9 o i . 3 2 J , 0,
^ ^ ^ ^ ^ ^ ^ ^ ^f r f T
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A 3 4 2 3 4 1 2
r t * — r
3 0 2
4 l 1
1
2 4
n
»
1 I
T r
W M r 1 '• r T i
J5 I 1
! " 1 —V~ ft•- 4
fti-. P f T J | i f ] r T l l r f F f = l l
8
S e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i n g 5 • 3 • 1
r t i f H . t f j ' l f l ^ ^ Slff lft
f t f r r j 1 1 1 1 1 I ' V- y r f fS u m m a r y : C l o s e P o s i t i o n C M a j o r S c a l e T r i a d I n v e r s i o n
c
— 1 — 1 -• — 1
Dm Em
h i 1
F
4 > 2
G
0 1
1 3 *
8
B °
if y r3 J I j[ a
i t l r i 1
c
^ 1L i T f ^ 1 r -i ,f '
8
p 4 1:
— — > —
• 9-i
j
; 1
— 1
8r r " r r 1 * Mr J
101
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S e v e n t h C h o r d s o n t h e C M a j o r S c a l e
Cmaj7 Dm7 Em7
4
Fmaj7
0
G7 Am7
4
B^7
1
Cmaj7
#112
! 17i
H7 U17 IV7-Lower Tetr achor d - -
(4)
V7 VI7 v n ^ 17Upper Tet rac hor d - — — -
F i r s t P o s i t i o n P r i n c i p a l a n d S e c o n d a r y s e v e n t h C h o r d s
C Cmaj7 Dm Dm 7 F Fmaj7 B<*7 B°7 G7/B G7
& — M13 B E
•G =-1-6g : 2(v i p z :
r r r2
T r T
R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i c in g 1 • 5 • 7 • 3
. , l 2 1 3 j 2 t 3 l ! _ 4 ^ J 1 1 3
1 4 g r R f
r r ^ nr rf rI (5
T
©
1 4 3 21 3 2 4 0 1 1 2
ZZ3I
® rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 3 • 1 • 5 • 7
4 —- 0 : ~ I ~ ~ ~m — **
4 3 n 1 3 ^
4 ^ 4 '
5 = :
rf f r f f f T
S e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 5 • 1 • 3 • 7
3 1—4 2 3 1
F f
4 2 3 ±Ji 2 3 1
I - a 1
i s1 2
f 1 V ' f
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T h i r d I n v e r s i o n Se ve n t h C h o r d s : Ope n Vo i c ing 7 • 3 • 5 • 1
3 i i i j j J C5
S u m m a r y : S e v e n t h C h o r d I n v e r s i o n o n t h e C M a j o r S c a l e
Cmaj7
2
Dm7
c i o
J5.
* f T fC 0
Em7
I B ?
Fmaj7
± 3 *
psJ: 4 = f
C3
G7
? 2 i 3 i4 ^
Am7
r T p f3r—f o j t 2 * -
Cmaj7 Am7f f T
4
4 j2 .4 .4¬4-
Em/G G7 C
i * ! I v H i ? 4 ! 1 i * i 1 J
Interlude I I
Smoothly R.S. Pick
ftp? JIIr T »r 'f p Y F op £ t i 11
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R e s o l u t i o n S t u d i e s C M a j o r
T h e two lead ing-tone seventh chords , viz . the ha l f - d i m i n i sh ed a n d the ful ly d imin ishe d seventh , a re bo th
t rad i t ional ly c lassif ied as do mi na nt seventh chord s ( V 7 ) . Thu s, any one c ho rd or var ious com bin atio ns can resolve
to the ton ic ( I ) c ho r d . Th e fo l l ow i ng series o f ch or d studies are in effect p ro lon ged o r ex tend ed res o lut i on to
the ton ic ch or d. Also, the fingering of the d om in a n t seventh ch or d w i t h d i m i n i s h e d f i f th r ema ins the same
moved seven f rets for a n inversio n o f the same ch o rd . See also Ap pe nd ix C conc ern ing cho rd fo rms and types.
B 0 7 B°7 G7G7-5 C
F o r m I T y p e 1 : ® @ @ ® St ri ng s
simile
20
A. ml4-e : . 4
i ?3 f
nT T T T T "
V7 1
B<t> 7 B°7 G7 G7-5 C
1 J l
F o r m I T y p e 2: ® ® @ © St ri ng s
m , 0
B<t>7 B°7G7 G7-5 C
F o r m I I T y p e 1 : ® ® ® © St ri ng s
4
F o r m I I T y p e 2: ® ® ® ® St ri ng s
B^7 B° 7 G7 G7-5 C2 . 3
3 g 101 0%4-%-01 * 1 , * 2* J §- tt
f T T T T f3-fi^
T T T T f
F o r m I I I T y p e 1 : ® ® ® ® St ri ng s
WI B°7G7-5
S u m m a r y : I n v e r s i o n s o f t h e B 0 7 c h o r d
P
T y P e 1 , I 4 J 4^2 . £ J j
p s i i f f '»? . | ; f r ? r | f i i d J g21
ft*E E
0-12-—„^
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Simple GiftsAr r . R. Pick Shaker Hymn
Simply Flowing
4 J £ J i r j | 4 j J J ai*—#
C r 3 T IT f a f f f \ f #£ . f
8 2
TO ^- » J I * J 0 « M f r F f I f i . r
f 3 t '
r r V r V f r f 1 1 1 r r ? f//we
C 5 „ C3 C5 C 3 C 3 C 3
Slower
f 3 rC 6 ^ 3 Q2
C5 ^
I If pi; f 'r \ . I;K i . i T " I f ,,. r ^
T
C3 C3
4 C6
D. C" ain r f r f f fa/ Fine
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23 flF^
A Minor - C MajorA M i n o r S c a l e : M o d a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
3 - 1 - 3 i
i S P p i i
0 2 3 0 2 3 0 2. 0 1 3 0
2 4 j S F ^
A M i n o r S c a l e : H a r m o n i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
25
A m i n o r Sca l e : Me lod i c M i no r - First Posit ion - No rm al Fing eri ng
4 1 2 . . l i l * i • 3
i j j j O J | 3 f l r f t f l r f f C C C f l J > U J J i l i n-fit'
T r i a d s : H a r m o n i c M i n o r
Am B° C Dm
C a d e n c e
E F Gtf° Am A m Dm A m E 7 Am
04 -
26
T-0 -
i i n m r v ! j v v i v n ° i :
i Lower Tetrachord 1 1 Upper Tetrachord - - - ^
TI
^ 2"-=
IV r$ r 7
A M i n o r S c a l e : H a r m o n i c M i n o r E x t e n s i o n - T h r e e c o n j o i n e d p a t t e r n s
1 3 4 1 34 2
7 ftrF^
1 2'
u - 6 - '
ffl^i'niijjjy I I
T r i a d s : M e l o d i c M i n o r
Am B° C DmE i t
G#,° A r I *
C a d e n c e ( E x t e n d e d )
A m Dm A m E 7 A m
C 104'±32
C5-6'-
23228 7frFE
vi ° vn ° if T
I IV V - 7
ri
A M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n - S i x c o n j o i n e d p a t t e r n s
29
ft 1 34 1 3 1 3 '4 1 2 4 l j j j j f l
m. —,• ~ i— a z~ —Ffff-1 1
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A m B°
1
T r i a d s : M o d a l o r N a t u r a l M i n o r
Em FDm
G A m
\i if 130 (k V \
8 i i
-Lower Tetrachord- — 1 L
-Upper Tetrachord -R o o t P o s i t i o n T r i a d s : C lose Pos i t ion Tr iads 1 • 3 • 5
V VI VI I I
31
Fi 4 2 1 4 2 1q 2 1
^ t 4 tfl I S W I
8
r f r r r i r if 'r r 1
1
i n
i T
r T
f Y V - F
r r f ' ffR o o t P o s i t i o n T r i a d s : Op e n Vo i c i n g T r i ad s 1 • 5 • 3
32;
ff T r r *' f f f fF i r s t I n v e r s i o n T r i a d s : C lose Pos i t ion 3 • 5 • 1
7hr-ff ^ • ^ -0103 rf3rP. rtJrV\ rTJj s r •
J1
"r1
r r 1
r f33
F i r s t I n v e r s i o n T r i a d s : O p e n V o ic i ng 3 • 1 • 5
34
r r rS e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 • 1 • 3
frttti plfflftjto Of m fPrflmm ^r f *r r T "
1
" 1 1 1 1 11
r T f Y'"35
rS e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i n g 5 • 3 • 1
. ^ j . 2
riM rt)4. rftfl rt d36 — _ j : j i * — ~ : ~ — * - S 1 — — -• • >
^J
7 f V- rYY T F VYFf f
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10
*Am7 B^7
*Am(maj7)
S e v e n t h C h o r d s o n t h e H a r m o n i c M i n o r S c a l e
E7 Fmaj7 G#°7*Cmaj7 *Dm7
*Cmaj7+5 *D7Am7
3
37r.T*:i\'. -2-
i n ^ 7 ffl7
Lower Tetrachord- - -
3
rv7 V7 VI 7 vn°7-Upper Tetrachord- - •
17
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s - A M i n o r
A mA m ( m a j 7 ) A m 7 B<*7 G#°7 E7 D m Dm 7 B* 7 G#° 7 E7
o A o
Am
38
^ ^ ^ T T T i#pT I r • r 2fR o o t P o s i t i o n S ev en t h C h o r d s : Op en Vo ic i ng 1 • 5 • 7 • 3
2 « - i l 1 * 1 3 ^ . 4 0 2 ^ i 1 2 J L - 4 1 2 2 4
* I — J * a% :
rr r1 3 2 4
f rT
f r f r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i ng 3 • 7 • 1 • 5
l J o 2 l 3 l J 1 42 4
1 3 1 3
1
r r
~^—T rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i ng 5 • 1 • 3 • 7
41
1 ^ 1
0 0 3 1 1 3 0 4 2 a 1 - J 2 *1 4 3 1 4 „ s U 0 1
^ 9 a g
r — T
rf f f f
ir — r Y ff r
*Note: These seventh chords are occasionally interchanged, i.e. drawn from the melodic minor.
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11
S e c o n d I n v e r s i o n S e v e n t h C h o r d s ( S e c o n d Se t ) : O pe n Voi ci ng 5 • 1 • 3 • 7
T h i r d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 7 • 3 • 1 • 5
A 2 3 l l 3
4-
1 2r - T -
l l 2 ! « 00 2 i L
i i 1 3
Im-^
8 r
as _ . m
r
—0—
r J ¬
r
Mm
r
4 -
r
= t = t 1f? 1 #r r
mr- m — i * —
—w 9 T»
r r" \
S u m m a r y : S e v e n t h C h o r d I n v e r s i o n s
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12
CorrenteAr r . R. Pic k Giro lamo Frescobaldi
1583 - 1644
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Leisurely
In a Wooded Glen3 4 3 4
2 4
13
Richard Pick
1 2
4 6 f i h C 7 : 0-. 0
i 5 -
1 J
f 1-9- 'ST
a tempo
ml C L T y tity OJ him fas lyc-Lr J£>oco a poco
J* 0
J1 —tf
J
4 m1— J J NJ J i
8
?
f ^4- '
-G ^
r F
o * «2.
T
« 0• 0*
9^ '•
4 *
r c C7 C5 C7 C5 r 0
a tempo
rC7
rC7
1
fpoco a poco nt.
C5
r
C5
jJl,dJ.alJ i r' i r r^' dJ
I
C3 C5 C7
4CIO
C8
6 — i .
slower C7
JrC5
r -r
iC5
m 0 ' *] f • " 3 „ ^
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14
PreludeHa r m o n i c Analysis
M u c h time, energy, a nd pat ie nce ca n be saved i f th e ha b i t o f analyzing a piece of music bo t h harm oni cal ly and
melodical ly be practiced p r i o r to att emp ti ng to play it. Th e fol lo win g examp le illustrates ho w the ha rm on ic
analysis can also be useful fo r deve lo pi ng effective fi ng er in g as wel l. See also Bach's D Mi n o r Prel ude .
Moderato Richard Pick
* C Cmaj7 , F Dm 7 . B* 7 Em . B**7 B^7 . C Em
+ D F
4-49- -4-
47 zmWz
Dm Dm 7A m Am7+
G9 G7
Tc
3
r rFmaj7 B»7 r rEm7 Am73 T
, DmI f
2
f,Dm7(sus4) B«*7 T, Em Dm 7
D
i
D m
2^4 + v
T TB07 G7
r TE°7
T rEm
rEm
C Pedal (root omitted)
3 ,
cF
E°7AhT i E m B^7 Em A7-9
f 3° rCtt°7
rDm c j ° 7
rA m
rB°7
r TiGtf°7
rA m Dm
rEm
B D
m Of
Arn7 Dm 7-5
f TEm G7 C
f T f TB°7 . C 1
T ^ T *Note: This chord must he arpeggiated.*Note: Contemporary chord symbols are used here with the chord name above the line and its
inversion bass note below. On the following page, however, the traditional thorough basssymbols are used with roman and arabic numerals.
5 =
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Prelude15
AllegrettoRichard Pick
148 0 ~-0 0 „-#
rf f r " r
I 17 IV M7
rv i r ^ m
rvn*7 v n * f
300 d
r ri? m r f
VI VI 7 I I 117 W V7
0 1 *zzj* J i L * 4
4 0f X: fi i2 V I7 H IV 7 4 nn r
VI7 "vn (of n)
atZZZMt0* * 0-00 0—.0- 0 0 4 0
0 0
r r r r rH7(sus4) V I F 6 ffl H7 V T 4
3
fV9
17 f r rv n of i v rv(C pedal)
5
2 7 2 3* —
— #
f L t Z t f;n ' r v i n9 " i7 i ' v i ^ ^ ( o f r v ) T i v
50 _ 3 t
— #
T
E r6 I v 6 vn^7 r fi v -9 of i i lvn°7 o f n n
10 0 0^ 0 0—=-#i# 0 0 0 0 0 #
r
* —
VII# 5 of VI V l |r 1 . 6
VI I b 53
f rVH°7 of VI 1 V I
'mi
Copyright © 1992 Editions Orphee, Columbus, OH, 43221Interna tiona l Cnnvricrht S nir H MaH in TI S A AH Rio-Vite B s m rl
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16
Allegro
49
J 0 2 4 0
9 B==:• ._
9 ' I n 5 ^0 **-
F- 1 «- J — - J -
3—j— -0 -z 0 \ j 0 = j ? = : - # — • H = - * — = * ^ - ^ - * 4 — ^ - ^ — - « J ^ — i r ! r i i i i i Ti
is
i
2 , 1 3 2 3 1 3 , 1 2 32 m
L J J J ^ ^ j q ^ ^ ^ ^ ^ M — I I I I
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Andante from Sonata I I for Solo ViolinArr . for solo guit ar by Ri cha rd Pick
Andante Sostenuto
J. S. Bach
(1685-1750)
00 0
can tab He
4 _ 4_- 4 - 4, C2 4 C7 2,
J- 74T#- 3
o p <* f* 1 F F
i
C3
3 0 0
— 1
| jTTT] J8 — r — r — " ~ ~
C3_4 - 4 3 4 1 m C21 4 3 4 1
P
3 1 0 4 1 0
33
v o# # » f ,
2 V *
2 4 4 1 p
t r t r f
» — — _
c i
* 4 J- J>
, n / T T ^
* r — r — r — r — r — « r | | , g r r — p — p F g = »
r F r rCopyright © 1992 Editions Orphee, Columbus, OH , 43221
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4 2 4
m
C7 19
3 J 07^3
r
3 4
fa
C4 .3 C2 4 2 4
4
A 4 C 2
4 4 4 2
5 — r i ^ p 0 i h » 0
#
C5
i C42 4
1 C2
4 -i~*T 0
C3 .<
f i r
a
1 4 — *
r r r r r r
4 0 1 ° 1 DO
z4$EEE 0 - 0
4 - - P- 5 F ^ F
C3 3 43 4 3 1
CI
t>0-
4
1 4 3
- 4
211 3
0 10 0
8 2t\>0 2-t*- O '-0- ? 1
'7
i , „ _ , r — • • m „w * 1
8
i J » J — — J — h
' * E L J0
t _ J :
^ J
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20
INDEXG M A J O R - E M I N O R
N e T ITLES PAGE
1 G Major Scale - First Positio n - Cadence 212 G Maj or Scale - Exten sion - Scale Patterns 21
3 Triads on the G Maj or Scale 21
4 Root Position Triads - Close Posit ion 21
5 Root Posit ion Tri ads - Op en Positi on 21
6 First Inv ers ion Tri ads - Close Positi on 21
7 First Inv ers ion Tri ads - Op en Posit ion 22
8 Second Inversion Triads - Close Posi tion 22
9 Second Inv ers ion Tria ds - Op en Positi on 22
10 Summm ary 22
11 INTERLUDE I I I : ... Fond Farewell. 22
12 Seventh Cho rds on the G Majo r Scale 23
13 Pr inci pa l an d Secondary Sevenths - Firs t Posi tion 2314 Root Posit ion Seventh Chor ds - Op en Posit ion 23
15 First Inv ers ion Seventh Chor ds 23
16 Second Inv ers ion Seventh Chor ds 23
17 Th i r d Inv ers ion Seventh Chor ds 24
18 Summa ry - Seventh Ch or d Inversi ons 24
19 IN TE RL UD E IV: ... Holiday 24
20 Lead ing-t one Sevenths - Reso lut ion Studies 25
21 Summary - Hal f-d imi nis hed Inversions 25
22 JESUJOYOF MAN ' S DESIRING (J.S.Bach) 26
23 Natural Mi no r Scale - Firs t Posi tion 28
24 Harmon ic Min or Scale - Firs t Pos it ion 29
25 Melodic Mi no r Scale - Firs t Pos it ion 2926 Extended Har mon ic Mi no r Scale Patterns 29
27 Extended Melodic Mi no r Scale Patterns 29
28 Triads on the Nat ura l, Melo dic and Ha rmo nic Mi no r Scales 29
29 Root Position Harmonic Minor Triads - Close Posi tio n 29
30 Root Position Ha rm on ic Mi no r Triads - Ope n Position 29
31 First Invers ion Mi no r Triads - Close Posi tio n 30
32 First Inv ers ion Mi n or Tria ds - Op en Posit ion 30
33 Second Inversio n Min or Triads - Close Pos iti on 30
34 Second Inver sion Mi no r Triads - Ope n Position 30
35 IN TER LU DE V: A Summer Garden 30
36 Seventh Chords on the Ha rm on ic Mi no r Scale 30
37 Pr inci pa l an d Secondary Sevenths 3038 Root Pos it ion Sevenths 31
39 First Inv er si on Sevenths 31
40 First Inv ers ion Sevenths (Second Set) 31
41 Second Inv ers ion Sevenths 31
42 T h i r d Inv ers ion Sevenths 32
43 Summar y - Seventh Ch or d Inversi ons 32
44 INTE RLUD E VI : On aFrescobaldi Theme 32
45 PRELUDE: It Must Be Spring 33
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21
G Major - E Minor
A l t h o u g h b locked close position seventh chords have l imi t ed ap pl ic at io n to the fingerboard they are at least
possible w i t h considerable extension of the left hand fingers in some instances. Close position inversions of
seventh chords, however, are severely l i mi te d to specific c hords that can utilize open strings in their formation.
G M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
3 0 2 3 0 2 4 0 2 0 1 3 0 2 3flu 3 0 2 3 0 2 4 0 2 0 1 3 0 ^ 1 _
C a d e n c e
G C G/D D-7 G
' I IV I 6 , V--7 I
1
G M a j o r S c a l e E x t e n s i o n : T h r e e c o n j o i n e d s c a l e p a t t e r n s
3 t2 4 1 2 4 1 3 ' 4
„ , 2 t i , ~
WW* T r i a d s : G Ma j o r Scale
A m Bm C D Em
Principal Chords
C G/D D - 7
F#° G.
t i S * 2-
E E j d II I f i
V---7
fI I i n r v
l Lower Tetrachord 1
; V VI vn ° I j1 Upper tetrachord 1
i r v
R o o t P o s i t i o n T r i a d s : C lose Position 1 • 3 • 5
2 i3 2 0 4 2 1 4 2 1 3 2 4 g j 2 j » J } , < ] ^ ^
i _ < I •> 9. 1 A 3 i i _
1
2 1 , 1 " . i j i i 1 " U ' i i 4 .
m m m m
* o o o 2
R o o t P o s i t i on T r i a ds : Open Vo i c ing 1 • 5 • 3
o . , \ , * J i L 4
~ _ -4 K » Ad _
f f V r V 'I* r I r f ff f f r f• rF i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1
2 0 0 2 l i 2 ^ 2 0 1 3 1 2 0 « ,
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22
F i r s t I n v e r s i o n T r i a d s : O p e n V o i c i n g 3 • 1 • 5
f T T TS e c o n d I n v e r s i o n T r i a d s : C lose Pos i t i on 5 * 1 * 3
3 ? 4 * i i i
3j2ji 2^«^° Hjffl j ^ l
r 1
r- r 1
f" f 1 f fS e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i ng 5 * 3 * 1
i f1
St; J-
g rt2r 11 f» L - r — : • ^
P r
r " T ®
1
1 i =\= r* f - t " r
S u m m a r y : C l o s e P o s i t i o n G M a j o r S c a l e T r i a d I n v e r s i o n s
Am ,
~~1 1 ' T "
Bm , i .J | c
tr* — D;j i j« f
En
— • — i i
at 0 *
r <
I — T H -
\i if- *r
+^ 7- i ir
-V¬— ^ J J
- f — 1 — r ~ 1 J J 1
= N
— • — 1
•r r 1 1
J j j — = « — J 1 11
T f f 1 r f a
- f
1
F
10
Interlude I I I
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.SA. Al l Rights Reserved
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23
Gmaj7*
Am7
S e v e n t h c h o r d s - G M a j o r S c a l e
Bm7 Cmaj7 Em7
12
117 HI7Lower Tetrachord
rv7VI7 VTt^7
• Upper Tetrach ord - - -
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
G Gmaj7 A m Am 7 C Cmaj7 F#^7 F#°7 D7/F D7
l c 1G
J_Q_
-e-o-%-6t — 1 &
•|S>- 2 -|S>- I 2 T T$T 3
r r f f
R o o t P os i t i o n Se ve n t h C h o r d s : Ope n Vo ic i ng 1 • 5 • 7 • 3
3 1
f f f r
r r r r f
F i r s t I n v e r s i o n Se v en th C h o r d s : Ope n Vo ic ing 3 • 7 • 1 • 5
1 3 0 ± 2 41 0
n 2 0 J . 2 ^ _ j1 J . i 3 1 3 1
r
r
T
f r rS e c o n d I n v e r s i o n Se ve n t h C h o r d s : Ope n Vo ic i ng 5 • 1 • 3 • 7
0 0 2 2 3 1 1 9. 3i 4 1 i i « i i L i , 2 ^ U
*= S 3r r n
= J W | . J ** zzmtzr | ft
i U 1 f ^
i J .
r r r
*These chords must be arpeggiated in this position.
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24
T h i r d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 7 • 3 • 1 • 5
S u m m a r y : S e v e n t h C h o r d I n v e r s i o n s
Gmaj7 \m7
i d — * "
0m 1
4* — i -
i• rt4 i
3.2-
-«—4^
4-e
" * T
s-
* sf T ^ T
1 7 3 J
— * • f 0 < »
4 - i - \- Crr
n~r
• r f - 2-
f f
fj7
i ^
r 2 "
4
#•—3-
r 2
- M
4_a1
M i i ^
2 T
7
3 J 3 «
4 « 1-2
- * s
2 I
4 -
= * =
H i —ft
-
3-1
2 T
Er
1 — a *
- r
n7
T
4
m
J.
— T
3 « — * J
= 4 =
4_*.—
4^2
8 ' f: i f * r T
± 3 = — «
7
» —
hr *r * r
f -
r' i f ; r 1
Gmaj7 Em7
I , I 2 + 4 ^ : 4_ «. J D7 G
& ^ f if i ; p T r - r I T » r — i f 7 i f j H
Interlude IV R. S. Pick
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.SA. All Rights Reserved ... Ho l ida y ...
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25
R e s o l u t i o n S t u d i es : L e a d i n g t o n e S e v e n t h s - D o m i n a n t S e v e n t h T o n i c :
F # 0 7 - F # °7 - D 7 - D 7 - 5 - G
Resolut ions involv ing leading tone seventh chords establ ish in effect a C H R O M A T I C C A D E NC E in contrast to
the three general types of diatonic cadences; v iz . the perfec t o r aut hen tic cadence, the imperfect , and
i n t e r r u p t e d cadence. Th e lea din g ton e seventh chord s are also consider ed to be and fu nc t io n as dom in an t
n in ths w i t h the roo t omi t t ed .
F o r m I T y p e 1 : CD © ® ® S t r i n g s
20 :
Fits*'7 F#°7D
4 J 4
7 D7-5 G
-3|>«. 2-« : 4 - 2* 4-m- 3 4 1 * -4l>«
3 5" 9-°¬" fTT
~ T 8 —
V 2 f T T f' 8 " g p t p 1 » T 1 r T
" ° " 1 1 1 " | :
F o r m I T y p e 2: ® © ©
I D
S t r i n g s
J i t *
2 j 3 m 3 j b »
: ^2
^ 2 ^ 3 ^ T T 3
f ? r T2
r r r r r i i i 2
i
- o -
F o r m I I T y p e 1: © © ® ® S t r i n g s r—Imprac t i ca l
4_44 j l ^
F o r m I I T y p e 2: © © ® S t r i n g s r - I m p r a c t i c a l -
i 4 I ^» II i 1 *
f f f f - r T T T ~ r * T T T"TT"
r r v r
F o r m I I I T y p e 1 : ® ® © ® S t r i n g s
1• L H I ° H i ^ i - l j [ J I a m a ; 3 \m I g i i ) f j i g s j j i ' ii
2 J4 4_Q_
2 * ^ > >
T T T TS u m m a r y : I n v e r s i o n s o f t h e F * 0 ? C h o r d
21
Type 1
:1a
r r f f «f f f
Type 2 3.4-
-4^
r l 8 r r ' r r
f 2 r Tr r
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26
Ar r . by Richard Pick
Chorale J e s u , J o y o f M a n ' s D e s i r i n g
f r o m Canta ta No . 147 Jo ha nn Sebastian Bach
1685-I75C
Andante A i 0 4
2 i<.) . - i J . i J J J
4 2 4 2
• • * —3—4
4 - 4 ,
8 3"j5r- '
;M h r i r T i h q ^
4
p r
4
• * T M *
r
4
M«LJ ,
^ —9
• 9
J2-P-- 2 ^ ,
3 4 2 4
— J J * m * *—*« 1 1 1 3-f
8: 1 fr ~ r r 1
22
2 4 1C3
0 2
0 0 mi I #
T — 2 —
r 2 r r
^ = J . • r - = b =^?—®1* 2:
— ^ — 3
1 : 3
J
3 3 4 4 3
t — rr •> r rT — T
2 4 3 4 2 4 3
"p- 3 ^ fr
1 4 _ 4®4 3 1
r ' "4P-" 4 r ~ r 3~p
Copyright © 1992 Editions Orphee, Columbus, OH, 43221International Copyright Secured. Made in U.S.A. Al l Rights Reserved
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E H
2
\JA) I1
<
i —
9} »
D
8- B
2 : »
r .
! 3 :tr.
4
; J J
3
1—J—*— 49
2 | —
J 4 ^ '
3 4 2
J — ^ — J —J
— J —
r
^ > J —
2 4
~ n i j i
# a T /
T f •
4 1
J J
f~'
3
— J - ^ L J —
•p-:
3 4 2
, * « L > *
r r
T f
1 3 1
—»»-:
a J
•m-.— * m 0 *
r f
3
- J J J J J* * 0 J
— T
2 4
0- i i , , r T 3 - 7 1 htd •
v f r
t n1 3
J J J J J
2r _ i _ , ' 3 a
— « W *3 r '
r r
SB— —
I r ^ f f ^
4 3 3
4 4
- J J « T T " " r - r r
H z -
: = J = - = . :
J J 0 »
T
4 4 1 U -
T -
3 4 f t
mw ^tfl
T®
•2 l
3 2J-- ^ P
f - V - " r T - ' "
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28 C5 4 4 2 ' 4 3 ' 4 __ 1 , 4 4
8 0
1 0
J h a -
44 2
t "
1 1 rn1 4
J ^ J-.
4
r ^
1 0
8 1 9
4±4
0 j *
r F
• > ' .
2 :lz r\
I
, r
i J J J *
3 4
- 0 ^ - . ^ -
la m ii
r — f
—0—-—
8
2
4*=
J4
4
m r-
d 0 m a
f 2 ?
H ] c 4 L i - ,
n i n n 1
— —
K : p : .
C3
r r
4±A
L -J 0
7 f
^ 1
—
4^
- U —
2 " ^ 2 =
' 4
F T
»T
8 9
4*=
f 1
r
•9 m J * J -
* 1 2 / j
'.gZ 2"
< J . r n8-# « l —- —
0 0 0
, T
r n i I J J
3 - J — J — * —4 P ' 4
r n m
r
f — H
— f - ~ f - ' —
0 * J J-m - S ^ * L-\
E Minor - G Major
E M i n o r S c a l e : N a t u r a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
0 2 3 0 2 3 0 2 4 9 , 2 0 1 3 0h ii 0 2 3 0 2 3 0 2 4 » 2 0 1 3 0
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29
A u t h e n t i c C a d e n c e
E M i n o r S c a l e : H a r m o n i c M i n o r F i r s t P o s i t i o n - N o r m a l F i n g e r i n g Em A m Em/B B - 7 Em
2
1
* s T f ' f ' f
I IV 15 V—7 I
E M i n o r S c a l e : M e l o d i c M i n o r F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
2 5 & = 3
X T
E M i n o r S c a l e : H a r m o n i c M i n o r E x t e n s i o n w i t h t h r e e c o n j o i n e d s c a l e p a t t e r n s
0 2 3 0 2 3
S iE M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n w i t h t h r e e c o n j o i n e d s c a l e p a t t e r n s
j 1 3 1 4 8 i j * 8 ! 1 4 2 1 42 1
" ® ®
T r i a d s o n t h e N a t u r a l a n d H a r m o n i c M i n o r Sca l es
Em F#° G A m Bm C
J < 1
D , E l ? Em F# ° *G(G+)Am B C
®'^~ XT
D#° Em
M^ i
i i28 fk C
f
2 P 4
, i n° n i r v : i v v i v n i :L Lower Tetrachord -Upper Te tr ac ho rd —'
v v i vn ° i
E m ( F F f m ) G * A m ( A ) B C j Q % J , j j
« l i y y \ufif n r f i f ^ wfI 1 V VT° VTT T ! *l\lntp- AItpt-pH rones in the nnner tetrarhi
T r i a d s o n t h e M e l o d i c M i n o r Sca l e
0 Dj}° Em Em D C Bm A m G F#° Em
V VI ° VH ° I ! "Note: Altered tones in the upper tetrachord are not normally applied to- - - - - - - - - - _ _ 1 tones in the lower tetrachord in minor scales and keys.
R o o t P o s i t i o n T r i a d s : C lose Pos i t ion 1 • 3 • 5
0 » 4
E H
3 i - i :
P
4 1 3 4 1
^ 4 Hif I - \
29
R o o t P o s i t i o n T r i a d s : O p e n V o i c i n g 1 • 5 • 3
30 :
J) § 0 2 0 12 J , 2
~a\ {fa2 1
1 # r f i :
8 f
m
T
*w—a l
J — i —
r
* &%w •T r • - J — A
1 r— J ¬
r
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30
31 iVffrtii rftrft'fifei- 0 ft m
r r T " r ' T i 1
J * 1 I J J ' j : u ^ i l ^ ^ ^ J ^ T r f F a
F i r s t I n v e r s i o n T r i a d s : O p e n V o i ci n g 3 • 1 • 5
4is L i l i i s
3 r P f f i fflffl32
S e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 • 1 • 3
1 J , o i S 1
33
S e c o n d I n v e r s i o n T r i a d s : O p e n V o i c in g 5 • 3 • 1
i l l i L *
\ y ff i f l f f t f l r£rf
-J—— — ff _ a^-.- J = S tz — abusE:i34
ff r r T1 <s>
Leisurely
3 1
Interlude VC3
rR. S. Pick
135
0 3
Copyright © l ^ M t k ^ ^ ^ t o i ™ ^ O H 48221 . . .A Summ er GardenInternational Copyright Secured. Made in U.S A. AH Rights Reserved
Em7
Em(maj7)F$ 0 7
S e v e n t h C h o r d s : E M i n o r Scale
B7 Cmaj7
* Gmaj7 * Am 7Gmaj7+5 A7
1
D#°7 Em7
36
s 3f-4 3-
17 n^7 m7 IV7
3
'V7 VI7o
VII7 17
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
E m E r m l 7 Em7 Ftf*7 D#°7 B7 A m Am ? F|^7 D#°7 B7Em"TT*
37
^zzz^E. ' 3 < g l * fej . l r j ~ 2 "
f f f T T f ^i f
T fV 7 T
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31
R o o t P os i t i on S e v e n th C h o r d s : O p e n V o i c in g 1 • 5 • 7 • 3
F i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 3 • 1 • 5 • 7
F i r s t I n v e r s i o n S e v e n th Ch o r d s : O p e n V o i c in g 3 • 7 • 1 • 5
Second Set
S e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 5 • 1 • 3 • 7
f i V f
T
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32
Th i rd Inversion Seventh Chords: Open Voicing 7 • 3 • 5 • 1
3 1
42 a s
f
¥—r — r —
im¬
* • gm
i
! i h *
tS -
p-Hp - f ' » - n — i
P
-H=w
,mzz — » —9 1
- r
Em7
Summary: Seventh Chord Inversion E Minor Scale
^ 3
24 J 1
4 .
43 «—i_ ^
f = T = f f
G m a i 7 J i j U. I*
— 8- j r « it- i . t — i ^
if y 1 f r 1 r ^i i
T r
Am 7
a s
32
4 ^
3 ^
B7 2- «- 1 ^
f If 'iff r ; r
2 ^ -3 ^ Cmaj7
I
U
D|l°7 I
5 1 — j - 1 r r 1'
-m~ a -mr
T ^Em7 B7 Em
I E
' r T 1 r f
f r
A n d a n t e c l
Interlude VI- • ^ 0 5 C3
r
R.S. Pick
4425
^ 3
E * *
cantabile
o+ 0
# I — 1
I"—"1 0 3
' — 3 i l p
C 5 — i
00
• _
9- 0
—i
r 4f" r f •
3 f... On a Frescobaldi Theme
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Prelude
Today I heard a Robin sing,
Saw Summer birds upon the wing;
And Winter snows no longer cling
To grassy knolls, I t must be Spring.
R.P.
33
Moderate molto
Richard Pick
C2
1
46 f - r ' f r * p " i = . r ' r r >p \ f ' r ' K ^ " " Tmj5
j , . J . ^
C3
C5
4
r ' " l # r ' v ir
1 ®
' °l\f t \t t I i S g
C7 C5> i i ' i
3 ^
a tempo
0 0-
t i *-4-
t r
J . J . J J
6?/m„ poco rit. .
^ - J - J - J - . -I 1
C3
tfp1 v f 1 f
j . J A . J
C5C4 C5 41
- i i
H ir n -4=»-
r
2 1 i i1 l 2
4 -tt4
I Sa piacere
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.S A. Al l Rights Reserved
poco rit.
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34a tempo ma dolce1 U <J
rC5
5— f f— £— «L i
s o-o- 3 1 1 si o r H
WW
a tempo4
mpoco nY.
0 3
r
C5
C3
1 A l j• — a
. r
fr r^rrPi|7
>cJ3a piaccre
a tempo primo
1
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C3 C 5 I I I J J i 1 ^
V i ' r ' k n 1 1 y 1 ' r ' 1 y r r t f
i . J . J , J . , J „ J , _ - J J
j ' - r t;t M/f f r f M F r r f f p^r v
1'°.;, ., \'..J
.1
.1
.l-.r~~ni, V tJ
i l
—!iq?> •
_i iff <r K 1 r i i "r i rv 11 > - m > '$ - O - I I | 1 1 } r a pi
———- Meno rnosso ^ ^ | 4j J | | |
mo/to m c r I
—— Har l2
-8¬— e j \
TO <2 7 7 1 — *-
v ~ ™ r r r * p1
ra//.
7
r r r p JPJ
—* \
: fine
. . . I t M us t Be Spr ing ...
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36
INDEXD M A J O R - B M I N O R
N a T I TLE S PAGE
1 D Majo r Scale - First Position - Cadence 37
2 D Maj or Scale - Extens ion - Scale Patt erns 37
3 Tria ds on the D Majo r Scale 37
4 Root Position Triads - Close Posi tion 37
5 Root Posi tion Tri ads - Op en Posit ion 37
6 First Inversion Triads - Close Posi tion 37
7 First Inve rsi on Tri ads - Op en Posit ion 38
8 Second Inversion Triads - Close Pos iti on 38
9 Second Inve rsi on Tri ads - Op en Posit ion 38
10 Summar y - Tr i ad Inversions 3811 INTERLUDE V I I : Butterflies 38
12 Seventh Cho rds on the D Maj or Scale 39
13 Pr in ci pa l an d Secondary Sevenths 39
14 Root Posi tion Seventh Chor ds 39
15 First Inve rsi on Seventh Chor ds 39
16 Second Inv ers ion Seventh Chor ds 39
17 T h i r d Inversion Seventh Chords . 4 0
18 Summar y - Seventh Ch or d Inversions 40
19 INTERLUDE V I I I : Quiet Cove 40
20 Res oluti on Studies 41
21 Summ ary 41
22 A L O N G W I ND R IVER 4223 Natural Mi no r Scale 43
24 Harmonic Min or Scale 43
25 Melodic Mi no r Scale 43
26 Har mon ic Mi no r Extensi on 43
27 Melod ic Mi no r Extensi on 43
28 Tr iads 43
29 Root Position Harmo nic M in or Triads - Close Posi tion 44
30 Root Positi on Ha rmo ni c Mi no r Triads - Ope n Position 44
31 First Inversion Min or Triads - Close Posit ion 44
32 First Inver sion Mi no r Triads - Ope n Position 44
33 Second Inversion Minor Triads - Close Posit ion 44
34 Second Inversi on Mi no r Triads - Ope n Position 4435 INT ERL UDE IX: Abandoned Farm 44
36 Seventh Chords on the Har mon ic Mi no r Scale 45
37 Pr inci pa l an d Secondary Sevenths 45
38 Root Pos it ion Sevenths 45
39 First In ver si on Sevenths 45
40 Second Inv ersi on Sevenths 45
41 Th i rd In ver sion Sevenths 46
42 Summary - Seventh Cho rd Inversions 46
43 INT ERL UDE X: Dancing Snowflakes 46
44 W ALTZ : Once Upon a Time 47
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37
D Major - B Minor
4
D M a j o r S c a l e : N o r m a l F i n g e r i n g
02402023 0 2 ?it u u o m0m ^
P r i n c i p a l C h o r d s C a d e n c e
D G D/A A-7 D
<ii;8»|ga
>llJlLl; <l
i rv r| v—7 iD M a j o r S c a l e E x t e n s i o n : T h r e e C o n j o i n e d S c a l e P a t t e r n s
2 strings
13 4 0 13 2
J string
2 4 13 " V o 4 1 i -
m mmu ••- u n-i •
6) - D
® _®
J string
T r i a d s o n t h e D M a j o r S c a l e
D Em F# m G
•4 -1 1
A Bijn
1
C#o D
1 J 1? 1
3f ; a2i n in
-Lower Tetrachord-
rv v vi vn°Upper Tetrachord
R o o t P o s i t i o n T r i a d s : C lose Position 1 • 3 • 5
R o o t P o s i t i o n T r i a d s : O p e n V o i c i n g 1 • 5 • 3
f f T g
rF i r s t I n v e r s i o n T r i a d s : Close Position 3 • 5 • 1
1 % V11 2 112 _r fHtfr f m
2rM J i¥'
8
r r ^ f^ 4
J
4
f f r f
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38
F i r s t I n v e r s i o n T r i a ds : Ope n Vo i c i ng 3 • 1 • 5
2 i 11
= T * I— —~ _ I J 90- \ 0- J I ~ I * « L «l ~-
f S e c o n d I n v e r s i o n T r i a d s : C lose Position 5 • 1 • 3
y y- r T T T f- v f V™f r rS e c o n d I n v e r s i o n T r i a d s : Op en Vo i c i n g 5 • 3 • 1
3 j 2 OJ 3,
V V V 'f 1 T-'f1- r V' |J V - V / f
S u m m a r y : D M a j o r S c a l e - C l o s e P o s i t i o n - T r i a d s I n v e r s i o n s
r
D
•J ;J i
Em
-6- ! 1 1
F#m
r i — 1 — h + i-j \i if — * f — i t 2F 1
ff 4 if »f T J
ST i ' t
'7 M ' I
[ i f f i
i«F r 1 1
ST' 1 1 H
r ^ J - r l » 0- = J = i 4—
—I- 1 —! — p
i 1 ' r 1
, — * ^ — i*y 1 i r ^= r = f
10
Interlude VI ILight ly 4 C 2
p j ^ l i / J ^ V l J J i i l l M | i l H y
R. S. Pick
C2
4 i111 :
•3-
C5 4
r rC2 l i 4
W
rr 0
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.S A. Al l Rights Reserved
poco rit.Butter f l i es .
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39
Dmaj7 Em7
S e v e n t h C h o r d s o n t h e D M a j o r S c a l e
F#m7 Cmaj7 A7 Bm7 0 * 7
112;
17 117 ffl7
Lower Tetrachord- -
IV7i i
_l L
V7 VI7 VII7 17
- - -Upper Tetrachord--
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
D Dmaj7 Em Em7 G Gmaj7 C#4>7 C#°7 A7/C A7
Z2 V
D
1 fj Yd
O p e n R o o t P o s i t i o n S e v e n th C h o r d s : 1 • 5 • 7 • 3
T T 2 f 0
1 J . i 4 2
2 J .
I i 4J5 . — 3 - $ -
14 >f f #(f zz
r
T
r
T
f f — rF i r s t I n v e r s i o n S e v e n th C h o r d s : O p e n V o i c in g 3 • 1 • 5 • 7
3 1 2 1 4 —
frf r F r T r
T0 2 1 3
r r r f r rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 5 • 1 • 3 • 7
16
3 1 2 3 0 2 3 i A o o l
f r r 7
1 1 2 3 1 4 ! 2 1 J .
I3.fi-
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T T-yr ML 0 "
1 t f f
Summary: Seventh Chord Inversions
C7
Dmaj7C2
^4 ^: 1-Em7 4_fi.
.1 &18
j tf T r rf f f T '2r
F#m7
M M
C2 4 _Gmaj7
i- t «
4,
_ -»-pr
r 5
^C2 C5
2 j Bm7
w
C73.^.2
r if TDmaj7 Bm7
2"
C$07
i Am
43z r
A9 D
4*
Drif t ing
3 4
a; 2
Interlude VIIIi2 4
1 11 4 1 4
1 11 4 13
R.S. Pick
1 * i 2
SB3
2 13
2 02
1 0
4=m 0 0 0 0 — 0 0—0- 0 m 00 0 0 0 01 0
M M f8 f f r f T fMeno mosso
2
3 1 C23 C3
10 2 2
fC7;
C4 32
1 1 <7\
r f 4 f Y Y j3
f rallantando a finef f
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
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rQ u i e t Cove
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41
R e s o l u t i o n S t u d i e s - D M a j o r : L e a d i n g T o n e S e v e n t h s - D o m i n a n t S e v e n t h s - T o n i c
c # 0 7 _ ^ # °7_A7-A7-5-D
F o r m I T y p e 1: ® © © ® S t r i n g s
C#*7 d ° 7 A7 A7-5 D
20-
2 J 3 J o j 4 J J 1 4 3 , 4 4 l i f i # 55:34*4 4 \ii litlT I I T i ¥ i i ? T T T i a r * r
I
F o r m I T y p e 2 : ® © © ... © S t r i n g s
C^7C $| 0 7 A 7 A7-5 D
i a « "j ijfi |«nres;t,;~T;i " T \ " % ¥ d l d \" d a d ||8||"" r1"* |lg
i i , * I? 2? | Hoi"* |'d * |ig||* * l 3* i * I lla»3»l»8«fe
7tr f f f TT T f T TT T 5f f r r 1 1 '
=3^*41
3- lkJ 1 1 l j 1
1 J 1 J 12 J 3j 18 g 1(1* 1 m 1
4 ^3
F o r m I I T y p e 1: © © ® © S t r i n g s
C|t*7C|t07 A7 A7-5 D
^ 1 J i j l l ^i l a
4-«-
' r r ? r r
C#*7 C#°7 A 7 A7-5 D
TT rr rF o r m I I T y p e 2 : © © ® S t r i n g s
n ff f f l ^ f f f r r - TT r r r 7 * ' r
; » l b J
C#4>7 Cjt°7 A 7 A7-5 D
F o r m I I I T y p e 1: © ® © © S t r i n g s
$ f I f i f f W T T Trr r rr T r ' ? r rS u m m a r y : I n v e r s i o n s o f t h e C* 0 7
n : J - f - i :
4_ i± j
4, T y p e 1
aJ 4 . J . 4 - * - 1 4 J . J
If f T r r 1 1 1 r r f f21
rr r
4
Type 2
f T45
3 a
I4
r v f r f H Pi
T f T T T
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42
Along Wind River
Quietly Flowing
Richard Pick
C2\
22
31
r ©-Dmjp
rail.C5
a tempo
t—^ — ^
,* * 9 * * — ?:± •\— 3
C7
i©* » * m 9 m %
r r =s r r f TC5 1
1:1=1
i i--W—r
M
i il ! — i l— -4T3
<s 1
l=|M% 9
• i 1—- » —
1TT
•V1
=i*=P
a tern
r> 1 1 S-
PO
: *i
rit. '
1 pT * w m ~ 9 i
\ 9 m 9 m 9 m w_ »
i ±n n n P~\W * 1
J ^ i l if9
m 9
m 9
m m >•*rj. 9 9 *
f rC7 ^C l C 4 J N _ J 4 j C5 C2
p = = — 77ip poco a poco ra// <? dim. PP
4a tempo 2
r r in't
= H.l> 4
2 $I H.12 |
B- 2 54l —<- —4 —- A: i— \
r
9~-
0
f
d f) 0
r — 3
\ 5
' I 0 9 '\
Z '•
z '¬
•all.5 5
•* •
* — \
pCopyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.SA. Al l Rights Reserved
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43
B Minor - D Major
B M i n o r S c a l e : N a t u r a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
2 4 0 2 4 0 2 J 2 3 0 2 3
m mB M i n o r S c a l e : H a r m o n i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
C a d e n c e
Principal Chords
Bm Em Bm/F#F#-7 Bm
I IV 1° V - 7 I
fti t
B M i n o r S c a l e : M e l o d i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
~~ 'T r r r i JHll | V j J J i l W ^ '
B M i n o r S c a l e : H a r m o n i c M i n o r E x t e n s i o n - T w o M o v a b l e C o n j o i n e d S c a l e P a t t e r n s
_ - - —i
1 3 4 1 8 4 - i : » - 1 2 4 1 1 3 2 0 2 1 2
© ©r f l ^ l f i i ^ J ^ ] l I m i l il 1
B M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n - F o u r M o v a b l e C o n j o i n e d S c a l e P a t t e r n s
r "
1 3 4 1 3 1 A <4
1 2 ' 4 ~~ - _ 1
. J -J -T^ ^ © L-... i
N a tur a l M ino r
T r i a d s o n t h e B M i n o r S c a l e
Harmon ic M inor
Bm C# ° D Em F# m G A Bm Bm C#° D( D+ )E m Fit Go i l '
"H ir
Bm
-e-: fr?~
Descending Natu ral Mi no r
37
4p» 2r
Melodic Minor
Bm C#m
4
Lower Tetrachord 1 1 Upper Tetrachord
D Em( E) Fit Gtt° Att° B m
FT
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44
29 ; m
R o o t P o s i t i o n T r i a d s : C lose Position 1 • 3 • 5
4 2 1 3 1 0 4 3 ^ 2 j ^ , 3 r ^ 3 f l j ^ ^ "
f t J — ^ • f 'mm* <
f i r r r r 1 r T »r T f x f r f # $"R o o t P o s i t i o n Tr i ad s : Ope n Vo ic ing 1 • 5 • 3
m30:
F i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1
J?fyts rH i
« 3
nl 3
-nP- 131 j I.—
1 4 • — i -r r31:
F i r s t I n v e r s i o n T r i ad s : Op en Vo i c ing 3 • 1 • 5
/Hp :ft'v 2I
1 4
rp.v- # —
if*2
$1 4 1 2 * . 1
I f f . g1
^ 2.• — 9 r-
<jn «K—V r
w
r- r r ' i i ' i =#32
S e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 * 1 * 3
if 2 3 0 2 4 1 2 3 1 2 3 0 2
33
3 i 0 2 j , 3 2 - 4 i2 . 3 2 , 4 2
p i
S e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i ng 5 * 3 * 1
l 9 I 9 1 *
Prf
34
r r T f rf rInterlude IX
R.S. Pick
r 4 3
Copyright © 1992 Editions Orphee, Columbus, OH, 43221International Copyright Secured. Made in U.S A. Al l Rights Reserved
F T... Ab an do ne d Far m
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45
*Bm(maj7) C ^ 7
S e v e n t h C h o r d s o n t h e B M i n o r Sca l e
F#7Dmaj7
Dmaj7+5 t m 1
4-
Gmaj7
1,
A#°7 Bm7
36 -e- am
f
23 f 3
n m-Lower Tetrachord
4 ^ 4 3 |
m7 IV7 V7 v i7 vn°7Upper Tetrachord - - -
17
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
B m B m + 7 B m 7 c !^7 A#°7 F# 7 Em Em 7 Cjl*7 A#°7 FH 7
1 J J , . I , I . 1 4 n 4#f- ± s 4 , r J
Bm
372 ttfr W
R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i ci n g 1 • 5 • 7 • 3
l i
38
1 1 3
r — rr r7
f
f rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i n g 3 • 7 • 1 • 5
Q i 4 „ Q 1 4 o 4 l 3 1 9 2 4 40 3 1 2 o 4 x 16^^-* <• -
39^
f 7 "f—^r — r
1
f r — r
S e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i ci n g 5 • 1 • 3 • 7
2 3 0 ± 2 1 12 3 1 4 2 3 0 1 2 2
1 4
0 00 2 x 3 2 4
1 ^
- i # —
i_m 0 1
r
, f ) , 1
• 1
r
•J
rT — T —
J j 11f — r — r * —TT
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46
T h i r d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i ng 7 • 3 • 5 • 1
E E
U 2 3 « i 3 4 J r 11 J . 2 3
1 1 j 3 2 4
41
J ST-
r rr r
T
4Bm7
S u m m a r y : S e v e n t h C h o r d I n v e r s i o n s B M i n o r
C7
C|t*7
J ; i i l l ! i ; f il J ; j d l U f ef ir ' 'r r | ! r '?f if far
42
! f T
Dmaj7 C2C7
I tEm7
5 j J = * P0
F » 7
m Si!
C
i
Gmaj7
2-#
3.1-
4 -fi.
i fr T I ; r 1
A#°7 -6-
3?L
Bm7 F#7C2
Bm
i
Rapidly
3 1 2 2 1 3 1 2 3 1
Interlude X3 i o 2 4 0
R. S. Pick
2 3 r r n i 2 3 i 4 3 ! 2 3
43 I
f2 4 3 1 2 3
1 2 3 C21 2 3 C2
1 2 3
r r r r 7 ^ 7 r r r f • «rCopyright © 1992 Editions Orphee, Columbus, OH, 43221 „ . „ „ ,
International Copyright Secured. Made in U.SA A ll Rights Reserved - U a n c i n g »nowtlakes
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47
Waltz
Richard Pick
Copyright © 1992 Editions Orphee, Columbus, OH, 43221International CoDvrieht Secured Made in U S A All RiehtsReserved
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rH. 14 a tempo
r r L i
r . poco rit.
r f
r r i j * — — #
f r f r
i i
f r r
2fen**r r
"ST
P iJ 1
ft
f
k h J>J i f 1
C7
r
4 -•-
a tempo al fine
C7l
1 •1*1 «lliif
4
r
T
mo l to
0 " 0 4T
0 ~ —0 1
Har 7
fp/zz.
| , J i i T
Once Upon a T ime
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52
F i r s t I n v e r s i o n Tr i a d s : C lose Pos i t ion 3 • 5 • 1
F i r s t I n v e r s i o n T r i a d s : O p e n V o ic i n g 3 • 1 • 5
ii tit,ill Otfi
S e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 • 1 • 3
•
*• r ir i n = £
S e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i ng 5 • 3 • 1
rH r l V M t i ¥ ir ff f r r T f r f f f rr r r r
S u m m a r y : A M a j o r S c a l e C l o s e P o s i t i o n T r i a d I n v e r s i o n s
4*i ^ I ,J J I
Bm I (
I i J U L
: # m
-1—s— •J — 3 - 1
D
r - — M - 4 =b|
8
=#*
I f 3 f f ;
F i l m J Gtt°
if- >f T 'i
I I f — I f * —
f 'f T '•if t f r 'i
* 4
#=8 ' ^ r r l ;
r
11 J j ,
T i 1 Lr
J j j i
— H —
I =Rih=
+^= H
]
ff" r r f '- J
10
Interlude X IC2
if f H u f . r I texpressive
Copyright © 1992 Editions Orphee, Columbus, OH , 43221
International Copyright Secured. Made in U.S A . A ll Rights Reserved
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53
S e v e n t h C h o r d s o n t h e A M a j o r S ca l e
Amaj7 Bm7 C#m7 Dmaj7 E7 F#m7
12-
Gty*l Amaj7
1
HI m7 rv7 V7 VI7
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
A Amaj 7 Bm Bm7 D Dmaj7 G#<f>7 G#°7 E7/G# E7
V1F7 17
E7-5 A
4 o 4-6-
2$
3 l j j g . V g
r t T r r r f if= f * i ' rR o o t P os i t i o n Se ve n t h C h o r d s : Open Vo i c ing 1 • 5 • 7 • 3
1 » 1 3 1 ? 1 3 l 2 o l l j . t 3 2
l# ^ T f
0 2
4 1 4 2
r r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i ng 3 • 7 • 1 • 5
4 l j O l ii 1 , 4 L i 1 4 1 3 1
L - i - < - ii 1
1 2
J \\± :d —
r r7
J • sf r r
16 *4
S e c o n d I n v e r s i o n S e v e n t h C h o r d s : Op en Voi c i n g 5 • 3 • 7 • 1
0 - i 4 1 2 i J L i
f f f f r
fP T 3 , r ^ P r r P i r r p r m i rm
T f f f f r
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54
Th i rd Inversion Seventh Chords: O p e n V o i c i n g 7 • 3 • 5 • 1
17
3 4 L i 2 3 j ! 3 J i 3 41 2 0 1
1 4
l-sf-
i5f — r r = f :
f r
r r r rSummary: Seventh Chord Inversions
_- 0
r
Amaj7 4.. . * < : Bm7 . . 1 , .4213-
18-
C#m732 ^ 3 -
Dmaj7
4 1 1
p r n
1-
: • 1 Vim
E7 2 JS .
lllj i j ill j * p jl*ijF if- T T T
3=F
fGtf*7 2J5.
Amaj7 F# ml
iAmaj7 E7 A
r t ' T " t r
Interlude X I I T h e Sanc tuary (2)
4 - # -
r 1
Leisure ly R. S. Pickr o 4 C2 3 A 4 o 4 4
19 :
C24 3
4 03 f
3 4
C53 0 1
1
• 3/
morendo pp
Copyright © 1992 Editions Orphee, Columbus, OH , 43221 " S t r o l l m g 1 , 1 6 P a t h W a Y s
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55
R e s o l u t i o n S t u d i e s : L e a d i n g T o n e S e v e n t h s t o D o m i n a n t S e v e n t h s t o T o n i c
I n v e r s i o n s
F o r m I T y p e 1: ® ® <D <D S t r i n g s
G#*7Gtf°7 E7 E7-5 A
2 2 4
3
42 2 *j , 4 3 J 4 J 4 J J L l l J 2 J fui 2jL\M
\m4 i > > i g i i f f i r - i l i a
r f r r P fir t t r r*f T a f 1 r 11 r r 'T-r
343^2
W 3 ^ VH°7 V7 V7-5 I
F o r m I T y p e 2: ® © ® ... ® S t r i n g s
14
=1*
0 — r L s
1 •0 I 1J i i i 3*4
24
3,r.1
V 7-~i-0
" T
- ?
1 — " i i i '
• f »r r 7 7 t T t r t r T T P T 11 "
F o r m I I T y p e 1: ® ® ® ® S t r i n g s
4-«4- M m 4 -6-
3* ST* I 9 ^ 1 ^6l l l i r i Hi 1* 22
f f f T T T f rForm I I Type 2: ® ® ©... © Strings
t i
r
ii f = 3 = f 4 = f c S 1
4-tSr*2Il3*_ Q*_ h *_ljtL ' j ,
-dO- „ - _ l q — A— -ta-
101 0
T T f f f T°r r f f T T rF o r m I I I T y p e 1: ® ® ® ® S t r i n g s
^ "l f 'Iff 'f Vif 'rf f f v r>
r r r f T a T " r r rS u m m a r y : I n v e r s i o n s o f t h e G * 0 7
Type 1 E7
i
T Tf T Type 2
5S1
4;-3-#
r rE7 A
? r r 7 r r ' r ri s :
r r r r
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56
Prelude T he Sanctuary (3 )
Allegretto a tempo
2
3 1 J J . 3 1 - J l 'm
0 m 0
C2R. S. Pick
poco rit. 3 2 1mf
4 3 2
L1 3 1 I
IS1
C2
3 4 2
L 4 212 I i
C7r r 2
3 2 0 0 2 0 1 3 2
i i i 2
1 Lrail.
10 3 o o I
$ ..3 J
3 1 3
' poco nt. 1 3 11 3 1 1 3 1 3 0 0 2
J J .ft1C5
, 1 1CIO a tempo
1 3 0 3 1 0
C7
2 0 0
, C7 C3
2 mo I to rit.
C6C7
i 4C5
mlC4
4
4 3 2
2 3 1 4 3 2 4 2 1 1 2 1 12 1 1 2 1
C2
a tempo
4 3 2 2 0 01 2 0
molto rit.
4 3 21 3 1
C4
1ffleno mosso®
41 31It
wo/ro nY. 1 3 4
a tempo Q$C1
1 A
0 4 3 2 3 4 2 3 12 4 1
-a tempo
0 1 0
H. 17
0 * 0 *
poco nt molto rit. r. Th e Pin e Grove .
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F* Minor - A Major
57
F * M i n o r S c a l e : M o d a l o r N a t u r a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
1 2 0 2 o 42 4 0 2 4 0 2 4 *—• i -1 3 0 2
F * M i n o r S c a l e :
H a r m o n i c M i n o r - F i r st P o s i t i o n - N o r m a l F i n g e r i n g
24
C a d e n c e P r i n c i p a l C h o r d s
F t f mB m F# mC# 7 F #m
14 . 2^sL ..a.
" I IV 16/4 V7 I
F * M i n o r S c a l e : M e l o d i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
25
F * M i n o r S c a l e : Harmonic Minor Extension - T h r e e C o n j o i n e d M ov a b l e Patterns
26
<D_ _ _ - -- - - - -3>
F * M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n - S i x C o n j o i n e d P a t t e r n s
27 8^3ifeEE3 4 1 3 1 3i 4 1 2
'HrJJJj' 3 > 4 3 T - - ~ ,
« L * 4 n -P*i 1 * 2 14 2 3
I
N a t u r a l Minor
F# m G#°
T r i a d s o n t h e F * M i n o r S c a l e
Harmonic Minor
Bm C#m D E F # m F# m G# ° A( A+ ) Bm C# D E#° F# m
8
1 ,\ 1,
p llf •' ]28 I f f 2j3 f i r
1 n° in i v v v i vn 1 ;
•---Lower Tetrachord Upper Tetrachor d 1
Melodic Mi no r . u Q tfo U Natu ral Mi no r Descendi ng
Fff m G » u A Bm
1
V VI V I I 0 I
H 1
1" f l f f
1
v v r vn° 1
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58
R o o t P o s i t i o n T r i a d s : C lose Pos i t ion 1 • 3 • 5
R o o t P o s i t i o n T r i a d s : O p e n V o i c i n g 1 • 5 • 3
0 ? £S
f?Yr Y f V i 'i V- V7 ^F i r s t I n v e r s i o n T r i a d s : C lose P os i t i on 3 • 5 • 1
f ^ |jJ f • f r r T r r r V Yr r rF i r s t I n v e r s i o n T r i a d s : O p e n V o ic i ng 3 • 1 • 5
4 TT
^ f Y t r r F T
S e c o n d I n v e r s i o n T r i a d s : C lose P os i t i on 5 • 1 • 3
^ i ^ f ^ i ^ i i t e
S e c o n d I n v e r s i o n T r i a d s : O p e n V o i c i n g 5 • 3 • 1
4%^i l 3
J—— w is
J 2 m. 1
J. i
r- J • j
» r•
rw
r - T©® •r MI r ^ ( r
—
r
:
S u m m a r y : O p e n V o i c i n g T r i a d I n v e r s i o n s
i f f s ^ t »fT?r f r r ; f f r f y r r ' r r
s> 1 rr r r * r 1 r r p f r f r r f ' r f f fffIS
r
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59
S e v e n t h C h o r d s o n t h e F H a r m o n i c M i n o r Sca l e
ii t *
F#m7
1
Amaj7Bm7
C# 7 Dmaj7 E#°7 F#m7
OL6
ff 1 iff-Lower Tetrachord-
-Upper Tetrachord -
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
F # m F# m*7Ff lm7G} t *7E# 0 7C#7 Bm Bm 7 G ^ 7 E#°7 C?*7
i * * f Y * T T T TT 1 r 2 f ' p f 1
Ftt m
7 :
S i
R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i c in g 1 • 5 • 7 • 3
1 3 1 1 1 2 l J i1 1 j 3 ^ J , 1 3 A 0 i
1 J . 2 J .
f r
r rr f f fF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i n g 3 • 1 • 5 • 7
4 j „ i 4 1
'© fr r T r
3t> i s
Z2 32
r r rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i ci n g 5 • 1 • 3 • 7
4
2 31 4 0 1 ° ^ l j J f l 2 3 - i
1 11 1
fr
J
r
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60
1
Th i rd Inversion Seventh Chords: O p e n V o i c i n g 7 • 5 • 1 • 3
0 3 4 j _ 2 3 0 1 3 4 1_L 2 3 1 A 2 3 _ t j , 3 4 i J O j L i
g 1 —H = J I fmr-S
#f f f rx
2
Summary
F #m7
& C2
C2 j
-m* 1 3 g
G ^ 7
f ' i f T ' r r
2J2.
7-a j 9 1 1 J f 41 • 3- j
i
3 ^
Amaj7
C2
=5;
C 2 4- « 3 — " Bm7 J C 7
' i : I f f !? |ir ll'Tij I'J si iff j
f If T r H " ^ f 'If y l f T?
3JS„2
C#7
#C I 7 C4|
C6 C9
, 3 . in? 8T egf 1 r r 1 f
Dmaj7C7
E#°7
4 - * * i 4 |l f i f ? |HT j |Hj IIj 1 %
*r r 1 r "' r 7 ^ ' f f ^
4
rF #m7
f s f r
I ? i l l 1
C#7 F #m
5 -
r F T
Interlude XI II T h e Sanctuary (4)
Leisurely ^ 4 4
2. 4
C 7 iR. S. Pick
T 1 A U
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61
Arranged by Richard Pick
Lento
L e s So upi rs
The SighsFrangois Campion
1680-1748
, J J i M ^ j 3.4 EEs44
T ~-9-:— -9-. I - S - V9-. 1
rr«rC2 C2
a — i
C2
* 9t
p4 i J 1
C7
i i i
T T T T Tr r
r r r r fr
c i 4344| * °
IN** m
f t fr r . f r -
r r •r
^ 4 1 ,J LJ J-I^-T-)J liJ41 «, 2
f r • r
— » — *J J 4 * i t J . J* 1-73 1 — m 1
ft1 j|J i l l J d *r
rr-. *
ST-u
• —
fCopyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.S.A. All Rights Reserved
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62
INDEXE M A J O R - C # M I N O R
N 9 T ITLES PAGE
1 E Major Scale - First Positi on - Cadence 63
2 E Major Scale - Extens ion - Scale Patterns 63
3 Triads on the E Maj or Scale 63
4 Root Position Triads - Close Posit ion 63
5 Root Posi tion Tri ads - Op en Posit ion 63
6 First Inv ers ion Tria ds - Close Posit ion 63
7 First Inv ers ion Tri ads - Op en Positi on 64
8 Second Inversion Triads - Close Posit ion 64
9 Second Inv ers ion Tria ds - Op en Posit ion 64
10 Summary - Tr i ad Inversi ons 64
11 INTER LUD E XIV: Emphatic Trifles 64
12 Seventh Cho rds on the E Maj or Scale 65
13 Prin cip al an d Secondary Seventh Chor ds 65
14 Root Posit ion Seventh Cho rds - Op en Posit ion 65
15 First Inv er si on Seven th Cho rds 65
16 Second Inv ers ion Seventh Chor ds 65
17 Th i rd Inv ers ion Seventh Chor ds 66
18 Summary - Seventh Ch or d Inversi ons 66
19 INT ERL UDE XV: Sundrops 66
20 Res olu tio n Studies 67
21 Lower Ne ig hbo r Tria ds 67
22 MI NU ET I (J.S. Bach) 68
23 M I N U ET I I (J.S. Bach) 69
24 Natural Mi no r Scale
70
25 Harm onic Mi no r Scale 70
26 Melodic Mi no r Scale 70
27 Ha rmo nic Mi no r Extensi on 70
28 Melodi c Mi no r Extens ion 70
29 Natur al, Ha rmo ni c, and Melod ic Mi no r Triads 70
30 Root Position Minor Triads - Close Posi tio n 71
31 Root Position Mi no r Triads - Ope n Position 71
32 First Invers ion Mi no r Triads - Close Pos iti on 71
33 First Inve rsi on Mi no r Tria ds - Op en Posit ion 71
34 Second Inversion Minor Triads - Close Posi tion 71
35 Second Invers ion Mi no r Triads - Ope n Position 71
36 Summary 7137 Seventh Chords on the Ha rm on ic Mi no r Scale 72
38 Pri nci pal an d Secondary Sevenths 72
39 Root Posi tio n Sevenths 72
40 First Inv ers ion Sevenths 72
41 Second Inv ers ion Sevenths 72
42 T hi r d Inve rsi on Sevenths 73
43 Summary - Seventh Chords 73
44 INTERL UDE XVI : Hyacinths 73
45 ALLEGRO: Homage to Villa-Lobos 74
46 INTE RLUD E XVI I : Poem 76
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E Major - C # Minor
E M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
0 2 4 0 2 4 1 2 4 jjJI 2 4 0 2 4
C a d e n c e
Pr inc ipa l Chords
E A E B 7 E
I IV I4 V-7 I
E M a j o r S c a l e : S c a l e E x t e n s i o n w i t h T h r e e C o n j o i n e d P a t t e r n s
irt„ 0 1 3 0 i 3 i i
12 4 1 2 4 13 f l 1*
2 1 4 2 0 3 1
— H! (
_ J . - -
1
1
-J-J6 •
— H
E M a j o r S c a l e T r i a d s
E F # m G# m A B C# pi
4-
; 1 II in
L Lower Tetrachord-
IV ! V VI1 Upper Tetrac hord -
R o o t P o s i t i o n T r i a d s : C lose Pos i t ion 1 • 3 • 5
v n u 1
R o o t P o s i t i o n T r i a d s : O p e n V o i c i n g 1 • 5 • 3
s
r f r rF i r s t
1 2 1 1 2 i i 3 l j
r = r ^ = = f T 5 = - 5 :
f t r 'f-[ n v e r s i o n T r i a d s : Cl c
r r>se Posi
C
f /t i o n 3 • 5 •
C5
WW
- u * 4*1 ' _ u . "
f f r1
1 C7 - 1 C 9 ^ , l j
8
r H=
ft
1 — J 1 —
U i rfl nil rn t=n
V 1
8
1 ir * ir r r r-1 f4 r r
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64
F i r s t I n v e r s i o n T r i a d s : O p e n V o i ci n g 3 • 1 • 5
J m \ 0 I — J | W. 2 # . \0. J . | J — | * — 0 -}— j •
f f f t t r < ' 1 f * r 'f f 7 fS e c o n d I n v e r s i o n T r i a d s : C lose Pos i t i on 5 • 1 • 3
1 o i
1r r r r r r T I.f f f r
S e c o n d I n v e r s i o n T r i a d s : O p e n V o i c i n g 5 • 3 • 1
tf, M # . . | £ ft i f t rfrtf= g_ =]J IJ J IJ- *r Ir J- IJ J | ]
J= ^ E
©¬
S u m m a r y : O p e n V o i c i n g T r i a d I n v e r s i o n s
r
3 a :0 : ±Mt +0
f r ¥ f r ^ r t f r ' [ ' f F
4t4 :i j J u(4)
3
r r T T f T T f f f fAllegro
Interlude XIVr r
R. S. Pick„ 4 4
i i o 4
4 4 3 4 0 4
p i m i
4 0 4 4 » 41 * 04 1
3 2-#|«. 1 2
Har. 12
^=9r — - F
Co ri ht © 1992 Editions Or hee Columbus OH 43221International Co ri ht Secured Made in U SA Al lRi hts Reserved
rEmphatic Trif les
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S e v e n t h C h o r d s o n t h e E M a j o r S c a l e
Emaj7 F# m7 G# m7
1
Amaj7
1
B7 C# m7 D P 7 Emaj 7
2
'17 U7 WILower Tetrachord-
IV7 V7 VI 7 VTI7
-Upper Tetra chord - -
17
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
E Emaj7 F# m F# m7 A Amaj7 D ^ 7 D#°7 B7
« — o -
13;
f f r r r r r r \ \ j -
R o o t Po s i t i on Se ve nt h C h o r d s : Ope n Vo ic ing 1 • 5 • 7 • 3
1 4 , 3 1 2 ! 3 2
^ (-#
f Tf f
3
r 7 r f
r rF i r s t I n v e r s i o n S ev e n t h C h o r d s : Op e n Vo i c i n g 3 • 1 • 5 • 7
1 3 4 2 l U 2 <_2 , i * i 2 2 J - H ,
vm r m , rTJ^# i c
fr rf f r r
i3
0 0 3 1
f r — r r r© T7"S e c o n d I n v e r s i o n S ev en t h C h o r d s : Op e n Vo i c i n g 5 • 1 • 3 • 7
3 14 2 a J L j J i 2 0 4 , M 3 j i l 2 2 j l J 1 2 J . 4
6 ;^ ' 1
P f r r — f
T r
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66
T h i r d Inversion Seventh Chords: Open Vo i c ing 7 • 3 • 5 • 1
2j>0 C2
^ 2
—
J «
i i j l j . C9
J ^ J7732 3
--0 1
rJ
1 *
s -
5>
8 r
m
m 9
r
m
- V^ £
i - — * J • • *
(9) +
8r r — r
•
5 1 13 1
7
Emaj7
84
Summary: Seventh Chord Inversions on E Major Scale
J A I Pit m7
3.i dF# m7 ,'
4 » * r
4
2 ^
fG#m7
C44 _S_
it
rAmaj7
C2
1
i f
4
• 4 *
J:S:
3L*
r r T
B7
I f t i d ji iff it i?? £ 4f • ill ii ij? T #
rr
C#m7
C9
-0- 3
l a
DjK7
1 4
C#m7
4
»; Jig [[j. a i s :
]
T T rr 1 1 "*r r
! f TInterlude XV
r r 3 f f
C9 4 R. S. Pick
3ISC43 r 4 C3 c ,
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.SA. Al l Rights Reserved
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67
R e s o l u t i o n S t u d i e s i n E : D # 0 7 - D # °7 - B ° 7 - B 7 + 5 - E
F o r m I T y p e 1: ® ® (S> ® S t r i n g s
20 p i
DU^m7D#°7B7B7+5 E simile
44- « -
1, 1 # i
V7.F o r m I T y p e 2: ® © © ... © S t r i n g s Impractical
l4
—=— A
1
4 H 1
i
r j J—"l - s - !
rv? •
s-
r r r r{ < ? -£
r r rr r'i5? 1
F o r m I I T y p e 1: © (D ® ® Str ings
^u^t^imii'i\ii - n i > I > 7?I ¥ - 111111"? 1 ? -
F o r m I I T y p e 2: © ® ® ... © S t r i ng s
1 0 03 3 3
f.f,ffT T ' T T T T T ' H T f?its»"jhig -pggg
TTT sr f
F o r m I I I T y p e 1: © © © © Str ings
r r T r r TT7T»r r 2 r r r ^ i 1 2 » ^
E M a j o r Sca l e T r i a d s w i t h L o w e r N e i g h b o r T o n e s * : O p e n V o i c in g 1 • 5 • 3
1 2 J C 2 2 a i C4 2 3
p= a t J 3 ^ = — d ^ f f ^ =
C4 , 1 1
*4f i t ^ i i i ^ i i ^ i i i ' U i M i i i ^ ' f f i ' ^ i i
r r f r "7"
*No te: Genera l Rule, lower nei gh bo r tones are chrom ati c - ascending.
Up pe r ne ig hbo r tones are diat onic - descending.
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68
Arrangement by
Richard Pick
Minuet IFrom Partita III for Solo V io l in
r ' r ' f ? T 'Y""T r
Joh . Seb. Bach
3 4
1 2 1 3 2 1 y 2C2 2 3C2
2 4 1 3
J J Jtl
3 1 4 2 0 0 2
0 w 0
f ^ 9 ] X0 *^ 7
fC2
f 0 4 1C2
1 4 11
3 0
r ^0 ' 0 0 &
r r 1—rr
y 2C2 2 3
C22 4 3
I
r T fCopyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.S A . Al l Rights Reserved
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69
Arrangement by
Richard Pick
Minuet I IC2
1
Joh. Seb. Bach
C2
® ~ 4 i 1 l .
rJ> m — J J ** = =
1 3 2 4 2 3 1 3 1 3
-4-2-
2 3
®C41
C7C2 3 4 J
C2
r r - i l
C2
C2
3I f ff
C2 , ,
S B
1 4 2 4 4 3 2 1 4 1
3V' i f r
I W in»- i rr
®
1A1 f f \i' V !>#«
r ' i f rC24 3 1 3 C2
ft CTjji|.4 II,j ffig
C72 4 3 4 1 3
I S
fC4 C2
* m m7J
m m
r CP ^
r1 2 4 2 4C6
C4 3 4 , 2 4 ' 2 4 / * 4 2 1C 2 4 C4 4 _ 4 3 4
i5
J3-ZZ # #
T I T4 - 9 -
8 3 r&C5 4 - 4 0
fed
3 1 4 3 1 3 V 3 3 0 C 2 I 3 2 3 4
r -r ' r t 7 T-®-
8 0 r r f TCopyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.S A. Al l Rights ReservedD.C. Minuet I
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70
C # Minor - E MajorC * M i n o r S c a l e : N a t u r a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
/-># * /r- o Principal Cho rd CadenceC M i n o r S c a l e : Ha rm on i c Mi n o r - F i r s t Pos i t ion - No rm al F in ger ing c#m F#m C#m G#7 C#m
JWrj rrjn«Jii m l 1 \\M | j g fl^J IU»
tt= S#* T ^ 17^ ^ *~I IV 16/4 V - 7 I
C * M i n o r S c a l e : M e l o d i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
itC M i n o r S c a l e : H a r m o n i c M i n o r E x t e n s i o n - T w o C o n j o i n e d S c a l e P a t t e r n s
i n a. A , A c> o i± ~
7 5 [^S
1 2 4 3 1 0 3 4
#3C # M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n - F o u r C o n j o i n e d S c a l e P a t t e r n s
1 3 4 13 1 3
r _ _ - - - 2 ' 4 r - - - - - _ _
' 4 1iii«ft*tff L . f ^ f V f r l * 1 .' 3 3 1 4 3 1 1 2 <>4 2 0 2 4 1 3 4 4
r p r A - D F n T j r f i r ^ J J T J I J H I I I ii I I J I J «
T r i a d s : N a t u r a l , H a r m o n i c , a n d Me l od i c C M i n o r S c a l e s
pure C#m D#° E F#m Gj tm A B, Cjfc
||jd i# I t g a g
Harmonic"(E+) G# A B#,° C ^
T % — : l g 3ft2 g 31
44
4 r 4
! i n° m i v ; ! v v i vn iL Lower Tetrac hord - - J L --Upper Tetrachord - -
*D$° *EMelodic ( D # m ) ( E + )
v v i vn° i i
i — _ — _ J
A#° B#°
frp Inp ^ 4 ItiJ J II8 i l i 1 ! V vi ° vn° i '
i _ _J*Note: Altered Notes in the upper tetrachord are not normally applied to the lower tetrachords,
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71
R o o t P o s i t i o n T r i a d s : C lose Pos i t ion 1 • 3 • 5
l 2 3 o A zj.
0 :
R o o t P o s i t i o n T r i a d s : O p e n V o i c i n g 1 • 5 • 3
^ S i = i i J J #J- IJ J J J
/ ' ' 'i' r * n r
? r 1
T r1 L ® 1 1 1
F i r s t I n v e r s i o n T r i a d s : C lose Pos i t ion 3 • 5 • 1
1
1 2 1
/* J J • t i *
8 J r ' r r T 1 1 1
r ir 4=^
F i r s t I n v e r s i o n T r i a d s : O p e n V o ic i ng 3 • 1 • 5
4 1 2 i 3 •>
i ¥fa
? 4
rT3 r'si f r
8 " i
— - J —
; f
4 1 2
m
; T
4 1 2
I. ft
Sec o n d !
1 C I
Iffl
•W—
r
n v e i
c:
•
• r
s i o n T r i a d s : C I
2 1
• r
ose P(
r
Dsitior15 • 1
#
' r• 3
f ¥
•
• r
ffrrf
^ + \
f f
f rv
r4 r r r
S e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i ng 5 • 3 • 1
r w I JJ i J - i f e1 f t f f f
4
r rS u m m a r y : C l o s e P o s i t i o n T r i a d s - C H a r m o n i c M i n o r S ca l e
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72
Seventh Chords on the C* Harmoni c Min or Scale
Amaj7 B#°7 C# mlC#m7 D#^7 Emaj7 Fj fm 7 G i 7
7 3f
i i
17 n 7 ffl7 IV7 1 ' V7 VI 7 VTI 7 Im7
Tow er Tetrachord _ _ _ 1 i Upper Tetrac hord- - •
Principal and Secondary Seventh Chords
C#m C#m7 C#m7D#*7B#°7 G# 7 F #m F j l m 7 B$°7 G # 7
I t A / i l g a , As 4,.c 2c • lg=—g J — s '-
Root Position Seventh Chords: Open Voicing 1 • 5 • 7 • 3
t i i U 1 32 J . 2 4 , 3 l i 1 3 j J 1 4 4 1 3 2 i
^ l - ^ +9- HE r r T » r
r
1
r ®-
1 3 2 4 1 4 4 1 4 3 2
f f
r=r —r rFirst Inversion Seventh Chords: Open Voicing 3 • 1 • 5 • 7
1 3 1 2 1 3 4 2 1 3 * 2
4 „ ! 3 2 l ^ L - S 2 ^ 4 1
f f T T
F f f f
T 0 0 1 3
r — T f f r rSecond Inversion Seventh Chords: Open Voicing 5 • 1 • 3 • 7
f r
I 4 2 3 1 4 2 3 1 4 i » J r i 1
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73
2 U - J , 2 3
Th i rd Inversion Seventh Chords: Open Vo i c ing 7 • 3 • 5 • 1
1 i i 2 l i l 1 J - i i i
2
IA
10-
0 • J J
n*— J r
8w 1*— i i
1
t 0
—# 1»0
0
I r
Summary: Seventh Chords in C Minor
C9
Interlude XVIAndantino
R. S. Pick
poco rit.
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
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74
AllegroH o m a g e to He it or Vi l la-Lo bos
Richard Pick
i - 4 > 1 3 1 4 3 1 4 C2S3=;
L 2 i
f*TTTfl j- i a
ize'JJJJI ^f
m
U
<
©
ftpL2 c5
-*ff-—- w 1 3 1
rrrfy.iTr
4
8
r <:= 3
r i
10
r"rf4 3 2 L 4
i o C 4 f -fm i f
1 3 1 2
0 m ,M0 M -i
P 1
Copyright © 1992 Editions Orphee, Columbus, OH, 43221International Copyright Secured. Made in U.SA. Al l Rights Reserved
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C2 C4 | C7 |
8
- — }
fr-
f
I ' d ' 1 i
s f ' ?L=a ?L£J '4X1 '
r
U , C4 J— J |3 ~ J 1P 5 jsLrrrrr - J ^
r
i J °l i :
r
i 2 f i J—4— l — i' • i i* 0 0 00
8 r4
C2
f
8 r i f f .
- J -
.£ r T
BJffil ^ f 1 ? % f i f i i ll
r
Andante
T
C2
f
Interlude XVI4 C2
J ? i . j m i»n
^ R. S. P ick
ii J J 1 Lj \ H DP -llP
c
* 1 * "
expre
f f f4
f
a f J J = 0 1 -]
T ft" ^ r
C2 C 4 4
- - i i n jj J jJ#J^ i j i t
3r 'n4 ^P8
— 4 — ;-
ttZZB
Ur ^l
t tt r if T l l iSJ f 1
12_ ^
13 l j g ~ ^
— n ~ t ^ ^ = = T 1
'< fCopyright © 1992 Editions Orphee, Columbus, OH, 43221 ...Poem...
International Copyright Secured. Made i n U.S A. Al l Rights Reserved
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77
INDEXB M A J O R - G # M I N O R
N Q T I TLE S PAGE
1 B Majo r Scale - First Positi on - Cadence 782 B Maj or Scale - Exten sion - Scale Patt erns 78
3 Tri ads on the B Maj or Scale 78
4 Root Position Triads - Close Posit ion 78
5 Root Posi tion Tri ads - Op en Posi tion 78
6 First Inv ers ion Tri ads - Close Pos iti on 78
7 First Inve rsi on Tri ads - Op en Posit ion 78
8 Second Inversion Triads - Close Posi tion 79
9 Second Inver sion Triads - Op en Position 79
10 Summa ry - Tr i ad Inversions 79
11 INTERLUDE XVI I I : The Pavilion , 79
12 Seventh Cho rds o n the B Majo r Scale 80
13 Pri nci pal an d Secondary Seventh Chor ds 8014 Root Posi tion Seventh Chor ds - Op en Posit ion 80
15 First Inv ers ion Seventh Chor ds 80
16 Second Inv ers ion Seventh Chor ds 80
17 T hi r d Inver sio n Seventh Chords 81
18 Summa ry - Seventh Ch or d Inversions 81
19 INT ERL UDE XI X: On The Carousel 81
20 Res olut ion Studies 82
21 Summa ry - Reso lut ion Studies 82
22 IN TER LUD E XX : The Blue Bicycle 82
23 PRELUDE: Lake Reflections at Twilight 83
24 Natura l Mi no r Scale - Firs t Pos it ion 84
25 Harmo nic Min or Scale - Fir st Pos it ion 84
26 Melodi c Mi no r Scale - First Posit ion 84
27 Har mon ic Mi no r Extension 84
28 Melo dic Mi no r Exten sion 84
29 Mi no r Triad s 84
30 Root Position Minor Triads - Close Posi tion 85
31 Root Positi on Mi no r Triads - Op en Position 85
32 First Inver sion Mi no r Triads - Close Posi ti on 85
33 First Inv ers ion Mi no r Tri ads - Op en Posit ion 85
34 Second Inversion Mi no r Triads - Close Posi ti on 85
35 Second Invers ion Mi no r Triads - Op en Position 85
36 Summar y 85
37 Seventh Chor ds on the Ha rmo ni c Mi no r Scale 86
38 Pr in ci pa l an d Secondary Sevenths 86
39 Root Position Sevenths : 86
40 First Inve rs io n Sevenths 86
41 Second Inv ers ion Sevenths 86
42 T h i r d Inv ers ion Sevenths 87
43 Summar y - Seventh Cho rds 87
44 INTER LUDE XX I : Piece of Eight 87
45 I M P R O M P T U : On A Rainy Day 88
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78
B Major - G # Minor
B M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n gA u t h e n t i c C a d e n c e
B E B F t - 7 B
pfl a t r i a l %qj 3 a III I 11 I I inai» isa n ' f l jrrfr
r t ri rv 14 v—7 1
B M a j o r S c a l e : S c a l e E x t e n s i o n - T w o C o n j o i n e d S c a l e P a t t e r n s
3" " 4 1
B a tm
T r i a d s o n t h e B M a j o r S ca l e
Dflm E F^ G#m
±
A f ° B
0 I 1 ^
-4-i3K 31
4 f - ^
I I 1 ! ; '-Lower Tetrachord- 1 Upper Tetrachord-
R o o t P o s i t i o n T r i a d s : C lose Pos i t ion 1 • 3 • 5
4 3 1 4 2 1 4 2 j , 2 l i 3 ^jA 2 , L ?
7 ^ r " ^ r r r • ' ' ' ' ' r r r f f
1
R o o t P o s i t i o n T r i a d s : O p e n V o i c i ng 1 • 5 • 3
4 - s i , 3 i
^ — ^
f f r f r r r r ?F i r s t I n v e r s i o n T r i a d s : C lose Pos i t ion 3 • 5 • 1
r r f f f r T I r f 1 f f 1 f T Tr 1
r r 1 1F i r s t I n v e r s i o n T r i a d s : O p e n V o i ci n g 3 • 1 • 5
4%w^
A 1 4 4
-if-. fr-
S r ™ P
8• r 1 ±f=t= =t=N
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79
Second Inversion Triads: C lose Po si ti on 5 • 1 • 3
3 S ' W> '0 P$ 1, Aft J 1 ^ 1 4 ^
a, m m J 1
£
Second Inversion Triads: Open Voic ing 5 • 3 • 1
y d a ^ ^^ r f l i-pj- II
g> " ^ H
f T _
^ ± z ^ A — i
k r r r r© ®
C j tm D j t m
—J j m— |l— l l * ~
F 9W W
r T' r " r r " ^
Summary
E F# 1 G|t m
- l - i ! — • — 1 i l l « » i l * ^
r f f f
r - ' i Jf 1 f '
7 ^ r r'T r r r r ' f r r '{f =Nr r 1 1 1 J
K fli ..^.j g .
1 r r p1 r r r1 r ^
0-
*4Slow Steady Rhythm
Interlude XVIIIC4
R. S. Pick
4«1 :
33i i _ 1 i \5t& = ± ± 9
>t\r^rj!fzr r r r—" v —^ "~— " simile r r r rr r r r
C4 1.
I S
C6 C2
4 ^C2
m -4-^
f r f r r r t r r T r r rr r r r
C4 C7
if:
3£
r Kplay the bass voice throughout with a "semi-staccato" touch, i.e. Each quarter-note receiving 2/3 of the beat.
The right thumb dampens the string with a delayed action, an effect characteristic of "Baroque" and "swing Jazz:
styles of bass playing.Copyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.S A . Al l Rights Reserved
8
*Noter r f r r r T n T h e Pav i l ion
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0
Bmaj'7 C$ml
S e v e n t h C h o r d s o n t h e B M a j o r Sca l e
F t 7D#m7 Emaj7
1
G#m7
1
A f 7
1
Bmaj7
f' 17 n7 ffl7-Lower Tetrachord
IV7 ;V7 VI7 V l f 7L Upper Tet rachord - - .
17
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
B Bmaj7 c t m C#m7 E Emaj7 A|*7 A#°7 F t 7 F#7-5 B
p i4tS
P=3 2s 4-^22
= — 1 $ ~ T ? — t f - * 1 * — i sr T T TR o o t P o s i t i o n S ev en t h C h o r d s : Op e n Vo i c i n g 1 • 5 • 7 • 3
1 3
3 j 2 3
fr ~ f — L — ®
P r
r - r — r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : Op e n Vo i c i n g 3 • 7 • 1 • 5
1 3 0 2 i 3 1 11 2 2_ 3
pr r
i l — »
T TP
-<9
Ef f 32r r
S e c o n d I n v e r s i o n S e v e n t h C h o r d s : Op e n Vo i c i n g 5 • 3 • 1 • 7
2 3 I i 2 3 1 * 2 3 U 2 3i.i i " < I *
0 i I ! U
r
44ar r V r 1 f 77 r
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81
Th i r d Inversion Seventh Chords: Open Vo i c ing 7 • 3 • 5 • 1
3 4
1 1 3 L i 2 3.12 0 0 u U 2 J L X —
17:
f f" r r
18i
Bmaj7
Summary: Seventh Chord Inversions
C#m7
m*m r*
W r
C9
i lD#m7 Emaj7
1 | 3j& 1 -
32
a
4_<5t1
1
f tF# 7
f T
i4jS.4 *
Ff T f T 2-r- i r 1
A#^7 J 4 * - 2^: i
:«^-£2 — A - „ ?
T ^Bmaj7 G# m7 ^
f T
F t 7 B
r r 'T IIr r4 « * 2
r r r r T TModerate
r fInterlude XIX R. S. Pick
Second time slower and slower to the end molto rit.... O n the C aro use l. .
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.S A. Al l Rights Reserved
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82
R e s o l u t i o n S t u d i e s i n B M a j o r
F o r m I T y p e 1: ® © ® ® S t r i n g s
A ^ 7 A t f ° 7 F # 7 F#7-5 B
tins i ihi jr i r i j » f >iif i ' ? > y a y •**]
r T ' r " r T " r' f ' f T T
F o r m I T y p e 2: ® © @ ... © S t r i n g s
4i4.434 .•'
F o r m I I T y p e 1: © © ® © S t r i n g s
, 3 J 3, •4^5•ffr^f} I T I H * » ; D « * i $ i s , i I3^J l i s ; a ; u g 4 ^ ; n a
f f f T T f f f T T W T
4
F o r m I I T y p e 2: © © ® . .. © S t r i n g s
r T 'T< r TImpract ica l series
- J i J | C j n J i hiJj J i?JiiJ , i . J i l J » ; i | i j | | i j ^ | l ^ # - r ^ :4fe
F o r m I I I T y p e 1: © ® © © S t r i n g s
3 I 3
Impract ica l series
S u m m a r y : I n v e r s i o n s o f t h e A * 0 7
Type 1
—r** —h
2TS1
A t ° 7 F # 7 E
• J /-
8 3^i
* a T y p e
" T2
I+i
9 21- T
3
=^=
1 —1
r rH I i i d i I j
A#°7 F t 7 F t 7-5 B
, — \
— \
8 0"jP• 21^ £: 3i»
—-aJ
r 2= T 'T T 1
— « — « -
' r f
• — # — c
r r r r r t — \
Interlude XX D _ _.,Allegretto R - s - P l c k
01 01 0 1 0 1 01 01 oi 0 1 01 01 01 01 Q o
m E M M i rami PIR3i RlPii4n
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PreludeAllegretto
R. S. Pick
2 4 2 "fe>.C4
f T r r
r r 1 r f J t f rr — f f —r
f i l l , , ^ M ^ ^r f j r ?
f
f poco rit.
„ 9 , 2 1 2n 14 10 13 1 •
pocomeno 2 l 2 0 1 2 10 2 1 2 p - ^ ° _ B3B| B E R E S B O S I
3 4 3
VI 2 4 1 34 1,4^.O 4-1 2 4 1
a piacere
a tempo (
1 NJ*i«Bpg 11 " r Y— - r r
a tempo
r r * MJJJJJIr
r ' r r. 1
poco rz/.
r r L f ^ 1
C21-31. 2 - 2 3
r r *—m-
poco a poco rail.
r m *Lake Refle ctions at Twi li ght
Copyright © 1992 Editions Orphee, Columbus, OH , 432211 r ^ m ^ t eomr<. l ~\Ant\r> in TT <s A All WiorhK R wrveH
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84
G f f Minor - B MajorG # M i n o r S c a l e : M o d a l M i n o r S ca l e - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
»j*V njijTJJi^crxriCLTJ-JTJJI j^^m m
G* M i n o r S ca l e :
H a r m o n i c M i n o r S ca l e - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
A u t h e n t i c C a d e n c e
G#m C#m G#m Dp ^
* J i j J J f l J | c r f f™ [CQ- JJI rrnrm££•-1
In
3=55;
— - TT" I
G # M i n o r S c a l e : M e l o d i c M i n o r S c a l e - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
G # M i n o r S c a l e : H a r m o n i c M i n o r S c a l e E x t e n s i o n - T h r e e C o n j o i n e d S c a l e P a t t e r n s
7;
1 34 13 4 2 |3
® ®
1 &
L - -
G * M i n o r S c a l e : M e l o d i c M i n o r S c a l e E x t e n s i o n - S i x C o n j o i n e d S c a l e P a t t e r n s
^ ~ ^ >r ~ ~o 1 . 2^ * i f ^^r * "ffajfffag * 4 2 i '
1 3 4 18 1 ^ 1 4 ^ 4 1 ^ 1 ^ggppp^pppp^^. 3 14 3 4^2 1 4 2 1J. a g i a i a : * > | 4 1 J '
4 jjJJffl1
^.iux-ji s
u - "*
T r i a d s o n t h e G # M i n o r N a t u r a l , H a r m o n i c , a n d M e l o d i c S ca l e s
N a t u r a l G * m A * ° B C t tm D ( t m E. FJt Gl| m H a r m o n i a D * E P * ° G « m
i ' » .. /-\ — . . ! T Ivm->
9- I f i ty If r*f
i n° m r v- - - Lowe r Tetrachord-
, V V I VI I I :L- -Upper Tetrachord--- 1
• V VI VI I I
Melodic D# E#° F*°Gj| m
i — h - e -
f f V V l ° VH°I
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85
R o o t P o s i t i o n T r i a d s : G # H a r m o n i c M i n o r - C l o s e P o s i t i o n 1 • 3 • 5
4 3 14
•TJ11 \)\l)\)3fPlW- 1 J? fll iMl njrQI rrj i II0 , 21
r ir r If I ' 1 1 I 1 1 H i i f r ' r r
;
R o o t P o s i t i o n T r i a d s : O p e n V o i c i n g 1 • 5 • 3
T r r f t T f=5Q
F rF i r s t I n v e r s i o n T r i a d s : C lose Pos i t ion 3 • 5 • 1
F i r s t I n v e r s i o n T r i a d s : O p e n V o ic i ng 3 • 1 • 5
foil W i \P2 r&d ' r f r i - (Qrft
4 . 1
^ 1 ^ Ifl P3
J:
i n-fY Y T-'rY Yf fS e c o n d I n v e r s i o n T r i a d s : C lose P os i t i on 5 * 1 * 3
T r r
-
r r r r TS e c o n d I n v e r s i o n T r i a d s : O p e n V oi c in g 5 * 3 * 1
fir)M M
- 1i•
- x J — j — * i
-#s Wi
1 r
P r
i
8 1
w
r-- r M J 2 p - - i i T r - r - r r
-
S u m m a r y : C l o s e P o s i t i o n T r i a d s - G H a r m o n i c M i n o r Sca l e
i iJiJ i.jijjj lijJl'j i J?'jjs i { t-
r
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86
S e v e n t h C h o r d s o n t h e H a r m o n i c M i n o r Sca l e
G#m7
1.
A ^ 7 Bmaj7
1
0 U 7 D#7 Emaj7 px°7 G#m7
1
4 ^3X2
,' 17 n^7 ffl7
L Lower Tet rac hor d-- -
IV7VI7 vn°7
•Upper Tetrachord
17
J±P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s i n G M i n o r
G#mG#m (maj7 ) A ^ 7 Cflm C#m7 P*-°7
*n 4ft
Djt.7
4D#7 D#7-5
2 ^ ^
G#m
X L
R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i c i n g 1 • 5 • 7 • 3
I B J ^ H J J , , 3 ^ , 3 ^ ! ^ 1 ^ 4 J
x J 2 4
9:
f — rF f r r
4ft 1«
T r r r r fF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i n g 3 • 7 • 1 • 5
, 2 4 4 1 JrT\ 1
2 3
1 4 „ 4 1 3 1 3 JL 1 i 1
4 - 42
3 11 2 4 1 ^ 1 3 2 - *3J5.
fj r 'f ^F T T r
i i
1
f TS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i n g 5 • 1 • 3 • 7
2 0
F f
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87
Th i r d Inversion Seventh Chords: O p e n V o i c i n g 7 • 3 • 5 • 1
421
2
r r » — r
3 1 1 3 4l 2 3 4 i i
tt¥r2 4 L i , ,
2 0 0 4
. i%
8
r
- f T ^
- J L
—
—m- '
_ . J
r
^ — =ST
— x J - 1
r
'J
\
¥^8
• * M
0
1» *x m
-0-«
ri— -. .
-T\
Summary
G#m7C4
A f 74-*- 3 '
2-S^11 =
>43 i
j 4 ; =j=3
r ; r l x r
3 = 3r r H3EIS
C#m7
44Bmaj7
C4
\9 3 _
4.
7 T r 1 1 'ff if f Y T
C9
3-S-
i 53Ht 4> -
2 f 3 r
2*
C8 C l l
_^ { Emaj7
f I gMgy
4^2.
=34— m+ art
F*°7
G#m7i4_
^ i f " i f
C4 D#7
A ' 4 14#l IK<—
: ! 3. i
Gflm
* f r - + r ' T T ^3 * » #
Brightly
2 3 1 V 1 , 3 1 « T 3 1 * „ 0
Interlude XX I4 C2 3 1 4
44 |J
fR. S. Pick
2 2 1 , o 4 C —
o T i 3 rCopyr ight © 1992 Editions Orphee, Columbus, OH , 43221
w~rr>dHr>n:i1 r.nnvriirht Secured. Made in U.SA. A ll Rights ReservedPiece of Eight .
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8
Impromptu
Moderately
4 1 C6 3
T — ^ - f r
R. S. Pick
8 =^ ^ T T2
m
2
0 _ i o
E | I S ^
ft
®
Andantino
C I C4
poco rit.
C4
4L
C9C6 C9 4 J , 41 4 - I 4|
j 3 • , ) . jB3P
Tr t
ii1 ^ , c j ^ , c l a i
i 1 ' i l l {-2-
expressive
C9 1 o 1rrT3-4rm
r T T
a tempo i
poco rit.
J . J _ J J . ^ . ^i i
•ST
i i I ^ 1
H A r ^ J 3 i j
; 2-m ST
rail, al fine
Copyright © 1992 Editions Orphee, Columbus, OH , 43221
International Copyright Secured. Made in U.SA. A ll Rights ReservedO n a Rainy Day
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89
INDEXF # M A J O R - D # M I N O R
N 2
T I T LE S PAGE
1 F* Majo r Scale - First Position - Cadence 90
2 F* Maj or Scale - Exten sion - Scale Patterns 90
3 Tri ads on the F* Maj or Scale 90
4 Root Position Triads - Close Posit ion 90
5 Root Positi on Tria ds - Op en Position 90
6 First Inversion Triads - Close Posit ion 90
7 First Inver sion Tria ds - Op en Position 91
8 Second Inve rsion Triads - Close Posit ion 91
9 Second Inve rsio n Triad s - Op en Position 91
10 Summary 91
11 INTERLUDE X X I I : The Arboretum in Autumn 91
12 Seventh Chord s on the F* Maj or Scale 92
13 Pri nc ip al an d Secondary Seventh Chor ds 92
14 Root Posi tio n Seventh Chor ds - Op en Posit ion 92
15 First Inv ers ion Seventh Cho rds - Op en Positi on 92
16 Second Inv ers ion Seventh Chor ds - Op en Posit ion 92
17 T h i r d Inv ers ion Seventh Chor ds - Op en Positi on 93
18 T h i r d Inve rsio n Seventh Chords - con ti nue d 93
19 Su mma ry 93
20 Resolu tio n Studies 94
21 I N T E R LU DE X X I I I : August Nocturne 94
22 I M P R O V I S A T I O N 95
23 Natura l Mi no r Scale - First Posit ion 96
24 Harm oni c Mi no r Scale - First Position - Cadence 96
25 Melodic Mi no r Scale - First Positi on 96
26 Ha rmo ni c Mi no r Extension 96
27 Mel odic Mi no r Exten sion 96
28 Mi no r Tria ds 96
29 Root Position Minor Triads - Close Positi on 97
30 Root Position Mi no r Triads - Op en Position 97
31 First Inversion Minor Triads - Close Positi on 97
32 First Inve rsio n Mi no r Triads - Op en Position 97
33 Second Inversion Minor Triads - Close Posit ion 97
34 Second Inver sion Mi no r Triads - Ope n Position 97
35 Summa ry 97
36 Seventh Chor ds on the Ha rm on ic Mi no r Scale 98
37 Pri nc ip al an d Secondary Sevenths 98
38 Root Pos iti on Sevenths 98
39 First Inv ers ion Sevenths 98
40 Second Inv ers ion Sevenths 98
41 Th i rd Inv ers ion Sevenths 99
42 Sum mar y - Seventh Cho rds 99
43 IN TE RL UD E XXFV: October Song 99
44 PRELUDE: Spearfish Canyon 100
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90
F* Major - D # Minor
F * M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
2 4 1 2 4 1 3 4 1 ^ H 4 1 j m „3 i i . , 2 4
A u t h e n t i c C a d e n c e
F# B F# q j -7 F#
l - S - l i S . 3_«. 1 J
1 cJ 2 ^ = 2 & 3f=j>• •4 ^ I I f :
1 0 ii
F * M a j o r S c a l e E x t e n s i o n w i t h T h r e e C o n j o i n e d P a t t e r n s
1 ? 4
i rv 1 v - 7 1
2 4 1 2 4 1 3 ! 4 1 J 4 1 3 1 21 ^ 1 2 4 * F - -r-
2 1 4 - _
®
m
T r i a d s o n t h e F * M a j o r S c a l e
A# m B C# D f m
1 J 1
E#° F#
1 .
4-
L Lower Tet rachord — - J I Upper Tetrachord-
R o o t P o s i t i o n T r i a d s : C lose Position 1 • 3 • 5
I \ f_
gfr, JSP, 1P1J
R o o t P o s i t i o n T r i ad s : Op en Vo i c in g 1 • 5 • 3
V i V f M ' r M 'rfe, f M rflrA rflrfl44 1 3
® •1* f t * ff
1 \ S
't i 'rS ' r f i f f i ' f l i t [ M nitr r 1 f f i f }• 11
F i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1
^ J J I ^ y i ^7= 1 ^ ^ J I ^ i f f i 11
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91
d J 0 - d. 0- — r — — 1 f r 0. d- ~ J 0
• r - i r r 11 1 i 1 1 i 1 1 i 1 i i r r i g=
F i r s t I n v e r s i o n T r i ad s : Op en Vo i c ing 3 • 1 • 5
MM* Vdnd r£rH nam o j;
S e c o n d I n v e r s i o n T r i a d s : C lose Position 5 • 1 • 3
ff if- TIP r
r1
f f rS e c o n d I n v e r s i o n T r i ad s : Op en Vo i c ing 5 • 3 • 1
flrft 3
rd3
rp Wg —20-. r^ra nana mr- r' r r d ah
fr r rS u m m a r y : O p e n V o i c i n g T r i a d I n v e r s i o n s
i i
i p f T T f f l r T T f T
r r ' •* r r 1 r r f ' r f f rr
i r r r r f r r f r r f f
Interlude XXII R. S. Pick
Andante
Mito-T c J L I ' > I^ ^ J ^ J N . , , . , " , . i , 'nt
rrrr •C4 4 _ 4
s
r r r r T
i 3 ^
=M=f
1 rrfr rrrr rr 312
« r r r r s «3*11
- 9 - — >
f f]r r f r f r r ^ r
11
Copyright © 1992 Editions Orphee, Columbus, OH , 43221
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92
S e v e n t h C h o r d s : M a j o r S c a l e
Mm
F#maj7 G#m7 A# m7 Bmaj7
2g
C#7 D#m7 E#*7 F#maj7
1
fL Lower Tetracho rd-
1 47>
1
4 r 4|
-Upper Tetrachord
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
F# F#maj7 G#m G# m7 B Bmaj7 r # 7 E#°7 C#7
Hi ± d LA 4J5 *£k i _ | . I d * rin.
Ft
4S liS
r r T 1 f T »f f.tp *r n
R o o t P o s i t i on S e v e n th C h o r d s : O p e n V o i c in g 1 • 5 • 7 • 3
4 . a l 1 , 3 2 1
*4 1 4 2 J L 1 3 1 * i 3 l2 . 3 2 1 1 3 LJi 1 3
• 3 C
4 F 1
r
Hif r
r r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 3 • 1 • 5 • 7
4 2 2 ! j 3 2 i 4 i
f
2 1 « -=13 J . 2 l j 1 <2, 2 l i J lr m , 3 rrn 2ff£ ra^
r r r r T
7 1 T
r r r r fS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 5 • 1 • 3 • 7
3 1 2- 2 ' 1 - I 2
1 4 j j ! 4 t i l 2 2 3 l l 1 2 l i
_L4±-
©f c
— « — ~ 0 — m ~ —
f t 7 r1
^^^^^ _
0 2_4
3 =
r
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94
R e s o l u t i o n S t u d i e s - F * M a j o r : E * 0 7 - E * °7 - C * 7 - C * 7-5 - F *
F o r m I T y p e 1: G> © ® <S) S t r i n g s
r f -r r '»r*r'I7"T r 1 r?r l ; Fr r 'Mr
4 ^ -2^5"
0- I B
F o r m I T y p e 2 : ® ® © . . . © S t r i n g s
f f r r f T Ir T T r r r °r r < ' r r ^ rF o r m I I T y p e 1: ® © ® ® S t r i n g s
44 4 s 44,
5ZZ
F o r m I I T y p e 2: © © ® . . . © S t r i n g s
F o r m I I I T y p e 1: © ® © © S t r i n g s
H i
Moderate
C2
Interlude XX II IC4 C2 R. S. Pick
:
a tempo
gbg #V • •
2M1
r
4
f r r1 , C l l
3
2
<41 ^cl ^a-
T f r molto rit. r—rCopyright © 1992 Editions Orphee, Columbus, OH, 43221 ... Au gu st N o ct u rn e
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95
ImprovisationVivace
Recitando
ft.)- kJD.S.
A r i r J n_ci t i f lt i t § i » 1 El f I
3 ^
C3
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96
D # Minor - F* Major
D * P u r e M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
1 3 4 1 3 4 2 4 1 2 *flaU 1 3 4 1 3 4 2 4 1 2 i ^
8 V ^ - ^ J4- a
C a d e n c e
D # H a r m o n i c M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g D# m Gtfm D# m Ajt-7 D# m
4$^
W T'Ti n q v - 7 1
D * M e l o d i c M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
r " T 3 4 2 . A 2
i t
D H a r m o n i c M i n o r S c a l e E x t e n s i o n s
1 2 0 2 1 4 2 1
® ® © ®
D # M e l o d i c M i n o r S c a l e E x t e n s i o n s
i * l 3 ! 1 4 3 J^3 1 4 2 1 421
p - - _
I SP
pure
T r i a d s o n t h e D * M i n o r Sca l e
T h r e e F o r m s
Ftf Gj lm A | m B cjt D<
1 11 I 1,
mHarmonic
A# B C* ° D#m
2% 4i 5*5=3; 4 * H 4 g S ^ g f^ 0 — H 3 * 3 P 3 — ^ 3 ^ 33P 3
4 P
; i n ° m rv1 — L o w e r Tetrachord
V VI VU I
--Upper Tetrachord -
Melodic Ai t B* ° c
* °D
*m D
«m c
» B Aj tm
if
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A L
R o o t P o s i t i o n T r i a d s : D H a r m o n i c M i n o r - C lose Position 1 • 3 • 5
9 i
2J.3 u IT
J^-95i* 03f<fl) * ft i
y r ' 1
'"' r ' i rR o o t P o s i t i o n T r i a d s : O p e n Vo ic in g 1 • 5 • 3
r rti Vftffl l M CM rgn rfria rflmi
r 1 r r 1 r
F i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1
"
i l 2 3 112S l l 3 l i 3 j
3 "^40-
r r-
9
r- r
2 ^ vffiP 2nd2no. 2 t itt
r£rU1
r pF i r s t I n v e r s i o n T r i a d s : O p e n Vo ic i ng 3 • 1 • 5
2 a.ia vava. ^f f l 1 J 2x J 19 \~-* —id I
j f j f ^ t 1 1 ' ^ ^ t fS e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 * 1 * 3
J , i i i 1 J 1
1
S e c o n d I n v e r s i o n T r i a d s : O p e n V oi c in g 5 * 3 * 1
j , 3 ^ rti 3 r M 'rfe fgrj 'ti'rti yd ^ <Mr r 1 r r®
f r f r r-S u m m a r y : O p e n V o i c i n g T r i a d s o n D * M i n o r Sca l e
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98
S e v e n t h C h o r d s o n the D * H a r m o n i c M i n o r S c a l e
D#m7 E#*7 F#maj7 G#m7
1 I I ,
A#7 Bmaj7
1.
C f 7 D#ro7
W T O =3=
; 17 i A ffl7 IV 7 ; ] V7 VI 7 VI I 7 17
i Lower Tetrachord 1 1 Upper Tetrac hord
Dtfm " * l u D#m7 EfK7 C*°7 A|7 G f m G|m7 A|7 Af7-5 A f 7 D f m ( m a j 7 ) D | m 7 A|7A|7-5 Dfm(maj7)D(fm
I ( m a j 7 ) 1 I I I d 4 J C 4 C 3 I C i l C 6 l " C 6 I
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
Bmaj7+5 D j j r
R o o t P o s i t i o n S e v e n t h C h o r d s : Op en Vo i c i n g 1 • 5 • 3 • 7
14 2 3 i 2 _ j 4
»
1 4 j 3
f l ]
J 1 — — J - * J -
H21
3 2 J
J - * — ai
i t&
1
*
f \3 2 4
i •
V
?
J
r — t
— » —
9 r= = M =
• - r.' ni
8
I 1 r r
=*f — r—
Jl 1
t r
F i r s t I n v e r s i o n S e v e n t h C h o r d s : Op en Vo i c i n g 3 • 7 • 1 • 5
2 4 1 j . 2 41 3 2 j j J 2 J ^ 2 3
f T T r r F' L b ®f F
z;
rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : Op en Vo i c i n g 5 • 1 • 3 • 7
4 _ , i _ i 1 * i i • - i i
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99
Th i rd Inversion Seventh Chords: Op en Vo i c i n g 7 • 3 • 5 • 1
2 31 4 , 3 l _ i 2 3 _ l J , 1 i - i - i 1
1 1 2 3 1 A 2 AC l l
41 — -
©
x9
3 1 2 0r
Summary: Seventh Chord Inversions
J -<2¬4-4- ; ? ^
U2.
2-
F#maj7
i i 2±- G#m7
f T
A#7
f T
i4x« -
Bmaj7 ,
l«j j j M ; i Ijll
4_C_
f f» 2 i =j=g
r T i
e 7
r 2^
r TDjfm7
1 4=Ox31
Interlude XXIVAndante cantabile
C2 CI
C6
C2 C I C2
3 :
Pp oco nYa
expressive
a tempo
1
C2
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
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0
Prelude
Moderato 4 4
R. S. Pick
f 1 c
4 4 ^ 3
in*Vi ^ n fi _ _ 1 ^ n 'r j r i C1
U p " , ? r
1 2
f 1 T f r rail.
a tempo1 3 2 1 4 2 1 4 3 C 4
i\rmn 1 m2 1 3 4 2 1 3
4 - 4
7 i» «p•x-4 -4-^ *
r r r* — r ^ r x w — *
* — #
C4 3
Mat
4 1
r r r
1 4 - 4 p -2 «
f
C62
~T • % •
7 r 8
,* « 7 p3 P
r r
C9
f
2 T I ~~0
g * •
3 CA. meno
— J — - •? *
1--9
~ ? — ~ — * — ^
"57"
l I ' a f i f
ra//„
C4
41 33 4 0
# — # « # • — - # •# = # « 0-
* r f r r «r «r if•r T . i f . f
molto rit.
a tempo
C2
H i
C4 C6 _ 3 2
n J n o i J i ; , 0 0r , u < t r a—'4 r ® r ^ < r *
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101
C7 C4
2 2 3CI 3 4 1 2 4 1 3 4 1 3
r ~f' rail.
m
rit.
a tempo
C2
1
rl 2 C4 » C6 3 2
C6
c m
C 7 C4
i t f i i y n , i r n . i r |s r j . i t ^
3 4 2 4 1 3 4 J j - 2 4 1
7?~ ^ 2 — 4
a tempo C4 C6
l i t e *i 3 i c i 2 4 3
2f 1 r
a tempo 3
C4 4 4 3 C4C9
r r r .molto rit.
...Spearfish Canyon.
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02
INDEXC # M A J O R - A # M I N O R
T IT LE S PAGE
C Major Scale - First Position - Cadence 103
C # Major Scale - Extens ion - Scale Patt erns 103
Tria ds on the C # Major Scale 103
Root Position Triads - Close Pos it ion 103
Root Posi tion Tri ads - Op en Posit ion 103
First Inversion Triads - Close Pos iti on 103
First Inve rsi on Tri ads - Op en Posit ion 103
Second Inversion Triads - Close Pos iti on 104
Second Inv ers ion Tri ads - Op en Positi on 104
Sum mar y 104
INTERL UDE XXV: Day's End 104
Seventh Chor ds on the C* Maj or Scale 105 Pri nci pal an d Secondary Seventh Cho rds 105
Root Posi tion Seventh Chor ds - Op en Posit ion 105
First Inve rsi on Seventh Cho rds 105
Second Inve rsi on Seventh Chor ds 105
T h i r d Inv ers ion Seventh Chor ds 106
Summar y 106
INTERL UDE XX VI : "A Second" View from a Hill 106
Resolu tion Studies 107
Summary 107
INTERL UDE XX VI I : Fragments 107
PRELUDE: Intimations 108
Natural Mi no r Scale - First Pos it ion 109 Harmo nic Mi no r Scale - First Posi tio n 109
Melodic Mi no r Scale - First Pos iti on 109
Har moni c Mi no r Extens ion 109
Melod ic Mi n or Exte nsi on 109
Mi no r Tri ads 109
Root Position Minor Triads - Close Posi tion 110
Root Positi on Mi n or Tria ds - Op en Posit ion 110
First Inversion Min or Triads - Close Pos iti on 110
First Invers ion Mi no r Triads - Ope n Position 110
Second Inversion Mi no r Triads - Close Pos iti on 110
Second Invers ion Mi no r Triads - Ope n Position 110
Summary 110 Seventh Chords on the Ha rmo ni c Mi no r Scale I l l
Principal an d Secondary Sevenths I l l
Root Position Sevenths - Ope n Position I l l
First Inversi on Sevenths - Op en Position I l l
Second Inver sion Sevenths - Op en Position I l l
Second Inv ers ion Sevenths - co nt in ue d 112
T h i r d Inv ers ion Sevenths - Op en Posi tion 112
Sum mar y-S event h Chor ds 112
GREAT PLA INS ODYSSEY 113
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103
C # Major - A # Minor
C M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n gC a d e n c e
C# F# cf l Gtf -7 C#
1
^ Irl |2gjj-fr. o n 1 - |1Q ^ F a
T i p 4^1^I IV I4 V - 7 I
C * M a j o r S c a l e E x t e n s i o n : T w o C o n j o i n i n g P a t t e r n s
_ - - —1
r ------ ~ 3 4 1
0 U # L ,, 2 4 1 S j J ^ ; 1 3 1 £ f : ' ^ ^ ^ ! ^ _ 1 4 2 2 1 2 4 1 3 4 2
* 1 jjJJ33 | r ,rrrgr|r%r| r JJjj]]!; - —| — j 11T r i a d s o n th e C M a j o r Sca le
C# D # m E # m F# G# A#.mcif
=312:45
i Lower Te tr ac ho rd — - - -> 1 Upper Tetrac hord-
R o o t P o s i t i o n T r i a d s : C lose Position 1 • 3 • 5
4 3 1 4 2 J , 3 i l 32
J , J ' - A ^ 4
* L
^ ? r T 'f- r T MI r T r y - ry- J fR o o t P o s i t i o n T r i a d s : O p e n Vo ic in g 1 • 5 • 3
M , m # ^ ' P V ^ | ^ | f f l ^ l ^
§ r
« y . y i f f If- Ylf r I f f ' fF i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1
1 °
=F=N — 1 — ' 'i r 'iF i r s t I n v e r s i o n T r i a d s : O p e n Vo i ci ng 3 • 1 • 5
f- f r ff Yf v; T-V- f ; yy 'f ff r
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104
F i r s t I n v e r s i o n ( c o n t i n u e d )
ft
1 *
— -0 — 1-• *'
8 1
X —LL!—[
S e c o n d I n v e r s i o n T r i a d s : C lose P os i t i on 5 • 1 • 3
pf f c1 15)-
P r r T rfSecond Inversion Triads: Op en Vo i c i n g 5 * 3 * 1
if f r
S u m m a r y : C l o s e P o s i t i o n T r i a d I n v e r s i o n s
1
r f r
I D | m I E # m j j
r J i ; ^ r l i ^ r i ^ p
E J m , J Ft!
f f r i f ? r i f
Moderato
C^ C3 C2 C64 m r44Cr4-, " 4 ^ i ci UC42S
»,»„ , m m„ 1riyn, ff !MffTi^H, T i
Interlude XXVC4
4 J ^ 4 ClR. S. Pick
J L 4C 4 2 - J
molto rit.
a tempo
0 1 J31«jfl
1 ^ 2f»—
8 T £ — t — L .u—&
02 -F
« » l i
2 "
' 0;
Copyright © 1992 Editions Orphee, Columbus, OH , 43221
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105
S e v e n t h C h o r d s o n t h e C * M a j o r S c a l e
Ha
Ctfmaj7 Dtfm7 E#m 7 F#maj7 G#7 A| m7
L
B#*7 C#maj7
12
i Lower Tetrachord-
A f t
c «
_ 1 i Upper Tetrach ord -
P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s
O U a j 7 F# F#maj7 D # m D * ? 7 B # ° 7 G $7 G # 7 . 5 G # 7
4 S 2)133_«. 3i4 p 4T
3aHi ^ i id 'H3<V 4<
f 2
R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i c i n g 1 • 5 • 7 • 3
I f
2 4 1 3 .i 2
T l 1
J j
2
i 1
^ — =
1 2 3 4
3rJ! T 3
s1 19- w
{
m
'J
D
— * 1—
r
— #
—r
m
•J
i
®
r 1 — ^—d —i$ i r 1 r r8 r
V
r — — I
f
1 4 :
F i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i n g 3 • 1 • 5 • 7
1 4 2 1
f f 1 ©
r r
i l l 3
r f f F
16 :
S e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i n g 5 • 1 • 3 • 7
3 1 ^ 2 3 1 i . 2 J * 1 1 , 1 4
„ 1 4 q 1 4 2 1 -1
2 i - i - i 2 j ^ - r - 1 ' r f Q ^
L ® f f f r
f f f f
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06
Th i r d Inversion Seventh Chords: Op en Vo i c i n g 7 • 3 • 5 • 1
3 j L i - i ^ 3 1 4
Cl
1 L J — i 2 3 1 1 1 2l C6 i i
Hi
r r
J J—J I S
fSummary: Seventh Chord Inversions on the C* Major Scale
C#maj7 J j 4 ^ . D # m7 C ^
}J d ? i i l? f i f IU .4 i d j j i t i
8 lj- i m l \ I 1 J s : 2f 2f I I
C l l
f t *
E#m7
i d
F# maj7 4 ^ :l
f r T 'f y y ' r TC6
G(t7
Cl
4 3 *
T TA#m7
T T a — ^ — p - art T 'ICflmaj? Ajim7" " " j J ' " * | " " C f ; E « m / G Gt t7 C(t
M i . = f i ag j j . a f l i I p IIIF ' ! f j j j j al:
Interlude XXVI
P Sr r r
Smoothly C , 6 4
C . 5 C42 4 4 _ J 3^,4 4 _ 3 1
C64
C64 2
R. S. Pick
*Note: This Interlude may be used as a direct modulation from Interlude I I in C Major.
Copyright © 1992 Editions Orphee, Columbus, OH, 43221
International Copyright Secured. Made in U.S A. Al l Rights Reserved
. A Second View From A H i l l
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R e s o l u t i o n S t u d i e s
F o r m I T y p e 1: ® © ® <D S t r i n g s
20
BflBf 7G# 7G# 7-5
3 4- g - v |,1
40. ,
IS) ' t f M ' 3 ^ H ^ » ! 9 d- » 4
v T r r p. * l l 2 f • 11 T r r r 1 1 M
F o r m I T y p e 2: ® © ® ... © S t r i n g s
i0 0 0 0
r r r r r " r r r r r - T r r n fF o r m I I T y p e 1: © ® ® © S t r i n g s
I: f ; i « i^i ii nil
*hf ^ f ^ mr r r r r r r r r -
F o r m I I T y p e 2: © ® ® ... © S t r i n g s
l
#: f f f f rrrrr r r r t rr r r r r
i
F o r m I I I T y p e 1: ® ® © © S t r i n g s
i ill f • r rrr rr r r r r r r i r r r r
S u m m a r y : B # 0 7 to G # 7
U i -
I f If y f T f r
T 1
" "
4 44J5.
25
GO 7 Btt*7 r r
^ = P> f ; *lf * r r i r r 1 ' r
• — •
mmrr rr ff
Interlude XXVII
r rAdagio m i e n u u e ^ v v n R.s .P ick
C 4 I 4, C6 4 C 4 . H 4 | H 1 4 H ' 2 6
^ -tt IT4 iip r 'o^—A 'i l 1 ii ' 1 P 'y^— Ig. 3
* P — | - 2T5^ igz - r * p
.. Fragments
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08
Moderately
C l
Prelude
4 3 C6
3C 6 i s C 2
C42 4 1 2
R. S. PickC6
2 3 4 3
n T T T T fcan tab He ' I 7"4 4 4 1 3
C43. . 4 1 4 s , 4 1 2
* #
1 4 C4
S3
1 4 1 3 1 4 1 3 1 4
TC6
4 1 3 1 4 4 1 _2 1^ 3 1
—0 •
1
•
4 3
J
4 1
8 A "C—[i J 2
-* 0 ' M * ^
[3 E I*"
® 1 7 f * r T
H a
C4 Cl2 _ _ J 1 2
C l2 4 3 C2
4 2C l C3 C4
W —J
T ^ r v T 7 f 7
ft
2 4 1 4 1 41 3 C 1 2 1
C l , , C 24 1
C l
|2 I 2 I 3
C4C2 C4 , 2 1 4 2 4 3
313 |3 £ S |3
C42 3 4 2 4 1
4 2 4 3 4 2C4
4 2 4 3 2 1
C44 2 3 4 1 3 4 1
50 $0
2Cl
Aft
3 4 3
= L IIC l
2 4 3
T ir f T f T T2 a 2 4 1 3
C24 2 , 3 4 A 4 4
rr4 3
f r T f T TC4 , , C 6 2 4 2
4 1 3 4 1 2 ^ 3 1 3 4 J ,
r 'P r if fCopyright © 1992 Editions Orphee, Columbus, OH , 43221
International Copyright Secured. Made in U.SA. A ll Rights ReservedI n t i ma t i o ns
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109
A # Minor - C # Major
A * M o d a l M i n o r S c al e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
24
1 3 4 1 3 4 1 3, 1 2 4 1 2 "1 -m-
A H a r m o n i c M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g C a d e n c e
25- ij , r r r f r4 AIHIB
_ a J' ""5
-n E#-7 A#m
IE) •••8
i i v n v - 7 i
A * M e l o d i c M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g
I 3 - 3
ipus1 3 ' 3 4 TT4 2 i
A * H a r m o n i c M i n o r Sc a l e : T h r e e C o n j o i n e d S c a l e P a t t e r n s - E x t e n s i o n s
7 m—1« , # ^ 5 j ® ® L -
L. -
A # M e l o d i c M i n o r S c a l e : S i x C o n j o i n e d S c a l e P a t t e r n s - E x t e n s i o n s
------ v wi ij^hfiHrwi 1 rv i 1
ftrti. , L 1 3 4 1 3 i j . 14, i 2 4 i . l x j ^ ^ = : = : = : = : = - : = : - f ^ - ^ 1 ^ 1 3 1 4 3 i , l i _ 4 3 i 4 3 1
1 C6V . - -J
® - * - i- - - - - - - - - - _ r j ® - L _
T r i a d s o n t h e A * M i n o r S c a l e : T h r e e F o r m s
ftft
A #m Btf° C# D#m E#M F# G| A # m H a r m o m cE# F# G* ° A fm
if ' i f ''f f Pf f T f2 =3j
f i e
4 "^- 4
Lower Tetrachord ' L -Upper Tetra chord
Ejt F* ° G X o A jMelodic
"8 g 4 S2
m
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110
R o o t P o s i t i o n T r i a d s : C lose Po si ti on 1 • 3 • 5
rrrr r
3 3 . 4 , i
1 i f r ir f ff
R o o t P o s i t i o n T r i a d s : O p e n Vo ic in g 1 • 5 • 3
4 .. o 4 , o 3
F i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1
f f f r T r 'r " 'I r T r r r f rF i r s t I n v e r s i o n T r i a d s : O p e n V oi ci ng 3 • 1 • 5
I r t j u [1 — • » —l^rtf r
1
* r r r•r i 'i r 'i
r r• • • 1
rSecond Inversion Triads: C lose Po si ti on 5 • 1 • 3
i - 2 t i 2 ' *•>•*-'
ft
r r r ' ' 1r"
r 'r r rir S e c o n d I n v e r s i o n T r i a d s : O p e n V oi c in g 5 * 3 * 1
,.,.n t H i H v ^ t t i B d i rtlna•v,i iffirtifiriiTff1 rPrP. rr? m
ft
f f f f r r r f f fff r f f rS u m m a r y : C l o s e P o s i t i o n T r i a d s o n t he A * H a r m o n i c M i n o r Sca l e
? ™iJyp 'yfr y r r 'yfr Sff T y r W fr
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I l l
A#m7 Btf*7
S e v e n t h C h o r d s : A * H a r m o n i c M i n o r Sca le
C|maj7 D#m7 E#7 F#maj7 G*°7 A#m(maj7)
mT
3 7 : 4
f P r i n c i p a l a n d S e c o n d a r y C h o r d s a n d S even t hs
A#mA#m(maj7)A#m7B^7G# 0 7E#7 D#mD#m7B#*7 G x °7 E#7
4
A#m
f r f r r r f V r f f i r r f38
1 1
R o o t P o s i t i o n S e v e n t h C h o r d s : Open Vo i c ing 1 • 5 • 7 • 3
39
f J T Tr r t1 ® A
f rT —
1 3 2 4 4 1 1 1
f r i r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : Open Vo i c ing 3 • 7 • 1 • 5
J J3=*I
f rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : Open Vo i c ing 5 • 1 • 3 • 7
4 _ Q i _ l
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112
Second Inversion Seventh Chords: Op en Voi cing 5 • 1 • 3 • 7
•
2 , i _ 4 i
-0— m
3 ,
-0-
1*
m •
1 1 . J L i .
j —
I .
S H :
— r •r f = r i M '
4 p »— • _ K<> , «
rUI j 'L iJ j ,1f
*4
Th i rd Inversion Seventh Chords: O p e n V o i c i n g 7 • 3 • 1 • 5
2 3 l J . 3 ^ l JL l 1 l A 2 J j i 2 3 l 3 1
f f f f
J-*0 ~*0 3
T
A#m7
Summary: Seventh Chord Inversions
B^74- 4 ^ 5 .
45
Jt 4 * 3 - i - 10 i f - * -
J 3 f~ 1 J \ I
4- | 3- * ' 3 - 2 «
C#maj'
— I . r4 - .— 3 - * 4 14 - S -
1 #
D#m74 4
^J 2 .
- 5
3=
4 ^ I f i f ' i
AtE i 7 4 j 4 J 2 j 2 . F#maj7 . I 3 _,_ 4± :
fej >4 ltd \i if* ?,r i f ii?j i i \ti \i i l l ? p #
G x a 7-3-#
4 JS .
f TA#m7
E#7 Aj m
i*J» 2 ! 1 = 1
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113
Great Plains Odyssey
Moderate C l l
^ 4k. 1 1R. S. Pick
45 I S T 'T if 11 r | = Trap a piacere \ • w
m
Andantino
r
4 1 3 4
v - r => = =f = i„* J J'aJv *
wip cantabile
To Codafy
1 2 2 J .
poco nr.
C6 £4a tempo C4 3 41 I I I 3 > _ 3 4
17i
C3 3 C l 2 4 2 0 4 0 4
ZS2 0 " S CJ V * 1 0211
f W 2 ='5T
TTip rit.
C6
25
4 a A A „ L «ra//. 4 3 4 4 3-3 t
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114
a tempo meno mosso
C6 , C8C6 I C8 I C6 I C3 3 1,
i
r r — 3
2"r r r r r r
C8
4, y J>j)i i r jU J , /i*lS> ( 9 ' Kf P ~
Har.0 Har. I 3 -
1 3 - 1 3 - 4 - 1
m3 § E » - 3 ^
i ^
rail, molto
a tempo
C4 C6 C4 4 C l
<
3
C6 C3
1
C6 C4 C6 C3 C5
a tempo
fC l l A G •%• al e poi la coda
C6 , C4