CONTENTS 2 TEACH YOURSELF TO PLAY CLASSICAL GUITAR

Transcription

1 ECH YOURSELF O PLY CLSSICL GUIR CONENS INRODUCION PRS OF HE GUIR HE CLSSICL GUIRIS S OOL KI UNING HE GUIR HE HNDS6 Left-Handed Players6 FINGERNILS6 SEING POSIION7 HE GUIR FINGERORD8 Mn Gutar Lesson: Half Stes and Whole Stes8 REDING MUSIC: PICH9 Notes9 he Staff9 Clefs9 REDING MUSIC IME Note Duratons Rests Measures e Sgnatures SIC RHYHMS GEING CQUINED WIH LURE Other Notaton Neck Dagras SR MKING MUSIC! Rght-Hand Poston Mn Gutar Lesson: Suary of the Rght-Hand Poston asc Fnger Poston he hub () Free Stroke (rando) Introducng Lo and Lo E (he Oen th and 6th Strngs) Left-Hand Poston Introducng Lo and Lo C on the th Strng6 Introducng Lo F and Lo G on the 6th Strng7 Introducng Lo D, Mddle E, and Mddle F on the th Strng8 HOW O PRCICE 9 PIECES ON HE H ND H SRINGS Varaton on a Melody by Fernando Sor Melody fro Canaros, Sanz PIECES ON HE 6H, H, ND H SRINGS n Englsh Volt Greensleeves Mn Musc Lesson: Eghth Note Reve Excert fro dago, Ous (duet), Gulan FREE SROKE (IRNDO) WIH ND o-note Chords Introducng Notes on the rd, nd, and st Strngs Crossng Strngs ra (duet)6 INRODUCING IES 8 INRODUCING DOED NOES 9 Mn Musc Lesson: e9 Introducng Hgh F and G on the st Strng INRODUCING CCIDENLS (Shars, Flats, and Naturals ) Mn Musc Lesson: ccdental Sgns hee fro the Fugue n Mnor, ach hee fro Lagra, arrega hee fro Forlorn Hoe Fancy, Doland LERNING EWEEN HUM ND FINGERS USING FREE SROKES PIECES WIH HUM ND WO-NOE CHORD LERNIONS Country Dance No Hoage to Vlla-Lobos In the Style of Leo rouer INCOMPLEE MESURES ND PICKUP NOES 6 Grazoso (duet), Gulan6 Excert fro erschore (duet), Ferrer8 SHIFING UP HE NECK 9 Mn Gutar Lesson: Fret Markers9 Mn Gutar Lesson: Postons9 Sansh Roance, radtonal hee fro FUG, WV, ach LERNING WIH INDIVIDUL FINGER SROKES Mn Musc Lesson: Introducng Sxteenth Notes hee fro sturas (Leyenda), lbénz hee fro Malagueña, radtonal Flaenco6 INRODUCING RES SROKE (POYNDO) 7 he Poston7 he Stroke8 Rest Stroke lternaton9 lternatng th Rest Strokes HE MJOR SCLE Good vs ad Crosses PLYING MJOR SCLES ON ONE SRING: SHIFING Introducng Hgh,, C, D, and E on the st Strng6 PIECES USING RES SROKE ND 8 Sakura, radtonal Jaanese Melody8 Introducng the Dotted Eghth, Sxteenth Rhyth8 Varaton on a Mnuet by José Ferrer8 CHORDS ND RPEGGIOS 6 reggos6 RPEGGIO SUDIES FROM GUILINI S RIGH-HND SUDIES 6 INRODUCING RIPLES 6 INRODUCING DYNMICS 6 hree-note Chords th a6 he a and a reggos6 More reggo Studes66 INRODUCING EMPO SIGNS 67 SUPPLEMENL PIECES 67 Varaton on a Study by Donso guado67 Key Sgnatures68 Largo fro the Concerto n D Major, Vvald68 Mn Musc Lesson: More Dynac Sgns69 Lullaby, rahs7 Country Dance, Carull7 Mnuet n G, ach7 Mn Gutar Lesson: hree- and Four-Note Chords7 Mn Musc Lesson: Introducng the Sxteenth Rest7 Huoresque, Dvořák7 Ene klene Nachtusk: Roanze, Mozart76 DROP D ND G UNING 78 Excert fro Male Leaf Rag, Joln78 Pano Concerto No, Moveent (hee), eethoven8

2 ECH YOURSELF O PLY CLSSICL GUIR 7 NG GEIED SR SEING POSIION If you have ever seen a classcal gutarst lay, you kno that e st hle e lay and that our oston s unque aong gutarsts he oston has develoed over centures of gutar layng and exerentaton Whle each gutarst s unque, and therefore sts slghtly dfferently fro others, the follong four goals e all share lead us to have ore n coon than not he goals of the seatng oston: Mnze tenson n the body and hands Provde easy access to the entre length of the fngerboard Gve easy access to all sx strngs Securely suort the nstruent thout the use of the hands s you learn roer seatng, you ay exerence soe slght dscofort, or feel unsure about t Just because t doesn t coe naturally to you doesn t ean t sn t akng the best use of your body e atent! e observant of other layers, and check your oston often Gettng Into Poston Follo these stes and you ll be on your ay to havng a correct seatng oston Put a footstool n front of the front left leg of an arless char th a flat seat Stand th your feet on ether sde of the footstool, facng aay fro the char St on the very left frontedge of the char Place your left foot on the footstool, keeng your leg erendcular to the floor Place your rght foot and knee out to the rght Place the loer curve of the gutar snugly on your left knee so that: a he uer edge of the back of the gutar s n the center of your chest b he head of the gutar s eye level, and just barely n front of you c he rght sde of the gutar s restng on the nsde of your rght thgh Place your rght forear on the outer edge of the gutar, algned th or just to your rght of the brdge, deendng on your sze

3 ECH YOURSELF O PLY CLSSICL GUIR SR MKING MUSIC! o roduce a uscal sound fro your gutar, you ll need to develo a good technque for strkng the strngs he ost fundaental asect of strkng the strngs s the rght-hand oston Rght-Hand Poston he uscles that control the fngers are attached at ther ends to the elbo jont and ass through the rst on ther ay to the fngers Snce e are alays concerned about akng gutar layng as easy and stress-free as ossble, e ant to avod ullng on these uscles unnecessarly For that reason, t s ortant to kee your rst straght (algned th the ar) Use a rror to observe your rst oston We need roo to oerate the fngers freely, so arch the rst very slghtly, so that the to of the rst s just further fro the soundboard than the knuckle jonts Do not overdo ths! Your rst should be alost flat endng your rst too uch can cause serous robles he to fngers e use ost, (ndex) and (ddle), are of dfferent lengths: s shorter than for alost everybody, so rotate or tlt the ar toards (on an axs that runs through to the elbo) so that you can just barely see the knuckle of your a (rng) fnger hen you look don at your hand Not only ll ths hel to equalze the length of and, but t ll hel you lay on the left sde of your nal, and slfy your thub stroke, too MINI GUIR LESSON Suary of the Rght-Hand Poston Straght rst Use a rror to check rch he to of your rst should be slghtly further out fro the soundboard than your knuckle jonts lt he a knuckle jont should be just barely vsble hen you look don at your hand Straght Wrst Curled Fngers rch lt asc Fnger Poston eng careful to oston your ar and rst correctly, lace and on the nd and rd strngs, resectvely Move your ar and hand so that your fngers are slghtly curled Your fnger, hch s ostoned on the rd strng, should be ostoned so ts ddle jont s curled above the nd strng he fnger, hch s on the nd strng, ll be ostoned so ts ddle jont s curled above the st strng he other fngers, a and c (nke), ll also be lghtly curled Your thub,, should rest lghtly aganst the t of he overall effect should be that of a loosely held fstas f you ere holdng a ball

4 ECH YOURSELF O PLY CLSSICL GUIR PIECES ON HE H ND H SRINGS Varaton on a Melody by Fernando Sor rack 6 Melody fro Canaros rack 7 by Gasar Sanz Œ

5 ECH YOURSELF O PLY CLSSICL GUIR hee fro rack 6 sturas (Leyenda) Leyenda s erhas the ost faous classcal gutar ece, although t as orgnally coosed for the ano MINI MUSIC LESSON Introducng Sxteenth Notes Four sxteenth notes = equal one quarter note You ll notce that each eghth note n ths ece has to stes, one gong u (sxteenth notes) and one gong don (eghth notes) hs s a convenent ay to sho to thngs: he contnuous sxteenth-note rhyth; and he bass notes and treble notes have the dstnctvely dfferent roles of elody (bass) and accoanent (treble) Use on the oen strng and n the bass throughout by Isaac lbénz # # #

6 6 ECH YOURSELF O PLY CLSSICL GUIR Introducng Hgh,, C, D, and E on the st Strng Your shftng technque ll allo you to learn soe hgher notes on the st strng hese notes have ledger lnes above the staff Snce each looks unquely dfferent fro the others, they are easy to read has one ledger lne, sts just above one ledger lne, C has to, D sts just above the second ledger lne, and E has three Hgh s on the th fret of the st strng Use your st fnger Hgh s on the 7th fret of the st strng Use your rd fnger Hgh C s on the 8th fret of the st strng Use your th fnger Hgh D s on the th fret of the st strng Use your st fnger Hgh E s on the th fret of the st strng Use your rd fnger fr fr D 7fr 7 fr E fr 6fr 7fr 8fr 9fr fr fr fr 8fr C 8 C D E he actual choce of hch fnger to use on any note s based on the context We ay choose one over another for the sake of ease, or for a soother soundng connecton beteen the notes he fngerngs suggested above are just there to get you started ssue that you ll alays be evaluatng fngerng choces lternate and rest strokes n Exales 9,, and Ex9 fr Δ 7fr 8fr fr fr

7 6 ECH YOURSELF O PLY CLSSICL GUIR RPEGGIO SUDIES FROM GUILINI S RIGH-HND SUDIES Wrtten n the frst art of the 9th century, Mauro Gulan s Rght-Hand Studes have stood the test of te as aong the ost ortant exercses for classcal gutar students ranng the Left Hand he follong studes have soe three-note cobnatons for the left hand that ay see akard at frst Learn the sloly ry to develo a lan for the oveents beteen the chords Move gracefully and sloly If a oveent s ted ell starts at the earlest ossble oent and oves no faster than s necessary to arrve at the ne note at recsely the rght te t ll be sooth and easy Generally, left-hand oveents are only dffcult and jerky lookng hen they are sted hnk of your left-hand fngers as dancers, and develo a beautful choreograhy for the Reeber that n an areggo, although you ust ultately hold don all of the notes of a chord together, your fngers can arrve on ther notes one at a te You don t have to grab the all at once hat s just one ore reason hy areggos are a great gutar technque! INRODUCING RIPLES When three notes are groued together th the fgure above or belo the notes, the grou s called a trlet he rhythc value of the trlet s equal to the value gven to to of the sae knd of note In or te, to eghth notes get one count, so an eghth-note trlet ll also get one count rack 67 Ex Gulan No rack 68 Ex Gulan No

8 68 ECH YOURSELF O PLY CLSSICL GUIR Key Sgnatures Key sgnatures aear at the begnnng of every staff hey tell us hch notes are shar or flat n a ece In the oular classcal gutar elody that follos, an F and a C aear n the key sgnature hat eans every F and C n the ece s layed as a shar unless arked th a natural sgn n Largo fro the Concerto n D Major rack 79 oth Parts rack 8 ccoanent You can lay the Largo th a strng orchestra accoanent that coes th the audo for ths book Largo s an Italan ord eanng slo and stately t, use a barre (hold to or ore strngs th one fnger) to fnger the C and F at the sae te arres are often ndcated th a Roan nueral to sho the fret, and a sall rabc nueral to sho ho any frets are beng barred o do a barre, lay the left sde of your st fnger across the st and nd strngs at the nd fret Largo Key Sgnature # # - 7fr Πby ntono Vvald 7 # # # # # # #

9 ECH YOURSELF O PLY CLSSICL GUIR 69 # # II # ΠΠΠ7 # # # # ΠΠΠΠΠΠJ # # # # Πn Πn ΠΠJ J 9fr 8fr fr # # # # J J MINI MUSIC LESSON More Dynac Sgns hs sgn s a crescendo It eans gettng gradually louder and s abbrevated as cresc hs sgn s a decrescendo It eans gettng gradually softer and s abbrevated as decresc

10 78 ECH YOURSELF O PLY CLSSICL GUIR DROP D ND G UNING Many eces rtten for classcal gutar, or arranged for classcal gutar, requre certan strngs to be tuned dfferently than noral We call these alternate tunngs he ost coon alternate tunng s called Dro D tunng, hch calls for tunng the 6th strng don one hole ste, fro E to D For Male Leaf Rag, e frst go nto Dro D, and then also loer the th strng one hole ste fro to G to create dro G tunng he easest ay to get nto an alternate tunng s th an electronc tuner ether a dedcated devce or a donloaded a For ths artcular tunng, t s easy to atch the 6th strng D to the oen th strng D an octave hgher, and the th strng G to the oen rd strng G, also an octave hgher Excert fro Male Leaf Rag rack 86 Here are the notes layed on the 6th (lo D) and th (lo G) strngs n Male Leaf Rag D E b G b =G 6 =D # J llegro # 6 ( ) by Scott Joln # 6 # b b b b b j b ( ) H H # b b