Beginning Guitar For the Classroom A Comprehensive Approach

Transcription

1 Begnnng utar or the lassroo orehensve roach Thrteenth dton Lou Warde Platso Musc oyrght 09, Platso Musc Internatonal oyrght Secured ll Rghts Reserved

2 orard Ths book s ntended for the begnnng student th no revous usc exerence It s goal s that students acqure basc rofcency n three dstnct areas: oular, classcal and enseble layng Poular Style Students ll learn all the basc chords as ell as a varety of extended chords as ell as bar chords hords are alays learned n the context of layng oular songs, fro a varety of genres, so that there s edate and relevant alcaton Playng th the recordngs of these songs s not only fun, but t also teaches the students ho to lsten to and lay to a beat ddtonally, students ll learn all songs by readng song charts, hch contan the chords, strung rhyths, for and other detals of the song The last song n the book s Staray to Heaven s ost already kno, ths s an con of rock usc, and akes an excellent class fnal for the rock secton of ths book It ncludes a varety of chords and strung atterns, soe th deandng and aggressve rhyths, as ell as a varety of fngerstyle atterns Begnnng n Lesson, students ll learn ths song secton by secton, as t correlates to the obectve of each lesson By Lesson 0, students ll be equed to not only learn to lay ths song rofcently, but also authentcally That, n and of tself, s a huge trohy for any gutar layer! utar nseble Unfortunately, enseble usc s often neglected n any gutar rogras But there are sgnfcant benefts to ncludng enseble usc n a gutar currculu The frst s that t s a agcal exerence for students to lay lve usc th each other, ether as a student quartet or a large enseble Secondly, n the context of usc educaton, students learn the ractcal skll of rearng usc for a erforance Ths eans not only learnng ther on art, but also to lsten to ther art n the context of the hole, consderng ortant uscal eleents such as balance, tone, hrasng, dynacs, teo fluctuatons and other exressve devces Lastly, buldng ths fundaental skll no reares students for the follong years n y rogra hen the gutar enseble s an actve erforng enseble nseble layng actually starts n chater, hen students begn learnng to read usc n the context of layng duets th the teacher Lke learnng chords n the context learnng oular songs, learnng to read usc n the context of layng duets not only gves students a relevant and enoyable alcaton to acqurng readng sklls, but t also teaches students to ho to lsten, the ost ortant skll n usc lasscal utar By the second seester, students ll have becoe rofcent enough n usc readng sklls to begn learnng classcal gutar lasscal gutar technque s resented ethodcally, begnnng th sle areggos and endng th three-art coostons ll reertore s taken fro standard classcal gutar lterature Whle develong techncal skll s obvously an obectve here, the goal should be ore than that s ortant as t s, technque s only hyscal No one, ncludng the erforer, ants to hear only fngers layng notes ro the begnnng, I ehasze to y students that hat akes classcal gutar eanngful to both the audence and the layer s hen the layer s able to exress ho they hear the usc ther nterretaton, fraed thn the ereters of the cooser s ntentons The functon of technque s to gve us the tools to artculate hat hear It s never only about the fngers, but about the nner ear When students are able to lay hat they hear, the usc becoes far ore ersonal because they are exressng ther thoughts and eotons through the notes Subsequently, the usc becoes so uch ore eanngful to the as ell as to ther audence ro y exerence, hen students nternalze the usc and ake exresson the goal, techncal astery ll be autoatc NOT: s a suleent to ths book, t s hghly recoended that students and teachers utlze the ebook found on y ebste, LouWardeco

3 ontents PRT I PRT II 57 Lesson ( and hords) Lesson (Sus hords, ertan Knd of ool) 58 et Back 5 l ondor Pasa 59 Lesson (Rhyth) 6 lasscal utar (-- Patterns) 60 The hord 7 Ode to Joy (utar Quartet Score) 6 Hollyood Nghts 8 utar 6 No Ran 9 utar 6 Lesson ( and hords, Notes on the st Strng) 0 Lesson (Sus, Hde your Love ay) 6 Half and Whole Notes, uets --- Patterns (Prelude n ) 65 Lesson (The Mnor hord, ) llegro, studo 66 In Your Te nale (utar Quartet Score) 67 Notes on the nd Strng, uets 5 utar 68 Lesson 5 (, The Whole Nght Sky) 0 utar 69 Wshlst Lesson (add9 hords, The One I Love) 70 Notes on the rd Strng, otted Quarter Note ---a Patterns (Prelude n, Prelude n ) 7 llegro n, Menuett nlanda (utar Quartet Score) 7 Sansh ance (uet) utar 7 Lesson 6 ( and hords), 6 utar 75 The han 7 Lesson (The and Bar hords) 76 Take It asy 8 Have You ver Seen the Ran? 77 Notes on the th Strng, ( Ja, Tones) 9 ---a-- Patterns (Study, tude No ) 78 our-strng Melody 0 Halleluah 79 To asy Peces Lesson 5 obnng Patterns (Study, Ländler) 80 Lesson 7 (7, 7, 7; Notes on the 5 th Strng) Be Thou My son (utar Quartet Score) 8 Hoe (Jack Johnson) utar 8 Buld a Levee utar 8 uets (Play B Menuett) 5 Lesson 6 (B Bar hord, Hotel alforna) 8 ndante n 6 ganst the Wnd 85 Sght-Readng xercses 7 To or More Notes Played Together (Waltz) 86 Note Reve 8 Pedal Notes (ndantno, nglsh ance) 87 Lesson 8 (7, 7, and B7 hords) 9 Here s Love (utar Quartet Score) 88 Sttn On ock of the Bay 0 utar 90 Heartache Tonght utar 9 Notes on the 6 th strng, uets utar 9 Saturday Nght utar 9 uelng Banos Lesson 7 ( oraton Bar hord, Hoe) 9 Sght-Readng xercses 6 ngerstyle Patterns (Hey There ellah) 95 Lesson 9 (B, elds of old) 7 Travs Pckng (ust n the Wnd, reght Tran) 96 ofortably Nub 8 Lesson 8 (dvanced Rhyths: Syncoaton) 97 ccdentals (Maestoso uet) 9 dvanced Rhyths (cont) 98 Jesu, Joy of Man s esrng (uet) 50 Lesson 9 (Patterns haszng the Rng nger) 99 retta (uet) 5 Yosete (utar Quartet Score Parts) 00 Sght-Readng xercses 5 Lesson 0 (Staray To Heaven) 06 Lesson 0 (7, 7, a7, a7, on t Panc) 5 endx 09 Boureé (uet) 55 hords 0 6 th Notes llegro (uet) 56 utar retboard Notes n st Poston radng Rubrc

4 rets st nd rd th Strng: 6 5 Lesson The and hords Place your st fnger (ndex fnger) on the rd strng, nd fret Place your rd fnger (rng fnger) on the nd strng, nd fret Notce that for both the and chord, the ndex fnger s laced on the rd strng, nd fret Kee ths fnger don hen stchng beteen chords It serves as a vot fnger, akng the stch beteen the and chords uch easer ach exercse belo s to easures long and has a te sgnature, hch eans that each easure has four beats t the end of each exercse, you'll see a reeat sgn Ths eans to go back to the begnnng (easure ) and reeat the exercse onstru on beat and rest on beats Stru on beats and rest on beats Place your nd fnger (ddle fnger) on the th strng, nd fret Strng: 6 5 st fnger, rd strng, nd fret nd fnger, st strng, nd fret rd fnger, nd strng, rd fret The Beat Beats exst n all usc They are arkers n te that let us kno exactly hen to stru a chord (or lay a note) and ho long to let that chord or note rng out Playng to the sae beat enables uscans to be erfectly synchronzed Musc s alays organzed nto grous of beats Beats can be groued nto any nuber, but ost often they're groued nto four These grous of beats are called bars or easures (see exercse belo) Ths s called a te sgnature The to nuber tells you ho the beats are organzed In other ords, the to nuber tells you ho any beats are n each easure We can stru a chord on a beat or let the beat be slent Ths sybol tells you to stru on the beat Ths sybol, called a rest, tells you that the beat should be slent Beat easure easure reeat sgn Stru on beats and rest on beat Stru on all four beats

5 ! = Whole note Stru once and let t rng for beats; n other ords, the hole easure = Whole rest Slence for the hole easure S s an abbrevaton for al Segno, an Italan ter eanng, go to the sgn: % 5 INTRO et Back Ths sybol ( ) s called a one-easure reeat It eans to lay ths easure lke the revous one BTLS % RS "JoJo" HORUS "et back" SOLO * HORUS "et back"! SOLO S (o to %) *Whenever you see a reeat sgn, go back to the nearest reeat sgn facng t If there sn't one, go back to the begnnng

6 6 Lesson Rhyth In Lesson, e learned about the beat We also learned to read sybols that told us to ether stru on the beat or to ake the beat slent Ths s called rhyth Rhyth sly tells us hen to lay notes or chords and ho long to let the rng out based on the beat Beats, beng arkers n te, are the reference onts When a note, stru or rest (slence) lasts for beat, t s called a quarter note (or quarter rest), snce t last for a / of a easure note lastng only half a beat s called an eghth note or eghth rest 8th: Note Stru Rest J J Quarter Note Stru Rest Snce eghth notes last for half a beat, e can ft to n one beat To eghth notes on one beat are beaed together so that you kno they both belong to one beat Bea When layng to eghth notes, the frst one s layed rght on the beat and the second one s layed exactly at the halfay ont beteen the frst eghth note and the next beat When countng eghth notes, the frst one s called by hatever beat t lands on e, "one" or "to" The second eghth note s alays called "and" la and count the follong rhyth exercses Pat your la on the rests and and and and

7 Strung Patterns Strung atterns are reeated rhythc atterns e ake hle strung Play the strung atterns belo th a etronoe Make sure you synchronze your donstru to each clck! 7 When to 8th notes are on one beat, the frst s referred to as the donbeat, and the second s referred to as the ubeat Wth that n nd, stru don (!) on the donbeat, and stru u (" ) on the ubeat onbeats = onstrus, Ubeats = Ustrus!!! "! and!! "!!! "! "!!!! "!! " Barton Hollo The vl Wars

8 8 RSS!!!! HORUS (Whole rest) Hollyood Nghts!!!! BOB SR st te: Play 7X nd te: Play 5X st te: Play X nd te: Reeat untl fade-out!!!!! *! * s an abrevaton for a ao, an Italan ter eanng, go back to the head (begnnng) of the usc HORUS RS!!!! % hasng ars SNOW PTROL!!!! Reeat nd te only RS!!! HORUS " " " " sle (ontnue ths strung attern slarly throughout ths horus) Play X then S

9 No Ran 9 Blnd Melon INTRO RS!!!!! HORUS RS!!!!!!! SOLO RS!!!!!! HORUS T

10 0 Lesson to Progresson rku antza Trad Sansh Basque ance st Te: 6X nd te: X Notes on the st () Strng oen st fret rd fret Rest Stroke and ree Stroke Rest Stroke: fter strkng the strng, the fnger rests aganst the strng adacent to t or exale, after strkng the st strng, the fnger ll rest aganst the nd strng The stroke s used hen layng elodes ree Stroke: fter strkng the strng, the fnger gldes u freely toards the al of the hand Ths stroke s used hen layng chords n fngerstyle so that all the notes contnue to rng In ths lesson, you ll learn to read usc for the gutar one strng at a te, and only on the frst three frets, hch s called rst Poston We ll begn th the frst strng, also called the strng snce that s the note t sounds hen layed oen (no fnger held don on the strng) The note on the st fret s The note on the rd fret s (see above) Readng Musc Notce the nubers next to soe of the notes n the exercses belo These nubers ndcate the left-hand fngers you ll use to lay those notes Whle n frst oston, the nubers ll often corresond to fret nubers Hoever, that s not the urose of the nubers Really, n frst oston, nubers aren't necessary at all, snce notes on the frst fret ll usually be layed th the frst fnger, notes on the second fret th the second fnger, and so on Because of that, fnger nubers are used sarngly throughout the book so that you are not teted to read nubers nstead of readng the notes Kee n nd that the ont of these exercses s not so uch to lay the elodes, but to read the elodes Play the follong exercses usng a rest stroke n the rght hand (see above) and alays alternate beteen the ndex fnger () and ddle fnger () Kee the thub of the left hand behnd the neck It shouldn't hang over the fretboard 0 0

11 These are half notes half note last for beats, or half a easure Half Notes and Whole Notes Ths s hole note hole note last for beats, or a hole easure These are the corresondng rests It's easy to confuse the to at frst Ó! Belo are duets on the frst strng You ll lay the to staff and your teacher ll lay the accoanent on the botto staff It's essental that you lsten to and follo the beat n the accoanent ontnue tang your foot to the beat Student Beats: X X X X Teacher Beats: X X X X utar uets Half Rest Whole Rest Student 0 Teacher a a Note Reve Wrte the letter nae of the note belo the staff B ra the note ndcated belo the staff exale ex

12 Student Teacher I I Student Teacher a Ó rt (slo don gradually) n b n rt 5 Student Teacher

13 Lesson The Mnor hord There are four basc tyes of chords: aor, nor, dnshed, and augented ll the chords you have learned so far have been aor chords, dentfed by ust one letter, e "", "", "" When an "" s laced ust after the letter, e, t eans that the chord s a nor chord The "" s sly an abbrevaton for "nor" The dfference beteen a aor and nor chord s not n ther ortance, but n the qualty of sound each roduces oare the qualty of sound beteen an aor and nor chord or an chord and stru t No, for an chord (sly lft your frst fnger off the rd strng) and stru t d you notce the dfference n qualty of sound? xercse No sle The otted Half Note The dotted half note lasts for beats Notce the curved lne that connects the to hole notes n easures and belo Ths s called a te te extends the duraton of a chord or note In the frst easure belo, the chord, beng a hole note, can only rng for beats Hoever, snce t's ted to the hole note chord n easure, t rngs for four ore beats You can thnk of the te as a lus sgn INTRO Beteen the Shados Loreena McKenntt % SOLO Beats: ( ) S rd te: lay X, then, u to th te: lay X SOLO S (on't lay on the reeat)

14 In Your Te Rock Ballad Words and Musc by BOB SR INTRO Ó!!! "! " Otonal Rhyth! "! "! "! " RS (to verse ) BRI SOLO/RS (to verse ) T

15 Notes on the nd (B) Strng B 5 The Iortance of a orrect Left-Hand Poston If your left hand oston s correct, your fngers ll autoatcally be algned th the frets, akng t unnecessary to look at your left hand Ths ll allo you to focus your attenton on readng the usc Reeber, kee the thub behnd the neck (t should not hang over the to of the fretboard) and algned th the ddle fnger The neck of the gutar should not rest aganst the al of your hand Student ust n the Wnd 0 Kansas Teacher Notce that there's only to beats n the frst easure Ths s called a cku The frst note here starts on beat Student 0 Second-Strng Player Teacher

16 6 The Beast Rng Student Teacher (Reeber, hen there sn't a facng reeat sgn, go back to the begnnng) Student obnng Notes on the st and nd Strng B B Strng 0 Teacher g Note Reve Wrte the letter nae of the note belo the staff B ra the note ndcated belo the staff B

17 ance de las Hachas (fro ght asy ances) 7 Student * or asar Sanz (7th entury) Teacher 5 n Student Pavana III Lus de Mlán (500 56) Teacher 6 *Unless secfed otherse, you ay start th ether or ; t's your choce Hoever, you ust alays alternate thereafter

18 8 The te sgnature here s ( beats n every easure) Student ndantno n (excert) Mauro ulan (78 88) Teacher 9 Notce that n the last easure there are only to beats Ths s beat Beats are at the ck-u n easure Student llano (fro ght asy ances) asar Sanz Teacher Ó Ó ndantno Student Study Mauro ulan Teacher 9 6

19 Student Menuet (excert) 9 Mauro ulan (78 88) Teacher Ó Ó Student Study No O 5 ernando Sor (778 89) Teacher ! n b

20 0 Notce the X over the 6th strng Ths eans to avod strkng ths strng hen strung ths chord Bar the frst to strngs th your frst fnger Lesson 5 reas leetood Mac INTRO!! "!! The Whole Nght Sky Bruce ockburn RS (rd te only) (rd te only) X

21 ! "! "! "! " INTRO Reeat st te only RS st te: X nd te: X HORUS st te: SOLO RS HORUS OUTRO ade-out on reeat Pearl Ja Wshlst

22 Notes on the rd () Strng X The otted Quarter Note J The dotted quarter note ( ) lasts for / beats In other ords, beat lus the st half of the next beat Beat: and X Ths eghth note s layed on the nd half of the beat r on the Strng Student 0 Teacher 5 ance on the rd Strng Student " and " Teacher b / II 5 I n n

23 Student llegro n ernando Sor Teacher 5 Student Menuett J Johann Kreger (65 75) Teacher 7 J

24 Ne Note on st Strng 5th ret Sansh ance Student J asar Sanz (7th entury) J Teacher 5 J 9 J J! J

25 5 7 J J! J J Note Reve Wrte the letter nae of the note belo the staff B ra the note ndcated belo the staff B (rd strng) (st strng)

26 6 Lesson 6 50's lché Knockn' On Heaven's oor Bob ylan Play X (on't lay st te after ) nother Brck n the Wall The dot here eans to lay the chord staccato short and detached (otonal rhyth) Pnk loyd (otonal rhyth) Ó (st te only)! SOLO (on reeat) Ó

27 7 The han INTRO q = c7 Ths eans easures of rest leetood Mac RS % (nd te, lay tes) HORUS (nd te, lay tes) S (to RS) q = c56 (The teo s ore than tce as fast as before!) (Bass lne) (Play tes) T (Reeat untl fade-out)

28 8 agles! ( ) (! ) " (! ) J "! " (and) () and () and and Take It asy % RS (rd te) H (nd te) (rd te) rd te to odaf TR SOLO S f O (5th te) Ó (5th te) Play 5X

29 Notes on the th () Strng 9 Wth a lvely, bluegrass feel Ja (add9) (add9)/ (add9) (add9) Teacher Student (add9) (add9)/ (add9) 0 B b q = c 5 Teacher Ó Student q = c 5 sus 7 7(s us6) 7 6 Teacher Student Tones In It Pachelbel anon

30 0 Relaxed q = 7 Student! our-strng Melody! LWarde Teacher 6 b Ó b g 6 g b n b g g 5 0 b b n n n b g

31 To asy Peces for utar uet The duets on ths age should be layed by to students (or to grous of students) It s not necessary that students learn both arts The duets are arranged so that both arts share elody and accoanent Joseh Küffner arr LWarde 5 9 Wrte the letter nae of the note belo the staff Note Reve B ra the note ndcated belo the staff Strng: B

32 Lesson 7 The Shuffle Strung Pattern Norally, the beat s dvded evenly the frst 8th note rght on the beat and the second 8th note excactly at the halfay ont beteen beats: When strus are shuffled (also called sngng), the donstru s held a lttle longer and therefore, the ustru has to coe u a lttle qucker: Beat: X X -Bar Blues Brush the strngs hen strung On the donstru of beats, stru th slghtly ore force

33 INTRO Hoe Jack Johnson 7 RS HORUS 7 RS HORUS 7 (on reeat only)

34 INTRO * > > Buld a Levee Words and Musc by Natale Merchant RS (otonal: al ute on accents) HORUS 7 7 "otta buld yourself a levee dee nsde" 7 RS > U "hgh" HORUS 7 "otta buld yourself a levee dee nsde" 7 Play tes > U Reeat untl fade-out!! "hgh" *The accent arks ( > ) on beats ndcate to stru th a lttle ore force Otonal: add a al ute to gve t a ercussve, drulke sound To al ute, rest the al of your rght hand on the strngs at the sae te your ck strkes the strngs The second half of beats should be clean (not uted) T

35 Notes on the 5th () Strng B 5 Student 0 Teacher Play B 5 N Student Menuett (fro Lesson 5) Johann Kreger (65 75) Teacher 9 Note to Teacher: Begn the Sght-Readng Practce xercses on age 7

36 6 Student Teacher ndante n ernando Sor arr LWarde 5 9 Ó 7

37 Sght-Readng Practce xercses Lke your ably to edately read ths sentence fludly, sght-readng usc s the skll to read usc at-sght, thout the need to ractce beforehand Ths eans that you need to be rofcent n both notes and rhyths Here are soe ts to hel you sght-read ore effectvely: Kee your eyes on the usc ll of these exercses are n st oston; there's no need to look at your left hand lays look ahead so that you can reare to lay hat coes next before you get there Play at a slo enough teo that allos you to lay thout stong Never lose track of the beat If necessary, use a etronoe or ta your foot

38 8 Note Reve Wrte the letter nae of the note belo the staff B ra the note ndcated belo the staff 5 B 6 B Strng: 5th nd st th th nd st rd th st 5th nd 5th rd What s the value of the ndcated note or rest? In other ords, does the note last for beat? half beat? x 9 0 J! Ó Ó

39 Lesson 8 9 INTRO RSS, ragle B7 B7 Stng X HORUS B7 B7 B7 B7 SOLO HORUS B7 B7 Ta lghtly on the fretboard Tango to vora In ths song, you ll stru usng your hand Make donstrus usng the to of the nals of your ndex, ddle and rng fngers Make ustrus usng the to of your thubnal NOT: st and th te, stru hole notes by rollng the chords th the ad of your thub B7 Loreena McKenntt B7 B7 B (x) fne

40 0 Sttn' on the ock of the Bay INTRO Pal ute on beats > > Ots Reddng % B 7 RS HORUS st te: S rd te: to oda f BRI S f oda ade out

41 RS ru Intro ( Bars of Rest) Heartache Tonght RS caella (ocals only) 8 agles HORUS RS, % HORUS BRI nd te: to odaf Instruental Break RS 6 7 f O X rus 7 OUTRO RS 5 8 caella (ocals only) S X

42 Notes on the 6th () Strng Student Teacher 0 5fr fr laenco lrt 0 Student Strollng on 5th ve Teacher Student Mr Travs Takes Walk Teacher Student Pachelbel anon Teacher

43 Playng Bass Notes ddng bass notes to your strung s an ortant skll to learn as a gutar layer It adds another denson to your sound, akng t ore full and nterestng In Saturday Nght belo, lay the bass note on beat one (and the alk-us at bars, 6 50) th a donstroke of your ck Then, donstru the chord on beats to and three Use a donstroke for bass notes also RS 9 9 HORUS nd te: to odaf 7 f O 50 0 Saturday Nght 7 0 * U U U agles *Ths s called a ferata It tells you to hold the chord or note under t longer than the gven duraton, usually at the dscreton of the layer

44 utar utar ery ree U uelng Banos rthur "utar Booge" Sth U Ó U U 5 u U U U U u U 7 U Ó U U Ó U Ó U U Ó U U U Ó U Ó U U U Ó U Ó U U 5 U Ó U Ó U U U Ó U Ó U U

45 5 9 U Ó U Ó U U U Ó U Ó U U u U u 5 U u In te U 8 accel accel ast {q = c 0} tr ll onstrus (or ) 5 > U >

46 6 J Sght-Readng Practce xercses J Wrte the letter nae of the note belo the staff Note Reve

47 Intro B B Lesson 9 ar-stru don elds of old 7 Stng erse B B B B B erse B B B Brdge B B Solo, s 5 6 B B B X Tag B B sus J 5 6 7

48 8 ofortably Nub B Pnk loyd!! "!! "!! "!! " % B RS B st te: Play X nd te: Play X HORUS nd te: to SOLO SOLO S B B SOLO reeat untl fadeout

49 I The shar sgn ( ) rases a note by one fret or exale, s on the 6th strng, st fret I s on the nd fret (See easure ) ccdentals ( ter fro early 5th century, taken fro the Latn ord, accdente, eanng "outsde the noral course of nature") The flat sgn ( ) loers a note by one fret or exale, B s on the 5th strng, nd fret B s on the st fret (See easure 9) b b b 9 Student Teacher Maestoso 0 0 Mauro ulan arr LWarde 5 b b

50 50 Rule on ccdentals When a note s altered by an accdental, t ll stay altered throughout the entre easure (but only for that easure) or nstance, f e shar, all other 's n that easure ll autoatcally be shared and therefore, a shar sgn on the other 's n that easure s not necessary (see 0) Student Teacher Jesu, Joy of Man's esrng Johann Sebastan Bach ( ) 5 5 9

51 6 b b b b b b Ó Key Sgnatures When a note(s) ll be altered throughout a ece, nstead of lacng an accdental on each note, a key sgnature, located at the begnnng of each staff lne, ll ndcate hch notes ll be altered In retta belo, notce the flat sgn ( b ) on the ddle lne at the begnnng of each staff lne Ths ndcates that all B's, no atter here, ll be flat If any B sn't suose to be altered, a natural sgn ( n) ust be laced before that note (See easures 9 7) Ths key sgnature ndcates that all B's ll be flat rd Strng retta for utar uet nuber n a crcle ndcates hat strng the note s on! B Ó! 5 anel ottlob Turk (756-8) arr LWarde 6 b b 0n N *! b b Ó 7 b n 0 b N! Ó * n *Ths s called a courtesy accdental It's ust a render that ths note s, not, as t as to easures back

52 5 More Sght-Readng Practce xercses The exercses belo closely reseble those that ll be on your dter Most of the exercses have accdentals and dotted quarter rhyths It s very ortant that you lay to a beat Tang your foot to a beat ay be a bg hel Reeber, kee your eyes on the usc and alay look ahead! b b J N n 5 Serge Prokofev 6 b 7 b b 8 b b W Mozart 9 b n N b n n

53 Lesson 0 ddng Notes to hords Before e can talk about addng notes to chords, e need to frst dscuss hat a chord s, secfcally chord s ade u of three notes, and because of that, t s often called a trad (" notes") What are these three notes? The frst and ost ortant note s the root The root s the foundaton of the chord and as such, the chord s naed after the root or nstance, the root of a chord s ""; the root of an chord s "" The other to notes are sly dstances or, ntervals fro the root One note s an nterval of a rd fro the root, and the other s an nterval of a 5th Ths s easly understood f e thnk of the root as "" In an chord for nstance,, the root, s "" If s "",, s "" and s "5": -B--- These are the three notes n an chord 5 We can add ore notes to the chord The addtonal note s ndcated not by ts letter nae, but by ts dstance fro the root, ust lke the rd and 5th or nstance, f se ant to add a to the chord, e count ts dstance fro, the root: -B----- We can see that that s a dstance (or nterval) of 7 stes fro Therefore, + = Belo are four ne chords, hch, as you ll see, are sle alteratons of chords that you already kno, and, are easer to lay! 7 7 a7 a7 INTRO a7 on't Panc Words and Musc by oldlay RS 7 a7 a7 7 a7 a7 HORUS a7 X 7 SOLO a7 a7 7 a7 a7 RS 7 a7 a7 7 a7 a7

54 5 Ths age left blank ntentonally

55 (ll 's are shar!) Bourée for utar uet n n 55 Johann Sebastan Bach ( ) 5 n n 8 n n n n

56 56 6th Notes s you kno already, a beat can be dvded nto saller unts We've already dvded the beat nto to eghth notes We can also dvde the beat nto three, four or ore unts No atter ho the beat s dvded, the notes are alays groued together th beas so that you kno they belong to one beat Quarter Note ghth Notes ghth Notes Sxteenth Notes J llegro J Notce that 6th notes have beas Wolfgang adeus Mozart (756-79) arr LWarde 6 0 N 0 N J J N 0 N J Ó J Ó J 9 J J N

57 PRT II lasscal utar The gutar s the ost oular nstruent n the orld It s no surrse then that the gutar s the rary nstruent n ost styles of oular usc, ncludng rock, blues, folk, o, country, and bluegrass In these styles, the gutar s used anly as an accoanent nstruent But the gutar s also a serous and resected solo nstruent for the classcal concert hall The usc rtten for the classcal gutar s both abundant and dverse ddtonally, there are hundreds of serous orks rtten for the gutar n cobnaton th other nstruents In fact, the ost faous concerto of all te s Joaqun Rodrgo's oncerto de ranuez, a ork for gutar and orchestra ( concerto s a ece rtten for one nstruent and orchestra) s e begn to learn classcal gutar n the follong lessons, the an focus ll be to develo rght-hand technque Most begnnng classcal gutar usc and vrtually all oular songs usng fngerstyle technque (e ust n the Wnd, Staray to Heaven, etc) are essentally ust sle chord rogressons layed th atterns n the fngers of the rght hand ro a techncal standont, the only dfference beteen ths usc and the songs you ve layed n ast lessons s the rght hand technque In other ords, you ll stll be forng chords n the left hand, but nstead of strung the chords, the fngers of the rght hand ll lay ndvdual notes usng atterns Playng chords ths ay s called areggos, hch lterally eans, "broken chord" ach lesson ll ntroduce you to a dfferent attern or nstance, the rght-hand attern n Lesson s: thub (), ndex fnger () and ddle fnger () You ll lay ths -- attern contnually, hle the left hand erely changes chord ostons [Note: stands for ulgar, hch eans "thub" n Sansh] ree Stroke When layng areggos, e ant the notes n each chord to contnue rngng untl e for the next chord We accolsh ths n to ays rst, n the rght hand, e ll use a free stroke, not a rest stroke free stroke s dfferent fro a rest stroke n that after strkng the strng, the fngers glde freely toards the al of your hand, allong that strng to contnue to vbrate Secondly, n the left hand, e ust ake sure e contnue to hold don the notes n the chords untl e for the next chord hord Transtons One of the ost challengng thngs hen learnng chords s transtonng fro one chord to the next Ths ll also be true th the classcal gutar usc you ll be learnng To hel you for the chords quckly and accurately, kee fngers don on the notes that ll also be used n the next chord Secondly, alays look ahead so that you can reare for the next chord before you get to t Lastly, never look at the fngers of your rght hand! ong so ll not only nhbt your learnng of the technque, but t ll also hnder the flo of your erforance, snce your eyes ll constantly be shftng fro the usc to your left hand and rght hand Instead, only look at your left hand, and only f necessary In fact, lace your usc to your left so that your eyes can easly shft beteen the usc and your left hand thout ovng your head Readng the Musc When e learned chords and songs, the chord dagra shoed us here to ut our left-hand fngers We sly fored the chord and strued the strngs Unfortunately, chord dagras ould have a very lted beneft n classcal gutar usc chord dagra ay sho us here to lace our left hand fngers, but t doesn't tell us hch notes to lay or ho to lay the n the rght hand Therefore, hen learnng classcal gutar usc, e ust read the usc to kno hat chords to for n the left hand and ho to lay the n the rght hand Lke the songs e've learned, ost of the chords n ths begnnng classcal gutar usc lasts for a hole or half a easure Wth that n nd, hen learnng the usc, nstead of readng note to note as you dd hen you readng duet usc, you ll need to look over all the notes n each easure so that you kno ho to for the chord and hen the chord changes 57

58 58 Lesson Sus hords Sus s an abbrevaton for "Susended th" Ths eans that the note four stes aay fro the root s added to the chord, relacng the rd Ths creates a susended, unresolved feelng, snce our ears ant to hear the chord th the rd Ths s hy a sus chord tycally resolves to the basc chord, as t does n ertan Knd of ool belo ertan Knd of ool sus sus sus sus RS INTRO! "! " " J J J J "! sus sus as INTRO HORUS (otonal ute) > > % RS sus sus sle sus sus sus sus sus Ó J J J J sle agles X J J J J sus sus sus sus J nd te: reely HORUS J J J fne sus > > B SOLO > sus S

59 I'd RS I'd rather be a haer HORUS RS - - rath er be a sar rothan a anel Robles and Jorge Mlchberg Perfored by Son and arfunkel l ondor Pasa rab the st three strngs th your ndex, ddle and rng fngers 59 RS I'd rather be a forest than a street RS I'd rather feel the earth SOLO T rt

60 60 (hord ) * P P P P llegro P P -- Pattern Left Hand: You ll be forng chords n the left hand and holdng these chords for a half, hole or to easures Kee your fngers don on the notes of these chords untl you for the next chord If the next chord has one or ore of the sae notes, kee your fnger don on those notes Ths ll ake chord transtons uch easer Rght Hand: The rght hand ll contnually lay ths attern: thub (), ndex () and ddle fnger () lays use a free stroke hen layng chords The ddle fnger ll alays lay the st strng and the ndex ll lay the nd strng The thub lays the bass notes (stes don) on all other strngs Study No or the chord under the brackets ach chord has only one note you hold don The other to notes are oen strngs (hord ) (hord ) Study No The focus of ths study s thub oveent o not look at your thub! Instead, fnd the strngs by feel (One chord) fro "Sx asy Preludes" Matteo arcass (79-85) 5 7 *These are called trlets, hch eans the beat s dvded evenly nto three

61 Score utar I Ode To Joy (xcert fro Syhony No 9) for utar Quartet J 6 Ludg van Beethoven(770-87) arr LWarde utar II J utar III utar I 6 J J b J N J b b N

62 6 utar Ode To Joy (xcert fro Syhony No 9) Ludg van Beethoven(770-87) arr LWarde J 5 J 9 J utar J 5 J 9 N J

63 Ode To Joy (xcert fro Syhony No 9) 6 utar Ludg van Beethoven(770-87) arr LWarde 5 b 9 b b utar 5 9 N

64 6 Lesson Sus hords The sus chord s slar to a sus chord n that the rd of the chord s teorarly relaced by the nd or nstance, the three notes n a chord are In a sus chord, relaces the : 5 5 You've ot to Hde Your Love ay RS % 8 6!! "!!! "! John Lennon and Paul Mcartney sus sus HORUS S SOLO

65 0 P P --- Patterns Study No Kee the st fnger don on throughout Only the bass notes change 65 T: Lke llegro n Lesson, the ndex fnger alays lays the nd strng and the ddle fnger alays lays the st strng lso, n easures -7, the bass note on beats and ll alays be on the rd strng (-7: chord er easure) P P Prelude n erdnando arull (770-8) n 5 7 (8-: chords er easure Bass notes are reeated) 9 (-: Sae chord ) ently stru th the thub g g Ó

66 66 llegro Matteo arcass (79-85) P P 5 7 Sae Note, fferent Strngs On the gutar, ost notes can be found on ore than one strng or nstance, B can be layed on the oen nd strng or on the rd strng, th fret When necessary, a nuber n a crcle ( ) clarfes hat strng to lay the note on P P studo rd strng (th fret) onso guado (78-89) 5 fne 9

67 Score utar I xcert fro Syhony No nale rranged for utar Quartet 67 alle Sant-Saens (85-9) arr LWarde utar II utar III utar I 6 N N

68 68 xcert fro Syhony No nale utar alle Sant-Saens (85-9) arr LWarde 5 9 utar 5 N 9 N

69 xcert fro Syhony No nale 69 utar alle Sant-Saens (85-9) arr LWarde 5 9 utar 5 9

70 70 (add9)!! "! " INTRO 7 sus otonal % 7 sus 7 RS HORUS sus (add9) 7 sus 7 7 sus 7 SOLO Lesson dd9 hords The add9 sly eans that you add the note 9 stes aay fro the root or nstance, n a (add9) chord, the note nne stes aay fro, the root, s : B xercse No The One I Love 7 sus (add9) 7 RM st te: S rd te: X, then T sus 7 T 7 sus 7 S Note: Begn learnng of Staray to Heaven

71 ---a Patterns Prelude n a = rng fnger (a s an abbrevaton for anular, hch eans rng fnger n Sansh) 7 erdnando arull Whenever ossble, kee your fnger don on strngs hen transtonng beteen chord foratons Ths s true hether the fnger stays on the sae note as a vot or shfts to another note on the sae strng as a gude fnger 5 7 P a P a 0 n 9 a 5 0 P a P a Prelude n P a P P Matteo arcass

72 7 Score utar I nlanda for utar Quartet Jean Sbelus ( ) arr LWarde utar II a utar III utar I 5 9 a

73 7 J n 7 N n

74 7 utar nlanda Jean Sbelus ( ) arr LWarde 7 J 9 utar a 7 n 9 n

75 nlanda 75 utar Jean Sbelus ( ) arr LWarde 7 N 9 utar 7 a 9

76 76 Lesson Bar hords Bar chords are coon n all styles of gutar usc They allo you to easly lay chords that ght otherse be dffcult to lay n oen oston The bar chords belo are sly and foraton chords The frst fnger functons as a cao, allong you to transose these chords u the neck The root of these chords ll alays be on the 6th strng, so hatever note your frst fnger touches on the 6th strng, that s the nae of the chord or exale, belo are the and chords Notce that n both chords, the frst fnger bars the st fret and that the note on the 6th strng, st fret s, the root Because the root ll alays be on the 6th strng, the loest soundng strng on the gutar, ths bar chord ll alays have a nce andfull sound, ust lke the oen and chords! -oraton Bar chord -oraton Bar chord The st fnger functons as a cao The rest of the fngers for a standard aor chord The st fnger functons as a cao The rest of the fngers for a standard nor chord HORUS RSS 7 (Let rng) b b b b 7 st Te: Play Tes nd Te:Play Tes bb b b 5fr Bar the 5th fret fr 7 st Te: S 5fr (Students stru hole notes) Staray xercse fr Teacher Poltk (xcert) laenco lrt Revsted oldplay

77 Have You ver Seen The Ran? INTRO > > 77 reedence learater Revval % RS Pal ute on beats HORUS st te: S HORUS Note: Begn learnng of Staray to Heaven on age 07

78 78 ---a-- Pattern b a sle Study Lou Warde 6 b 0 b rt Maestoso a tude No fro tudes for the utar, O 00 Mauro ulan (78-88) edted L Warde 8 6

79 79 Halleluah avd Buckley RS a 8 a sle a a 6 sle a sle 9 5 Play 5X's T 5th te to T 8 rt

80 80 5 attern a a Lesson 5 obnng Patterns Study attern b Mauro ulan (78-88) 9 7 attern c a a a a a 5 a 9 a a Ländler Joseh Küffner ( ) Note: Begn learnng of Staray to Heaven on age 06

81 Score utar I Be Thou My son for utar Quartet rd te: to O f 8 Trad Irsh Melody arr LWarde utar II utar III utar I 8 g g g g Wth the ad of your thub, gently stru donards g g f g B g g g g g g last te: rt X B g g g g g g g

82 8 Be Thou My son utar rd te: to O f Tradtonal Irsh Melody arr LWarde 6 f 6 last te: rt X utar rd te: to O f 6 f 6 last te: rt

83 utar 6 Be Thou My son rd te: to O f 8 Tradtonal Irsh Melody arr LWarde f 6 last te: rt utar Use a ck or your thub g g g g rd te: to O f g 6 g g g g *B (*see Lesson 6) g g g f g g B g 6 last te: rt g g g g g

84 8 The st fnger functons as a cao The rest of the fngers for an chord B Lesson 6 The Mnor oraton Bar hord Lke the and nor foraton bar chords you learned n the Lesson 5, the nor foraton bar chord s sly an nor chord th the frst fnger functonng as a cao, allong you to transose ths chord anyhere on the fretboard Lke a standard chord, the root of ths bar chord ll alays be on the 5th strng, not the 6th Therefore, the note on the 5th strng dentfes hat chord you're layng or nstance, f the st fnger bars the nd fret, you'll have fored a B chord, snce the note on the 5th strng, nd fret s B (see chord to the left) INTRO The agles B let rng Hotel alforna Play on reeat only % B RS HORUS B S (nd te only) RS B B RS B SOLO Reeat untl fade-out

85 > > ganst the Wnd RS 85 Words and Musc by BOB SR B 7 B 5 PR HORUS HORUS B 7 B B X T 9 Reeat untl fade-out

86 86 llegro To or More Notes Played Together a a a Waltz n a a a 8 P a erdnando arull (770-8) a 9 7 * *nd Poston: Your st fnger s assgned to nd fret lso, you ay use a rest stroke on the elody notes llegro a a a P 9 a a 7 5 a Waltz a a a a a a a a Leoold Megnen (79-87) fne al fne Begn learnng B of Staray to Heaven on age 06

87 Pedal Notes In ndantno belo, there are three arts the elody (stes u), the bass (layed th the elody) and a edal note (the oen or strng), layed at the second half of each beat Not all the notes are equal n ortance The elody s ost ortant and the edal s least The edal should sound ore lke a drone suortng the elody than actually a art of the elody You'll have to use lots of control (esecally th the thub) hen layng these edal notes to accolsh ths! 5 sle P P sle N 9 Moderato P P P P 7 J N 0 P ndantno nglsh ance a P P P 87 Matteo arcass (79-85) Matteo arcass fne al fne

88 88 Score, Relaxed {q = c 76} utar only Ó Here s Love for utar Quartet Welsh Melody arr Lou Warde 7 utar only J utar only 8 Ó Ó sle

89 89 J (X) (XII) 0 a J (X) 6 rt (XII) (X) rt rt rt

90 90 utar I Ó Relaxed {q = c 76} Here s Love for utar Quartet Welsh Melody arr Lou Warde 5 (utar only) 0 J (utar only) 8 Ó (utar ) 7 J 5 J 9 rt

91 utar 5 Relaxed {q = c 76} Ó (utar only) Here s Love for utar Quartet 9 Welsh Melody arr Lou Warde (utar only) 0 J (utar only) 8 7 Ó (utar ) 5 9 rt

92 9 utar 5 Relaxed {q = c 76} Ó (utar only) Here s Love for utar Quartet Welsh Melody arr Lou Warde (utar only) 0 J (utar only) 8 7 (X) (XII) (X) 5 (XII) 9 (X) rt

93 utar a Relaxed {q = c 76} Here s Love for utar Quartet sle rt 9 Welsh Melody arr Lou Warde

94 9 The st fnger functons as a cao The rest of the fngers for an chord B b Lesson 7 oraton Bar hord The -oraton bar chord s the basc chord transosed u the fret th the frst fnger functonng as a cao, allong you to ove ths chord u and don the fretboard Lke the nor foraton bar chord, the root of ths chord ll alays be on the 5th strng So, hatever note your frst fnger touches on the 5th strng, that s the nae of the chord or exale, f your frst fnger s on the st fret, you ll have fored a B b chord (see left) Hoe Sheryl ro RS % B b HORUS B b fr fr st te: rd te: to oda f BRI B b fr fr SOLO/ HORUS B b f O fr Play X Last te: S Reeat untl fade-out

95 ngerstyle Patterns n Poular Musc Tycally, fngerstyle atterns n oular styles, such as rock, folk, and country are very basc and easy coared to classcal gutar Ths s true th Hey There, ellah belo The attern s: --- throughout 95 Ts: a The ndex fnger s assgned to rd strng and the ddle fnger s assgned to the nd strng b You ll not lay the st strng at all c You ll constantly alternate beteen the thub and ndex/ddle fngers d The thub lays the bass notes on the th, 5th and 6th strngs e In the left hand, your ndex fnger ll / bar the nd fret throughout the song Note: Ths ll ork your uscles n the left hand! In that sense, ths song s useful as an etude It ll hel strenghthen your left hand uscles, rearng you to lay the oenng secton of Staray to Heaven INTRO Hey There, ellah (xcert) Plan Whte T's % RS B B/ B HORUS / B B/ 0 0 / B B/ / S 0

96 96 sus sus Ma 7 Travs Pckng Style Travs Pckng, a fngerstyle technque naed after Merle Travs (97-98), s coon n oular styles of usc, ncludng folk, country, and bluegrass The rght-hand attern n ust n the Wnd s: Notce that the ndex fnger alays lays the rd strng and the ddle fnger alays lays the nd The thub alays alternates beteen the th and 5th strngs ust n the Wnd (add9) sus Kansas (add9) Ma 7 (add9) sus sus /B 7 (add9) reght Tran 7 lzabeth otten ( ) b 7 /B

97 Lesson 8 More dvanced Rhyths Syncoaton In oular styles of usc, syncoaton eans that the ubeats are ehaszed Most of the te, ths eans that you ll stru only on the "and" of the beat Snce you ll be strung nbeteen the beats, you really have to have a good sense here the donbeat s Syncoaton s a dstnct characterstc n reggae styles of usc Str t U, by Bob Marley, s a good exale of ths style Notce that you stru only on the ubeats Str It U J J J J J J J J 97 Bob Marley and and and and and and and and Staray to Heaven 7 sus J J and a and () and () and Led Zeeln ad lb () and Kee the rd fnger don as a gude 7 * 7fr 5fr J J J and a and () and () and fr () and () and () and () 5fr *Note: It's very ortant hen transtonng fro the chord here to the chord to the and chords that follo, that you kee your thrd fnger don on the rd strng as a gude fnger! (See belo)

98 98 More dvanced Rhyths (cont) Secton of Staray to Heaven s a very hgh energy secton arguably, the hgh ont of the song The rhyth s fun to lay, esecally at a fast teo, but t can be a bt trcky to learn at frst In order to quckly aster ths rhyth, belo, t s broken don belo nto three stes Ste : Wthout the accents, the rhyth s very straghtforard Play the strung attern at a slo teo at frst 5fr fr fr > 7X (nal: X only) Ste : Next, lay the rhyth th the accents ( ) as shon To accent, sly stru the chord th ore force Notce that every thrd stru s accented ount ths as "--, --, --", akng sure you accent on 5fr fr fr Staray to Heaven > > > > > > > > > > 7X (nal: X only) Ste : nally, you ll ute the strus on " and " Ths ll add a ercussve sound that ll ehasze the accent on "" even ore To ute, sly release the ressure off the strngs thout takng your fngers off the strngs 5fr fr (uted) fr 7X (nal: X only) fnal ord about rearng Staray to Heaven Ths book broke don each secton of Staray to Heaven as t corresonded to the toc of each lesson It's assued that you had astered each secton hen t as ntroduced to you n each lesson, thereby akng the rearaton of ths song uch easer than tryng to tackle the hole song at once If there are stll sectons that you have not yet astered, t's essental that you do so at ths ont You ll kno f you have astered a secton f you are able to lay t fludly and confdently Botto lne, hen you feel you're ready to erfor ths ublcly, then you've robably astered t If not, solate the roble(s) n any secton, hether t be rght hand technque, strung attern, transtons beteen chords, or any other roble area, and ethodcally ork t out Lastly, Led Zeeln's recordng of Staray to Heaven s over eght nutes long! Not only s t ractcal to requre every student to erfor ths song at that length, but t s also unnecessary Snce the length of the song s due largely to the ultle reeats of each secton, reducng the nuber of reeats ll reduce the length of the song thout alterng the basc for of the song Note the laces here the reeats have been reduced: "(nal: x only)"

99 * : Ths eans to for half of a bar chord (st strngs) on the 5th fret a Lesson 9 Patterns haszng the Rng nger studo 99 rancsco Tárrega (85-909) 5 9 * a *Har XII *Otonal: Play these notes as oen haroncs on the th fret 8 6 a a 5 9 n Prelude Matteo arcass (79-85) ed LWarde II Note: Begn learnng of Staray to Heaven

100 00 Yosete for utar Quartet LWarde, J P g g g g 5 g g g g g 8 J g g g g g g

101 (sall notes on reeat) To oda f 0 zz th thub zz th thub g g g g zz th thub 8 ord n B ord n ord g g g g f rt rt rt U U U g g g g g g rt g u

102 0 utar Yosete for utar Quartet J LWarde 8 (sall notes on reeat) To oda f 6 0 f 5 rt U

103 utar 8 Yosete for utar Quartet J J 0 LWarde To oda f 6 zz th thub ord 0 f 5 rt U

104 0 utar Yosete for utar Quartet J LWarde 8 To oda f 6 zz th thub 0 n f 5 rt U ord

105 utar Yosete for utar Quartet 05 LWarde g g g g g g g g g 8 g g g g g To oda f g g g 6 zz th thub n ord B g g g g g g g f 5 g g g rt g u

106 06 5fr / 5fr Lesson 0 Staray To Heaven / 5fr / fr Ma7 /B Led Zeeln st/rd te: (nd te 5fr as bar ) 5 B 9 a a a / (nd te) ( ) () a 5fr rd te: otonal ad lb () a a () a () a a / 5fr n n (a7) a a / fr a a 5 n Ma7 /B rd te: f (bar 7) 0 slde (don't lay nd te) n () () a a (sus)() a a (otonal stru) a X n (nal: x only) (a7) a a () () a (a7) /B /B f 7 g 7 sus J J ad lb 7 7fr J J 5fr fr 5fr J J J 6 7 sus () a () a (/B) J J (/B) () ad lb a 7 7fr () a J J (/B) Ma7 5fr fr J J J 0 a () () (/B) a Ma7 () (/B) a 5fr X (nal: x only)

107 sus sus sus sus sus sus 5 07 (add9) (add9)+ (add9) (add9) add9() (add9) sus sus sus sus sus 8 5 sus (add9) (add9)+ (add9) /B 8 TR SOLO 7/ > 5 ad lb (suggested rhyth) 5fr fr > > 0X (nal: x only) 7 fr 7X "nd as e nd on don the road" (uted) (nal: x only) 5fr fr 9 > ad lb J X 5 ery free 7/ (ocal elody) th te: rt th te: stru on beat only, then lay vocal elody X g

108 08 Ths age left blank ntentonally

109 endx 09

110 0 hords 7 a7 7 (add9) sus B B B 7 Ba7 B 7 B(add9) B sus fr fr fr fr 7 a7 7 (add9) sus fr fr 7 a7 7 (add9) sus 7 a7 7 (add9) sus 7 a7 7 (add9) sus 7 a7 7 (add9) sus fr oraton (Root on 6th strng) Bar hords 7 B b oraton (Root on 5th strng) B b 7 B b

111 Oen 6 utar retboard 5 Strng ret st nd rd th 5th 6th 7th 8th 9th 0th th th b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b

112 Notes n st Poston st () Strng th () Strng nd (B)Strng B 5th () Strng B rd () Strng 6th () Strng ne oes Boy ood very

113 RIN RUBRI OR PRORMNS The erforance goes beyond rofcency t deonstrates a coand of the usc It s ready to be erfored ublcly Perforance reflects colete control and astery of technque Student lays hrases rather than layng fro note to note Perforance s flud There are no hestatons beteen sectons or chords Perforance s exressve ynacs, artculatons, rtardando, etc are observed The student controls the balance beteen elody and bass Student roects the sound th confdence; he or she lays to the back of the roo B The erforance s rofcent The student knos the ateral, but t s not qute ready to be erfored ublcly Technque, notes, rhyths and chords are all correct, but the erforance does not reflect a coand of those thngs Perforance s a bt choy; lacks fludty Student sees to lays fro note to note rather than layng hrases Shos slght nsecurty/hestatons n soe sectons, such as strugglng th soe transtons/chords Perforance lacks exressveness Student does not observe dynacs, artculatons, rtardando, etc Student does not roect the sound The erforance s not qute rofcent The student has learned all the ateral, but not rofcently The erforance s colete, but very rough The student s stll orkng through soe sectons fe rong notes, rhyths and/or chords Soe fngerngs and/or technque ay be ncorrect Severe and consstent hestatons, erhas stong to ork out notes, rhyths and/or chords before contnung The erforance s nadequately reared The student has not learned the entre ece, but at least 60% of t What the student can lay s extreely eak Many rong notes, rhyths, and chords Technque s ncorrect The student can lay less than 60% of the ece (Student receves 0-59%, deendng on ho uch s reared) What the student can lay s extreely eak Many rong notes, rhyths, and chords Technque s ncorrect