a complete method for the guitar : containing the

Jf.m

. .

4 i* I

I

V*"

"•»! I,

t

Given By

-Oliver Pi t son 31

COMPLETE METHODFOR THE

GUITAR:CONTAINING THE

ELEMENTARY PRINCIPLES OF MUSIC,

AND A NEW, ORIGINAL, AND PROGRESSIVE MODE OP ACQUIRING A

RAPID MASTERY ©F THE INSTRUMENT.

INTERSPERSED WITH A PLEASING VARIETY OF POPULAR

SONGS AND NATIONAL MELODIES.

BY

OTTO FEDER.BOSTON:

PUBLISHED BY. OLIVER DITSON & CO., WASHINGTON ST.

NKW YORK : S. T. OORDOH. — PHILADELPHIA : BIOI A LAWTOX.CINCINNATI: TRUAX A BALDWIN

PREFACE.

Those who are acquainted with the instruction books hith-

erto published for the Guitar, will scarcely look for an apology

when a new book of this kind is laid before them. In ven-

turing- this assertion, I do not presume to intimate that I con-

sider the existing methods for the Guitar as devoid of merit

;

but, in my opinion, they have of late ceased to keep pace with

the corresponding works in other branches of music, so that,

judging from the material which most of them contain, in the

shape of exercises, one would suppose the Guitar to be more

destitute of resources than any other instrument. Indeed, few

will deny that, were it not for the occasional appearance of a

good performer, and the positive existence of excellent music

written for the Guitar, the opinion alluded to would soon be-

come universal from the want of progress in the published

methods of tuition. The classical compositions of masters like

Giuliani, Sor, L. Schtjltz, etc., and even their more impor-

tant exercises and studies, which comparatively few have, by a

kind of oral tradition, or by immense application, been enabled

to interpret, are almost inaccessible to such as have no other

guide than the "Guitar Instructors" now in use. It was,

therefore, my chief object in writing this book, to lead the pu-

pil so far, that he can advantageously study the works of the

grtat composers. At the same time, the interests of those

who want to play the Guitar only for accompaniment, have

been duly considered. But for them, this volume would havebeen enlarged by a collection of Concerto-pieces ; as it is, the

first two parts are indispensable to the student who would play

accompaniments that deserve the name, whilst the third part,

though not absolutely necessary, will be found both interesting

and useful.

The explanations given in this book presuppose a pupil whoknows nothing of music, and though they are deemed sufficiently

ample to help him on without a master, yet I would advise ev-

ery one who wishes to employ his time profitably, to secure a

good teacher from the beginning, who, by adapting and vary-

ing precepts, by example, and by warning of bad habits, maydo more for his pupil in one month, than the unguided efforts

of the latter could accomplish in six ; besides, an entirely self-

taught musician can hardly hope, ever to become a finished, or

graceful performer.

I have introduced the various subjects in the order in which

they should be learned, and in such portions as are wanted, as-

piring, not to a systematical development of theoretical propo-

sitions, but to that of the musical understanding, and the phy-

sical capacity of the student.

THE AUTHOR.

Entered according to Act of Congress, in the year 1858,

By OLIVER DITSON & Co.,

In the Clerk's Office of the District Court of Massachusetts.

C. W. Warbkn, Mueic Stereotyper, rear No. 43 Centre St., N. Y.

PART FIRST.

INTRODUCTION.

The Guitar, though in general, used merely to accompany

simple ballads, (to which purpose it is, doubtless, eminently

adapted), is yet, on account of its compass and completeness,

fully qualified to be used as a solo instrument. It does not pos-

sess the capacity of sustaining notes like the Violin, nor can it,

in point of power and fullness, compete with the Harp; but it

combines qualities of both which, together with its extreme deli-

cacy of tone, makes it a highly efficient instrument in the hands

of a skillful performer.

It is often objected, that the practice of the Guitar presents,

in proportion to the result, more difficulties than that of most

other instruments. This, however, is an error, owing partly to

the facility with which ordinary accompaniments are acquired,

which makes the labor expended on further improvement appear

so much greater, and partly, to the inferior quality of the instru-

ments in use, which are called Guitars only by courtesy. More-

over, the fashion of arranging music indiscriminately for the

Guitar, has contributed to give currency to the opinion just men-

tioned. The mechanism of one instrument often affords great

facilities for the execution of certain passages which, if impos-

ed upon another, may involve considerable difficulties without

producing a corresponding effect. Besides, it .should be borne

in mind that, when great versatility is desired, inherent peculi-

arities of character must act as obstacles ; therefore, the Guitar,

whose tone is of a highly peculiar quality and color, cannot be

equally well calculated for the performance of every kind of

mu-

An amateur should, as much as possible, adhere to the com-

positions of good masters, and before attempting to play an ar-

rangement, ascertain that it is done carefully, and well suited to

the instrument.

STRICTURE OF THE GUITAR.

Tin: <ii inn is composed, 1st, of the body, or hollow portion

nana the s*>in<ling-btMird, the back, and

The height of the strings above the surface of the instrument

as regulated by the bridge at one end, and by the nut at the oth-

er, is of great importance. Some manufacturers place the

strings very high, with a view to prevent their jarring against

the frets, but without regard to the facility of playing. If the

bridge is too lugh, the fingers of the right hand must contract

more than convenient to touch the strings ; it the nut is too

high, the fingers of the left hand cannot stop the strings v\ith

ease.

The finger-board and neck have also to be carefully consider-

ed. If the neck is too thick, the hand becomes soon fatigued,

a very thin neck is liable to bend. A little observation and com-

parison will do much towards dealing up any doubtful point ex

this nature. The finger-board must be neither too broad nor

too narrow ; the latter is more frequently the case than the for-

mer, especially from the nut to the third fret. The surface ol

the finger-board ought to lie very slightly curved from light to

left, and the profile of the bridge should correspond with that

curve. There are some finirer-hoards with a trai ivity

between the frets which scarcely project above the wood, on

pretence of affording relief to the left hand ; ihese are to he

discarded entirely. The frets should lie of metal, carefully

polished, placed perfectly parallel at gradually lesscnm? distan-

ces, and should rise very distinctly shore the board, without

protruding with either end at the sides of the neck.

The distance between the nut and the bridge may be from

twenty-four to twenty-five inches for the common Goiter ; the

scale of the so-called Third-Guitar, which is tuned n minor

third higher, is proportionally shorter. The Concert. is of ( .'n -

LtvNi, the Prime <>f his admirable duetts for two Guitars, and

other concerted pieces are written for the Third-Guitar, the tone

of which is more penetrating on account of its higher pitch, and

therefore better calculated to bear the accompaniment of other

instruments.

The Cope Totio, a smnll ledpe of wood lined with leather,

ivllich, b\ >>f a string and p( g, can be screwed to the fin-

ubir

called jrrrj.|iwwnJ—IwH

Below this is the hritlge, within v\

cured by being slung into a knot and kept down by httieprns.*

• T wh^n kmtd, or«*t»n\y t»o<l t<> .)r»w ih<< bflidfi ir, Um •iirro-

••'. whi.-ti i;rn*n»lly rwnlu in » doprrwinn of tlic Krnad l»i«r<l

>\l «iil>\ and » reining of it on th« otiwr bUi of Mm t'nd^<" T.i '•TiaU

lUi insularity, which muat iinpod* Um tYtn v itmrtion of th« .ouuJ-board, and

r iM(f| i ii"' intrriVra with the ton*, ft eont ri ranrr kir>» i

m«nt, i»|.|^.»r« .. ry wrtiwahl*. It •mwiata «( i» t«m ro

at iu .mall w»r »»lr»niity <-f th*

hssiiii it ill In II ill ill I' r •• ,-

I thf tftil-pfoeft, ami It V lb* r»-

qniaiU height tv> ••»<• tin- ••un<l-l-*nl.

METHOD FOR THE GUITAR.

The tone of every new Guitar has something more or less

harsh and dry, which dors not wear off until the instrument has

boon in constant vise lor some years.

The best Guitars were formerly made at Vienna ; very had

imitations, hiving nothing in common with the genuine instru-

ments but the pattern and the light color of the varnish, have

since been thrown into every market. The better sort of French

Guitars may he ranked among the second class instruments-

The Spanish Guitars, though often made of excellent old wood

and possessing a fine tone are of a somewhat uncouth shape and

generally deficient as regards the finger-hoard. European in-

struments are not always calculated to resist the climate of the

northern countries of America, and the necessity for their im-

portation seems entirely superceded, as probably the best Gui-

tars are made in the United States.

ON STRINGS.The Guitar has six strings ; three of catgut, and three of

silk spun round with silver wire. The relative thickness of

tbese strings is a point of importance. To determine the due

proportions in that respect, it will be safest at first, to consult a

gauge, consisting of a metal plate with a graduated slit. The

grades marked with the letters E, A, D, G, B, E, show theTO

average diameter of the corresponding strings. Beginners

would do well to commence with a thin set of strings, and sub-

stitute thicker ones gradually, as their fingers improve in

strength.

Of equal importance, with a proper thickness of strings, is

the quality of their material, and a perfect evenness and com*

pactness throughout their entire length. Unfortunately, many

complaints are heard on this subject, not only from Guitarists,

but from all performers on stringed instruments. A silver

siring may be bad from being spun closer in some places than

in others, which can be perceived by the eye, or the touch ; it

will then sound false ; it may be spun too close altogether, which

will give it a harsh sound ; if spun too slack, the tone will be

faint ; if the wire is bad, it soon wears out at the frets ; if the

silk is bad, the string will break when tuned up to pitch. As it

\6 next to impossible to distinguish these latter qualities by the

eye, the purchaser will practically have no alternative but to

find out the best strings by experiment. The same observation

holds good with regard to the gut-strings ; for though every mu-

sician knows that the best are made in Italy, yet there is such a

difference in Italian strings, and such close imitations abound,

that mere description cannot lead to the discovery of the genu-

ine sort. All that is, thp* b^-y

be -j&*. \vtfitTah color, transparent, and glossy; dull, ypUow

strings are generally old and damaged. Unbleached silk should

be used in the manufacture of silver strings.

Before putting the string on, examine its vibration by seizing

the ends between the first finger and thumb of each hand, stretch-

ing it with some force, and striking it with the little finger. If

the string is equally compact and thick throughout, the vibrations

will show two curved lines forming the boundaries of the space

in which the oscillation takes place ; if it is uneven, an irregu-

lar third line, or more, will be seen between the two former

After the string is drawn up and tuned, the twelfth fret should

give the correct octave of the open string. If it is found to be

false in this respect, a portion at the end should be cut off, as

the unevenness occurs sometimess at the extremity, and the vi-

bration of the rest may be regular. Whenever a string is new-

ly put on, it will relax continually for sometime, the instrument

should therefore be strung, at least, several hours before you

intend to play upon it.

To protect the strings against the influence of the weather, and

to preserve the instrument generally, it ought to be kept in a

well lined wooden case, into which it should be carefully depos-

ited every time after it has been used.

NOTATION.The signs for musical sounds are called notes, and the meth-

od of writing them is termed notation. The notes are namedafter the first seven letters of the alphabet : A, B, C, D, E, F,

G, which are repeated as often as the extent of the notes re-

quire it. The pitch of a note is determined by means of a sys-

tem of five lines and four spaces, called the staff.

m iFive lines.

IFour spaces.

If the following sisrn : called the Treble Clef, or G

Clef, is placed at the commencement of the staff, the lines and

spaces, or rather their respective notes, are termed as follows :

-&--&- -G-

-&-

zesi-jbzl

ISC3L

*^ E G B ]> F F A t

The lines and spaces in succession read :

> <Q

i

zsi gp . o~ -&- ISC

To complete the series of notes used for the Guitar, jJ » ue

cessary to introduce ledger-lines above and below the staff :*

-zr**-Y aB

E F

9sr 3z:JBL -<s- 3z:

-&--& J22.

IC D E F GABCDEFGA

For the present it will be sufficient if the pupil learns the notes as far as G, above the staff.

METHOD FOR THE GUITAR,

The sounds here represented, hy what are called natural notes,

arc not all equally distant from each other in point of pitch

;

between some of them there are sounds for the notation of which

we have no seperate place left. Such is the case, for exam-

ple, between C and D. We either consider that sound as a C,

raised from its original degree, and call it C sharp,

natural position, and call it D flat, Db_.| (g) f.

The

C#, or, we regard it as a D, lowered from its

following diagram will show, where such intermediate degrees

are found. The dotted lines connect the notes which represent

the same sound.

i -»-*-» r-^?r^ „ VJ m j, "#> - "|" -»?*-!- ly.b,^ I I

It will be observed that there is no intermediate degree be-

tween E and F, or between B and C.

If a note that has been raised or lowered by a sharp, (#), or

flat, (h), is to be restored to its natural degree, this sign, (4), call-

ed a natural, is prefixed to it

:

The value, time, or duration of a note is determined by its

form. The longest note used in Guitar music is called a whole

note, or semibreve,| |

» a stem at ita side| j |

makes it a half note, or minim the head filled up| ,

r " z|

makes it a quarter note, or crotchet ; a hook to the stem

makes it an eighth note, or quaver ; two hooks,

transform it into a sixteenth note, or semiquaver ;sthree hooks

ft^ into a thirty-second note, or demi-

semiquaver ; and four hooks \~ ? *~J m*° a sixty-fourth

Pnote, or hemidemisemiquaver. The relative value, or duration

of notes is shown by the following table.

Whole,

I

-jo-. Semlbrtre.

Halve*. 23 n Minimi.

Hoirirn.I

I i.h.h. "j* # I Qmmt

i '

Mwnitn. r^=v * ' * '^^ haininn.

Thlri) «<•

<> METHOD FOR THE GUITARTims, it will l>r understood, that during the time given to one

sonubrove. two minims must be played; in the time of one

minim, two crotchets, etc., etc.

Each class of notes has a corresponding sign for silence,

called rest.

iA 1 SL

t BiWhole ltar Rest. Minim Rrst, i ratchet Rest. Quarer Rest. Semiquaver Rest. Demisemiquavcr Hemidrmisemi-

Rest. quaver Rest.

A Dot placed behind a note adds to its duration one half of

its original value. It is the same with dots after rests.

example.

-&- m P^^E

i\n.i_u±±MIf two dots are placed behind a note, or rest, the second dot

adds to the whole, a quarter of the original length of either.

EXAMPLE.

m i mZZE.

^ i £r->

To facilitate the reading of these many-shaped notes, and

rests, all musical compositions are divided into measures, form-

ed by those groups of notes and rests which are contained be-

tween two lines, or bars, drawn perpendicularly across the staff.

Sm AAJL T2L ^^If we consider a number of consecutive bars, or measures,

of a strain, and compute the value of the successive notes and

s in each, we shall find that one bar has the same duration,

that is to say, the same aggregate amount of quavers, or crotch-

ets, as the other. Indeed, we always find it stated at the com-

mencement of a piece, how many fractional parts of a uniteach bar

is to contain ; for on this regular measurement of time throughout

a piece, the pleasing flow of melody, to a great extent, depends.

When we are to have four crotchets in a bar, it is expressed by

this ie two crotchets in each are indicated thus :

m This is called common time. Three crotchet

m are1 1, and three quaver time, t^R

twelve quaver, and six crotchet

time, jmjf~~| > are comprehended under the name of com-

pound time.

A certain stress or accent is laid on the first note of the bar,

and a second, but weaker accent falls on the note with whichthe second half of the bar begins. In common time, therefore,

the greatest weight falls on the first crotchet, and the second

and fourth have less than the third. In triple time, only the

first note of the bar receives the accent. In six quaver time,

the first and fourth quaver of the bar are accented.*

RECAPITULATI (

NOTES. PITCH,

Q. By what means are musical sounds represented to the eye 1

A. By certain characters called notes.

Q. How is the relative pitch of sounds determined by notes 1

A. By their being written on a system of lines and their in-

termediate spaces, called a staff.

Q. How many lines and spaces has the staff 1

A. Five lines and four spaces.

Q. Can the staff embrace all the notes produced on the Guitar 1

A. It cannot.

Q. How are the rest of the notes written 1

A. On and between auxiliary, or ledger-lines, above and be-

low the staff.

Q. What are the names of the notes %

A. A, B, C, D, E, F, G.

Q. How are these names applied to the staff 1

A. By means of a sign, called clef.

Q. "What clef is used for guitar music 1

A. The treble, or G clef.

Q. How is the clef formed, and where is it placed 1

Thus:; and it is placed on the second line, counting

from below. ^Q. What then is the name of *:.« second line t

A. G.

* Further remarks on notation will be found among the exercises, as occasion

calls for them.

METHOD FOR THE GUITAR

Q. What are the names of the lines in the following diagram 1

m §

A.

Q-

A.

QA.

Q-

A.

E, G, B, D, F.

And of the spaces 1

F, A, C, E.

What letters are on the lines below the staff!

C, on the first ; A, on the second, and F on the third.

And what letters are in the Bpaees 1

D, in the first; B, in the second^G, in the third, and E,

in the fourth. \

Q. What is the name of the space immediately alwte the staff

!

A. G.

Q. Name all these lines and spaces in succession.

A. E, F, G, A, B, C, D, E, F, G, A, B, C, D, E, F, G.

Q. Do the names of the notes coincide with those of the lines and spaces

on which they are written 1

A. They do.

Q. What general term is applied to the notes just enumerated 1

A. They are called natural notes.

Q. Are there any other sounds besides those expressed by the natural notes 1

A. There is an intermediate sound hetween every two suc-

cessive natural notes, except between E and F, and between BandC.

Q. How are these intermediate sounds represented on the staff 1

A. By certain signs called sharps, (#), and flats, (h), prefix-

ed to the natural notes.

Q. Flow is the soond between C and D represented 1

A. Either by a sharp prefixed to the C, in which case the

note is called C sharp, or by a flat before the D, which is then

called D flat.

Q. How is such a note restored to its original degree 1

A. By having a natural (4) prefixed to it.

Q. Are all the other intermediate notes derived and treated in the same

way?

A. They are.

LENGTH OF NOTES. RESTS.

Q. How may notes differ from each other as regards the length, duration,

or value of the sounds they represent!

A. They are either units, or whole notes; half notes;quar-

ter ; eighth ; sixteenth ; thirty-second ; or sixty-fourth notei.

V How is the whole note, or semibrevo characterized '

/A. By an open oval, or head.

Q. The half note, or minim !

A. By an open head and a stem.

«V What distinguishes the quarter note, or crotch' -t'

A. A filled head and stem.

Q. The eighth note, »r qua

4. A filled head, .stem ami one hook.

Q The sixteenth note, or semiquaver *

4 A filled head, stem, nml two hook*.

Q. The thirty-second note, or demisemiquaver t

A

.

A filled head, stem, and three hooks.

Q. The sixty-fourth note, or hemidemisemiqnaver !

A. A filled head, stem, and four hooks.

Q. May the stems and hooks of notes be turned upward or downward, with-

out influencing their value !

A. They may.

Q. now are the marks for silence called 1

A. Rests.

Q. How is the whoh bar rest represented !

A. By a filled parallelogram marked under a line.

Q. The lialf rest

!

A. By a filled parallelogram marked over a line.

Q. The quarter rest 1

A. By a hook turned to the right.

Q. The eighthI

A. By a hook turned to the left.

Q. The sixteenth rest

!

A. By a double hook turned to the left.

Q. The thirty-second rest '!

A. By a stem with three hooks turned to the left.

Q. The sixty-fourth rest 1

A. By a stem with four hooks turned to the left.

Q. Can the value of a note, or a rest, be increased without ehnngiug its

form 1

A. It can, by a dot.

Q. What is the effect of the dot 1

A. If placed directly after a note, or rest, it increases its

value one half.

Q. What is the effect of a second dot pluced directly after tin- first 1

A. It adds to the whole, one quarter of tin- ordinal value

of the note, or rest.

Q. What is the equivalent of a whole note with a dot

'

A. A whole note and a half, or three half notes.

Q. And of a whole note with two dots ?

A. One whole note, one half note, and one quartet note; or

seven quarter notes.

Q. Does this proportion hold good with regurd toll,.

A. It dots.

TIME.

V What is a B«r 7

A. A perpendicular line drawn across the stuff.

Q. What is it-

A. It facilitate! the reading of music, by dividiu

strain into small portions of equal duration.

V What i* a Me < *rM*

A. That which is contained between two siuulc bars.

Q. What is I. mlA. The duration or value of a measure.

iy Ho* .-.l

'

A. By fig) flic foniinenc.

ing how man) IV irts of nn unit each meanure .

tin.

s METHOD FOR THE GUITARQ. What essential varieties enn there be in this distribution of time ?

A. There is common time, triple time, and compound time.

Q. What constitutes common timet

A. A number of fractional parts in a measure which can be

divided by two.

Q. And triple time !

A. A number which can be divided by three.

Q. And -what is compound time 1

A. A combination of several measures in triple time.

Q. What figures are most frequently employed to indicate common time ]

A. This or 1 , which directs that

each bar, or measure, is to contain four crotchets, or quarter

notes ; and this ["fe^T I > which gives two quarter notes to

each bar.

Q. How is triple time generally represented 1 .»

A. By

Q. And compound time !

Q. When the fractional parts in a bar are counted, or marked by beating

does each beat receive an equal emphasis 1

A. The first beat in the bar is always more accented than

the rest.

Q. Arc any other beats accented 1

A. In common time, the third beat has also an emphasis;

and in compound time, the first of every group of three fractional

parts is likewise accented.

HOLDING THE GUITAR.

The most convenient manner of holding the Guitar, is, to let

it rest with the cavity of its left side on the left knee,* its

head being about level with the shoulder of the performer. Afootstool under the left foot is almost indispensable to a begin-

ner. The right, or upper side of the instrument should be a

little inclined towards the player, so that he has a glimpse, and

no more, of the surface of the fingerboard.

The left hand supports the neck by means of the forefinger

and thumb, without allowing it to sink to the depth of the di-

vision between them. The root of the little finger should be

brought near the fingerboard, so that this finger, though shorter

than the rest, may also fall, with its fore-joint, perpendicularly

on the strings. The ball and palm of the hand must, as a gen-

* Some pretend that it is preferable to support the Guitar with the right knee.

There may be no objection to this method so long as the performer limits him-

self to a few chords stopped near the nut ; but when the left hand is carried

up to the twelfth fiet, or beyond, its pressure would tend to push the Guitar off

the lap altogether, and it would loose the necessary facility, and force of action,

when the points of the fingers are brought to bear upon the strings in an ob-

lique direction.

eral rule, be kept removed from the neck; the elbow mustneither be elevated, nor drawn close to the side, but hano- downnaturally. The fingers must, as much as possible, be held par-allel with the frets, and whenever they are called into play, therequired counter-pressure should be afforded by the fore-joint

of the thumb.

The right hand has its place generally over the strings be-tween the bridge and the rosette, and it is supported by its little

finger,* planted near the thinnest string, about two inches abovethe bridge. The fore-arm rests on the edge of the instrument.

In order to sound a string, place the point of the respective

finger against it, push it gently, either with the thumb towardsthe fingers, or with the fingers toward the thumb, and let it slip

off suddenly without allowing the nails to come in contact with.

it. The best tone is produced by the edge of the point of the

finger. The strings must not be pulled, but pushed. The prin-

cipal condition of a rapid execution, as far as the right hand is

concerned, is, that its exertion be confined to the fingers alone,

which must act from the root or knuckles, and that every at-

tempt at facilitating their first efforts by a jerk of the hand, or

arm, or by taking the little finger off the sound-board, be care-

fully abstained from.

THE FINGERBOARD

Is furnished with frets to enable us to shorten the strings ef-

fectually, by pressing them down, or stopping them with the fin-

gers of the left hand, in order to draw from each, a number of

sounds varying in pitch. There are twelve frets from the nut

to the body, and at least five more over the sound-board ; how-

ever, for the present, we need only consider the four frets near-

est the nut. It will be recollected that the lowest note of the

Guitar is E. This is the sound of the thick-

—v-

est silver string. By placing the point of the first finger of the

left hand on that string, immediately ahove the first fret, and

pressing it down firmly, it will give the sound of F.

I Proceeding, in like manner, with the second

-^-.</

finger at the second fret, we obtain F sharp. m* It is sometimes asserted that the little finger had better not rest on the fin-

ger-board, lest the other fingers be cramped. There is, however, no danger of

that, if the bridge is not too high ; and it is difficult to see how, considering

the rapid and close action often required of these fingers, they can be kept

steady enough for an unerring touch with a point of support so far off as the

middle of the fore-arm. A slow movement may doubtless be played in this

manner, when the fingers can recover their position in the intervals of time,

but it seems more than improbable that they will ever acquire a great degree of

independence by such practice.

METHOD

The third, finger, at the third fret, produces G. I

and the fourth finger, at the fourth fret, will give G sharp.

rfa I . Thus the series of notes produced by the

open E string, and at the first four frets are :

O lit 2nd 3rd 4th (Vet.

We have, in the begin-

ning, no occasion to proceed any farther on that string, for the

next open string will give us the next note of the scale, which

is A. If we treat the A string in the same

manner we did the E string, we obtain the following notes.

O lit 2nd 3rd 4lh Tret.

^ «» -^ T f%The next, or D string,

THE GUITAR.O lit 2nd 3rd 4th fret.

has

g *» o a #&*, \

9

Then comes the G

string, on which we only ascend to the third fret, thus

:

^ O l»t 2Bd 3rd fret.

Y(fc$ eg -#<s> & #&|

The following is the B string,

t7~

[

O l«l 2nd 3rd 4th frei.

g a Ufa g»=3^=lproducing

nest, likewise called E, or first string, has

and finally, the thin-

O lit 2nd 3rd 4th fret.

ra £g ,

zzl " The open strings are tunedQ kj G Jfrg

Sth Sth 4lh 3rd 2nd lttttrlni.

thus

:

~ts-

mand the entire scale presented by them, up to the fourth fret, is :

f vrniNG. A STTMHO. D STRIMi. 8 STRING. II STH IX.eitrim;.

J &V» : ~T~

The dm of the other frets will become evident hereafter. In

the mean time, the pupil should repeatedly stop the strings at

all tin- fnt* mentioned, in regular succession, and name the

note- they represent, so as to become somewhat familiar with

the finger-board.

TUNING THE GUITAR.

Ti nk the fifth, or A string, in unison withn.ii A taring fork, or

take the tone from another instrument ; then stop the A raring

nt tin fifth fret, which will (rive you 1), anil tune the 1) string munhton with that. This done, take the (J at the filth Gretoi the

I) string, und regulate the open G riling teoordingly. Tl

raring is then itopped at the fourth fret, to produce H, which

Nun take :i> i pattern-sound for the open li string. On the hfth

fret of the H itring is I'., by which you tune thr open E, or

first ttring. Yon then regulate the lower K, or sixth striru

eording to the first, and, la ascertain whether it* pitch is cor-

rect, ttop it at the fifth frrt, which should produce A, and rum-

it with the sound of the open A raring, from which you

burled. To pri'M in oonfaaiou,taha bl as to which peg

the string you are tuning is fastened, and which way the pegs,

or screws turn.

The mechanical part of the operation of tuning, ns here de-

scribed, may he easily understood, rot begionan hud it often

v. rv troublesome to tune their instrument- can-

not exactly det. nnine whether, for instance, the I) taken on the.

A string and the sound of the optU I) itring are in unison or

not. tin- one being produced by a short, thick vtring, and

other bj one much thinner and longer; hence, thougfa the two

D's may agree perfectly in pitch, their quality of tunc will dif-

fer, which is apt to miflli id the student for a time. Tl

cle will be gradually overcome, it the teacher causes the pupil

to tune Ins iiistruineni nt the begiiuung oi every l< ding

the ear of the latter ohiefly by >|

It may l»- obaarrad bt ra, ihnt Guil

tave qI>.)\. ,d pitch, in order to aupcfoeda the nec> •

of a doiihlr Matt as med lor Harp, <>r Pianoforte mu-ic Thrtrue pitch of the open string!

g »T 'z

io METHOD FOR THE GUITAR.

RECAPITULATION.

QUESTION'S TO BE ANSWERED BY THE STUDENT.

How many strings has the Guitar ?

What are their names ?

Which is called the first string ?

How many frets has the Guitar between the nut and the body ?

What notes are produced at the first four frets on the sixth

string ?

What notes are found at the same frets on the first string ?

What notes are played on the A string '?

At which fret does the sound of a lower string coincide with

that of the next string above ?

At which fret is the G string in unison with the B string ?

Name the notes on the D string, G string, and B string.

SIGNS.

FOR THE LEFT HAND.

Thumb, x

First finger, 1

Second fmger, - 2

Third finger, - 3

Fourth finger, - 4

_ EXAMPLE.

FOR THE RIGHT HAND.

Thumb,

First finger, -

Second finger

Third finger,

A-z

?&=2*-=5

A

ON PRACTISING.

Those who would make rapid progress on the Guitar, should

devote to it a couple of hours every day ; in the beginning, how-

ever, short pauses ought to be frequently made in practising,

until the hands, and especially the points of the fingers are in-

ured to their task.

It cannot be too strongly urged, that all practice is in vain

which does not tend to impress the students mind with an accu-

rate perception of the distances to, and the direction in which

the fingers have to move. Consider therefore, mentally, their

actual position and the changes intended in either hand, and

avoid playing, as it were, at random.

Do not play a whole piece over and over again in order to

master some difficult passage, but practice such in detail.

Before playing a piece for the first time, examine it, and ob-serve how the notes, or musical figures with which you are not

yet familiar, are to be executed. This will do much towardsenabling you to play in time, which means, to allot to every

note and rest its due value jor length.

EXERCISES.

Observe. A sharp placed at the clef influences all the notes

which bear the name of the line or space occupied by that

sharp.

In the first exercise, there is a sharp (#) on the F line, conse-

quently every F occuring in it is to be read F#. There is,

moreover, a sharp before the D in the fourth bar, the effect of

which does, however, not extend beyond the bar in which it

stands, it is called an accidental, in contradistinction to the sharp

at the beginning of the staff, which, together with the clef and

the figures, indicating the time, constitutes what is termed the

signature of the piece.*

The exercise is to be considered as written in two parts, Bassand Treble, the first note of every three belonging, as a quaver to

the one, and as a dotted crotchet to the other. The fingers of

the left hand must continue on the stopped notes, until their value

is expired. In the fifth, sixth, and eighth bar, the first Bassnote is tied to the second, which means, that it is only to be

struck once, but held as long as the value of both notes taken

together, requires it. If two or more consecutive groups ot

notes have one stopped note in common, it is generally recom-

mended to keep the finger on it all along, instead of putting it

down anew each time it is wanted.

Before you begin to play, find out the places of the following

notes.

"T^lt -* Ic

* It may appear strange that any but natural notes should occur in the first

exercise put before the beginner ; but there can be no doubt that a pupil -will

more readily perform a piece with sharps, if the chords they involve are easy

of execution, than play a piece composed entirely of natural notes, if it requires

a greater physical effort. The key of C, though the easiest to read, is by no

means the easiest to play in.

METHOD FOR THE GUITAR. 11

PLAY VERY SLOW AT FIRST, AND KEEP TIME AS STRICTLY AS POSSIBLE.

3 - a .^—. 3 a- 2 •» - 3 •» ^ 2 3m^m^m^^m 1 JL

No. l. M • * •

Iff-»f~ • • • • • ™ •

:J f"» x: ^ f f r=

rJS

H .^ S -9=1:I

-r/) a-

F " r tt

T r

The following exercise contains but the same chords as the

preceding one ; they are, however a little more extended, and

present a different musical figure ; one new note is introduced.

The letter /, at the beginning, is an abbreviation of the Ital-

ian word forte, (loud). I may add, that p (piano) means soft j/Minue to influence the music until a modification is indicated.

pp, (pianissimo), very soft ; ff, (fortissimo), very luiul ; cresc,

(crescendo), increasing in power, also, represented by this

sign —=r ; and decres., (decrescendo), decreasing tn $trengthj

represented thus, r=— . Each of these directions should ron-

No. 2. IffiV, j J j J ; J j jJj. 5 5T^=^=fe[

'T-C 6 G &" 6- O _ iTST

S ^^m

i ^^^* • * m •-t«- Tg. a c & o a c. *j&-

T 'ft

ii

*F****^m m ' •' -

i

r

nm>—

.: 5 • _ m

I

•

-&r

12

T\§\ I"3t] r^^-'rn£ i -l -ii

19 METHOD FOR THE GUITAR.

The following eight exercises being intended for the prac-

tice of time, the pupil should count aloud four in each bar. New notes introduced.

-ay I

rJfc

12 3 4

221No. 3.

-m--G>- —%-&-

A-#=r

^sf-1-&-

J2.3L I-O-22:

-fsr -2-^-2-sr

ft-

1 2 3 4

No. 4.| fe

C '

=t =t 3 zA ^t 2-W- 3 ;E± ^ -«> Pr-* ',/g— *

if r r ^Ij-JK ast

IF* *-<&,-bJ- ^ z± -?J- ^ -2-fit

12 3 4

No. 5. |g§| J II J J J J J l J J J» ; W r

:5 j ,,.,, ,,. ^^

ip ^^ j j j 1 j j

J1 j j

J1

3- ? ? ^-*»a

H*- A £IP* 1

^ j j 1 j

1M- *^ i

1 2 3 4

J. .iJ . mJJNo. 6. fife t J^fj^-h J-abj-H J J

, l l J^"^ 1 1

J JI J^

A«5=±= fi

f


2 3 4

No. 7. B5' -

' — f ' ' «o*s—

r

li

a! I r 8 t r

tj. . FT3

. rP„ rP, rrvJLg n IT1 ja^

r:—-r

no. e.j^R

IS 3 4 121=3 — J .J I

- J

7 F-**-

-0- " r

pj^ij_ -«?-

lis: x-22i:

r r Hr=»t-e^-

,r .r r

i* h: JJ-^h^-T-^-^^ II^ ss

^- »s -ot-

r

1$;

-U-4 J i^—

h

*-t^-Ai^EITNo. 9. tfe-e

r ^ r r r r - T rpr "P"

r

No 10.

1 3 - — 3

»*> ' •• - ^ 2 *=

w*

«A

J

—

^ • 1#

^ r r

• • •

.J^tM 3**331


In the next exercise the fingering for the right hand is too

obvious to require explanation ; nor is there any necessity for

marking the fingering for the left hand, as there is no new chord

introduced. In passing from F# to G, in the second and sixth

bar, and from G back to F# in the seventh, do not take the

little finger off the string.

The object of this exercise is, to accustom the fingers of the

right hand, gradually, to simultaneous action.

To regulate the movement of a piece, certain Italian terms

are employed. The most usual are : Adagio, slow ; Andante,

moderately slow ; Allegretto, rather lively, and Allegro, cheer-

ful and lively.

No. 11. ^CALLEGRETTO. S*»

Z3.mmr f f.

r

r

The following Cadence is a regular succession of the full

chords composing the preceding exercise, and should be com-

mitted to memory. \

When a chord is preceded by this sign [ , the notes are not

played simultaneously in the strict sense, but rather in very

rapid succession from the bass upwards ; this manner of break-

ing a chord should not be too much indulged in.

No. 12.

CADENCE.

~gy -M5>-

37=ggg-3z:

I

In order to reduce the fingering for the left hand to some-

thing like a system, the term position is frequently made use of.

as long as the first finger is employed, or held ready, to stop the

notes on the first fret, the hand is said to be in the I position.

When the first finger advances to the second fret, the hand is in

the II position, etc. It will now be seen, that the preceding

exercises have all been played in the I position ; and so will be

the following as far as No. 19, inclusively. It results, naturally,

when there is but one note to be stopped at the first fret, and

one on the second, that the latter is taken with the second fin-

ger. It will consequently not be necessary to mark the finger-

ing of the next exercise, except in the sixth and seventh bar,

where the fourth ringer is required.

No. 13. Vr-*-d *•

-«>-


When three notes are played together, the thumb of the right

hand generally plays the bass, and the first and second finger

strike the upper notes, provided they are on two neighboring

strings, as is the case throughout the next exercise, with the

exception of the eighth bar ; the propriety of using the third

finger there, in place of the second is self-evident, as the strings

on which the two. upper notes are played, are separated by an

intermediate string.

Be careful-not to remove the second finger from the middle

A in the 5th bar, before you come to the G# in the next bar.

In like manner, keep the F down all through the seventh bar.

mf., (mezzo forte), means half loud ; ritard., (ritardando),

signifies that the movement is to become gradually slower.

The introductory note before the first bar is regarded as a

complement of the last bar, which contains only three crotchets,

so that the piece contains sixteen full measures.

When an accidental is introduced, it influences all the notes

of the same name as that before which it occurs, to the end of

the bar, even though they stand in different octaves.

The pause,T indicates that the note or chord over which

it stands is to be dwelt upon as long as the performer thinks

proper.

ANDANTE.

iJJ^H^ J=^=A :J:

No. 14. HMV Jf Jf-

9^ff tT r - r r r «Y: r

j=j^=^n

i -i

% *• &zz ife

r -j/r

sU ±*d », J J i i i-$•-

rfT r T'

rT

r t I r

^ j.=5P= J. ^N^Nfe

p-* * ir^rr mf T r r pp ~w T

The chords which form the foundation of the preceding little

piece, are presented complete in the next exercise, which, like

No. 12, should be committed to memory. The same recommen-dation applies to all the cadences in the first part of the book.

CADENCE.z^sz: 1^8No. 15. -*g-

-Tzr

isr

The Bass F in the seventh bar of the following exercise is

marked with a K , which means that the note is to be stopped

by the thumb of the left hand. On this occasion, the neck of

the Guitar, contrary to the general rule, sinks quite down into

the cavity between the fore-finger and thumb ;* the fore-joint

of the thumb rises above the fingerboard and bends down uponthe string.

* Some Guitarists object to this kind of fingering, hut there seems to be noreason why this expedient should not be resorted to, since in many cases, therewould be no alternative but to omit the bass entirely.

<

16

No. 16.


A •^tp3^h

—

*-

A A

-r- -2--#3—

rf^^r

—m-

i

•J—I-

Ir- f

_ #

r *-&-*-&- T

No. 17 I

CADENCE.

~£l-&-

*Gi-

-1-3- S-&-

-X&.522:

i^r i*&-

^^ «gg -

y'^ggr

3^" ,Tsr

3a: I

The ear will easily recognise that the preceding cadence turns

altogether upon the note C. The seven natural notes may be

considered as a family whose mutual sympathies are so balan-

ced, that they constantly point to C as to a common centre ; and

a succession of chords composed entirely of those notes will not

fully satisfy the ear, unless the concluding step of the bass, at

least, turns to C as to a final point of rest, which in music is call-

ed a Tonic. It is the same with a succession ot single natu-

ral notes, the complete series of which form the scale of C.

All the chords that can be composed with these notes, viewed

collectively, constitute the key of C. Any key may be satis-

factorily realized by the introduction of its principal chords,

which are built upon the first fourth, and fifth degree of the

scale, and which, when arrayed in a certain order, form what is

denominated a cadence*

The key of C, then, does not require either sharp or flat, and

if any one note of the above cadence were placed under the in-

fluence of such a sign, the ear would immediately feel it as a

transition (modulation) to some other key. There are major

and minor keys, the difference between which will be explained

hereafter ; for the present, it should be remembered that the

first twelve exercises, having one sharp at the clef, are in the

key of E minor ; No. 13, 14, and 15, without any sharp, in Aminor ;.No. 16, and 17, without a sharp, in C major ; and the

following, with one sharp, in G major.

* Strict writing would require the chord in the 4th bar of the above cadence,

to read F, A, C, F, instead of F, A, D, F, but the former being as yet too diffi-

cult, the latter was deemed to answer the present purpose as well.

ALLEGRETTO.

m^M^h&tMNo. 18. *=f^

f • Y:/Tv r~ rat.-

5=T=?

,T'T

'T r

—4 — =5=f _

¥1F i 7^~T mf

T\i ' J-^E

rf

fcI

Rilnrd. ^j

i-*-. r

T r i* pp


g-#-

CADENCE OF O MAJOR.

-3S>~

<J5L-

JSZ-

3E ^ INo. 19. -&-nsr -jst

~esr

The next number, having two sharps, is in the key of D ma-

jor. It is played in the II position.

Keep the F# in the first bar down, till you come to the E in

the second. There are some new notes introduced, which

should be pointed out on the instrument before the piece is at-

tempted. In the last bar but one, there are two notes to be ta-

ken with the first finger, which in such cases forms a barre or

barrer. The barre may occasionally extend across the whole

of the six strings.

A tempo indicates that the regular movement is to be resumed.

No. 20.

ALLEGRETTO

m&«f.J 2

f=%r it»—i-p

—

— ithP

3E

TT r r r r r

m ^11j «r

,Tj

—

> t ,j_l £d=^3-? 7-

mf r r-T=r

•r

-1^ L3.g- *w 7

r r-

•j: Ja -i-

jr i J* J" J*i

/ pT r f pT r Ritard. r fr

-*S=5:

A Tempo

N~

barre

"T 7^

/I r p\ i

i

CADENCE OF D MAJOR.

ife.8i. flpm—m t£ ZSZ1-&-

ISC

'"Sr

S-<s-

S i ig^ 1

The fingering of the chord in the last bar of Cadence No. 21, should be 3 , but in the beginning, the above which is much easier, may etand in its stead.

IS METHOD FOR THE GUITAR.

The following little Waltz, having three sharps, is in the key

of A major. The first part is to be played in the II position;

the hand is to be held very steady. The D in the first bar

must be kept down until it is relieved by the C# at the end of

the second bar. The second part is in E major ; the fourth

sharp which that key requires, is introduced as an accidental.

It is played in the I position. The two dots at the double bar

imply that the part of the piece to which they point is to be re-

peated. D. C. (da capo) means, from the beginning. The

word Fine marks the conclusion of the piece after the repeti-

tion of the first part as indicated by the D. C.

ALLEGRETTO.iiu. m

^3 i J, rr^ ^^ i^u^ ^^No. 22.

"»/I r i

• r r r /•T r

the Base well marked.

rri^rj.rC&^tS1 -^ a^H barre.

i D.C.

I*hlJLri-

W- '-t^ 1^ ——^—=

—

u —T ^ r uf

Cresc mf

CADENCE OF A MAJOR.*to

44&-

I=^e=:JS=r T^

No. 24

No. 23. is TOsr

CADEXCE OF E MAJOR.

^g^f-&-

s*&-3z:

barre.

3£

-3HS»-

-wIgg-

sr~cr

-&r "*sr

221

I

The student must now be familiar with the ordinary positions

of the chords of C, G, D, A, and E major, and of A and Eminor. These being the favorite keys on the Guitar, it will be

well to recapitulate them before proceeding any farther. For

this purpose, play the following exercise, which is especially

recommended to those who practice the Guitar chiefly with a

view to accompaniments. The form in which the chords here

appear, is called Arpeggio, from the circumstance that this kind

of musical figure is very common on the Harp. There are a

great variety of Arpeggios in use, some of which will be found

in the sequel.

METHOD FOR THE GUITAR, 19

jn 1J3 time, the first, fourth, seventh, and tenth quaver

are accented, whilst in jfe time, the first and fourth quaver re-

ceive the accent. The former may be converted into common

time by playing every group of three in the time otherwige al-

lotted to two quavers. This intention is indicated by the fig-

ure /"7~% and the notes so played are called triplets. The ef-

fect is the same as that of 12 time. A triplet split into

six notes of equal value is called a sextelet, and marked

thus, 'I

».

^No. 25.^^j j

^ S :*—*—*

: u-0—Crete.

dt**=*:

^ =P \*^ J0—0- — ^ ±jti10 —llarrf.

Decrnc.

r±4*a*=*: t+0

~i

jmmJ' * ' J -• * • • *

f

^mm ^**-+'—*

*" ri* m *

mf

ZZT*h ggjBln wijSikm

X-0- Crete. X-

I^s


i *<££3=

j-^J J^jX* ' ' d d

W*\

5%J1^H HuU

i2m»—#—#—

#

M±a! d m

3

i7:

* ' J J-* Id d -d d d—t*-0 # -0

f

f**T=3 3

1

s— -s s— —

s

3 3

...... 1

xd J d—i

—

-aj *xd M-J

—

ft ", _ 1

* *—m_i—»* «— # 1

3

1 • 1 ^

—

±±§

2 _L *# 4*#

s p£ S-j?-** #• -*# n*Crete.

III pc».

13?= T^ # h«

J1 1-3 ±0

1

+-g 4t^T # 4 » ~tfU§——*0—-J ?-#

HP—

»

—

»

«,#—ft* #

-»

^3

—

-

Decretc.

-0 -H-

-H* feW 4 2

p /

J i#-1** +* 5^

mf

*3-#- -#-=ji*-#

—did- p

*0-

It is believed that the pupil who has carefully practised the

foregoing exercises, will find no difficulty in playing ordinary

accompaniments. I therefore, subjoin a few specimens adapted

to popular songs, which are so transposed as to come within the

compass of almost every voice. As a hint to those, who for

their vocal practice are confined to the assistance of the Guitar,

they are preceded by two scales with the chords commonly used

to support them.

METHOD FOR THE GUITAR 21

Voice.

No. 26.

Guitar.

SJ- .

T*> •— «? ^ IZC

S -*S- -<&L -«?- *S <5 a-s^

-> -JH_ ^=FT? ~ZZL

1 a sZSZI 221 *«--«- * ^ «=

"W

Br <s: g-^—>F- olcz: -fi>-r 3=

izzz: is: -k»- za:a2=^: ya^-

~^- ^TS"

rrT **Voice.

No. 27.

Guitar,

*_e

i. 'J.

- ^—H^—

^

IST^r

*=*^ ^= «: a *«- H»-O .TO l&. *

^7"

id:

2^ 3=-**-*-*-

=^sc

35C =¥= P . f

as=^t g

r-

«

-

Fa

B

'I J ' 1 J

^ 3

^32 I

J.II

!»-!: II

99THE SAD, LONG, WEARY DAT.

No. 28.

ANDABfTINO. A little quicker than Andante.

p t iJ J^tT-r-rinrJ6*—

k

*=z£:^-t*

GERMAN VOLKSJLIED.

^1. The sad, long, wea - ry day, In grief is pass'd a - way ; The sad, long, wea - ry day, In grief is

J J

r^§

H^M> &y Cresc.

U I* l*

££•y—

*

pass'd a - way ; When ev' - ning comes, I still am weep - ing ; And from the window's height, I watch the lone - ly night, sad ri - gils

-#—ftP^ Z=X mi*m

i

-**

T r>

I3ft

<T J J ^» £p£

*

keep

I*—I*-

ing, When all are sleep

—*—»—

*

ing. And from the win - dow's height I watch the lone - ly night, Sod vi - gils

iJ J 3 jffi

^

-?—*-

fr r rDecrese. Ritard.

I-y—t-

*

keep - - ing, When all are sleep - ing.

Sr

zT

.r r f72. I trilled with his heart, ) REPEAt

He said he would depart ; $

And for him, then, would I be weeping ;

For he might never moreReturn to his native shore.

I'd mourn for him then, and know no sleeping.

For he might never, &c.

3. But now the broad, deep sea, ) pStill severs him from me ; )

Whose heart and hopes once were mine only.

Oh, shall we never meet,

My true love never greet,

This grief to end, and no more be lonely.

Oh, shall we never meet, &c.

* The pupil, in the beginning, generally feels greater pleasure when engaged

in the performance of some favorite piece, than in studying a composition al-

together unknown to him. Besides, a-popularair, is to him a sort of standard

by which he can measure his progress. This is the reason for the introduction

of these well-known songs instead of original ones.

In order to avoid contracting a particular style, the student, after learning

the above accompaniments, is advised to play some little pieces by another

composer, such as Ernst's " Bagatelles Agreables," for instance.

23CANZONETTA FROM IL TROVATORE.

ALLEGRETTO.

i ^ TERDI.

** I2Z -*• -T-T-^

No. 29. Ah I hove eigh'd to rest Deep

m ££ f=t gin the qui - et

t'-^-t^13ttr 03-

e=e£esc c c r c

:&

grave sigh'd to rest me. But nil in vain I crave

;

O fare - - thee

I if^r? tt tt

dJ&Wzif -&jvj

—m-

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Ah I have sigh'd furpM. Yrt nil in vain Jo Iwell, ray Le - o - no - ra, fare - thee - WtH '

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- - scrave, O faro the* - well, My Le - o no - re, fare - thee - well.

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• Sign, employed for the eoaveaieaee of writing, to indicate that the preceding group of noU-i U to be rapttUd.

24 CANZONETTA, FROM IL TROVATORE.—Continued.

* f*—Tg M±32 ? 7Of* * *

Out

I t i t

of the love bear thee,

t % l-tg g I g ? ftEl ai p

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is!: * *-##

Yield

^BI my life for

41 »

thee ; Wilt thou not

i ! ! £ £at 13 JJOJ'Jj^L

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think, Wilt thou not think of mel Oh, think of^ w im t=t mra~n

tD

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tne, my Le - o - no - ra, think of me. Out of the lore I bear thee

,

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CD

ANZONETTA, FROM IL TROYATORE.—Concluded. 35

m

rW 1

' Hi" 3 P Pt* »» 1* PPf 3

Yield I my life for thee

;

Ah think of me. Ah, think of me, my Le o

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no r» think of me

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Tho' I no more be - hold thee,

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Yet u thy name a ipell,

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Yet it thy name, Yet if thy name a spell.

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cheering my la«t loae hour, La - o - no ra, far* - well

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26

ITALIAN AIR.

MODERJ- r» .It -

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' y *u.*> S ^'A #•* _. • "S > J W M» * »T(Tl -1 jR » * a *

v ;

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No. 30.1. Con e to this heart so Ion e - iy

,

Como, cheer me with thy smile ;

• w *•

Thou hast the power

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l

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peace.

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ITALIAN AIR .—Continued. 27

S N £Come cheer me with thy smile

;Thou hut the pow • er

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^=s *^r~n '^EM-g^ iThou hut the pow - er on - ly Each aor • row to be • guile.

y* \i Hi ,-rf-H-H-4-J-* # •

*=*=*=*=* *=*-*—*- \

i? I

2. Oh, calm ye heav'nly powers,

My »orrow for awhile,

And send my best beloved, ( „Each sorrow to beguile. \

But if my prayers are fruitless,

At least let'him (At) return,

To bnthe with tears of pity,

lust within my urn.<( Rrr.Oh, calm ye heav'nh

28BELIEVE ME.

No. 31.

-*z*

AN DA XT I NO.

«

j»

ENGLISH BALLAD.

r^c-^ F^p?I. Bo - Here me, if all those en- dear - ing young charms, Which I gate on 10 fond - ly to

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i

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fc*3£i

day,

i * . J* - — . J\ z—«—F- * L U If ^ ? £e*—r*

Were to change by to - morrow and fleet in my arms, _ Like fai - ry gift & - ding a -

^—

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way, Thou woulds't still bo a - dor'd, as this moment thou art, Let thy lore • li • nesa lade as it

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will, And around the dear ru - in, each wish of my heart, Would entwine it - self ver - dant - ly still.

±* ftt-rjf^-p^^=^4 ^g*=*=¥mr r- r r 7 r ifr

r

2. It is not while beauty and youth are thine own,And thy cheeks unprofaned by a tear,

That the fervor and faith of a soul can be known,To which time will but make thee more dear.

Oh, the heart that has truly lov'd never forgets,

But as truly loves on to the close,

As the sunflower turns on her God, when he sets,

The same look which she turn'd when he rose

PART SECOND.

ON SCALES.

We cannot safely step beyond the sphere of simple accom-

paniments, without a knowledge of the principal major and mi-

nor scales. I shall therefore offer some remarks on this sub*

ject, which should be well understood before the corresponding

exercises are attempted.

It has already been shown, in connexion with the seventeenth

exercise, what constitutes the key and scale of C major. If

we examine this scale with a view to the difference of pitch

between every two successive notes, we shall find, as has been

observed in the article on notation, that the distance from C to

D is greater than that from E to F, there being an intermediate

note between the two former, and none between the two latter.

The distance from C to D, is, therefore, commonly called an

interval of a whole tone, and that from E to F, an interval of a

half, or semi-tone. If we represent the one by a line, (— ), and

the other by a dot, (• ), the scale from one C upward to the

next, will exhibit the following proportions :

C. D. E. F. G. A. B. C.

that is to say, the first two steps are whole tones, then comes

a semitone, then three whole tones followed by another semitone.

The technical names for the distances of these notes from

the fundamental, or key- note, are :

r i r«« •* rria TMit, r.«r*. rau. Hut. •««•-.

t^W-L^ T=&33= W W

These intervals may, occasionally, be expanded or restricted

by prefixing a sharp, or a flat to one or both notes composing

them. Thus, the intervalf^losing its character as a second, be altered into

may, without

^ i>#

or # which would be a minor second, or

into a sharp second.thus: g^w -**, etc. With

regard to these distinctions, the intervals of the above scale,

are:

£r«sorriai. MmJ« TklH. Parffcet Pcanfc. r.rftr. rink. MaJ*rHlnk. M±Ut *'••>.

^^ T~UJ J.^^2 W 3

From the circumstance of the third, in this scale, being major,

the whole is called a major scale. All major scales must have

the same proportions as the above.

If we construct such a scale with G for a key-note, it will

soon become evident that the natural not«s alone cannot wholly

answer that purpose ; for, as we require a major seventh, we

shall be obliged to raise the F (which in this case is the seventh)

from its natural degree, by means of a sharp.

G.A.B. C. D._E._Ff. G.

If we begin with I), we shall not only want the If used in

the scale of 0, but also Cf, which is the major seventh of D.

D. E. F#. G. A. B. O D.


Thus it will be seen, that whilst the scale of C major has no

sharp, the key of G major requires one, and that of D major,

two sharps ; by the same rule, A major has three, and E ma-

jor, four sharps It is not customary to write for the Guitar in

the key of B major, which requires five sharps ; the key of

F sharp major with six, and C sharp major demanding seven

sharps, are still less in use. The following table shows at a

glance how many and which sharps, each of the afore-mention-

ed keys requires.

C Major. I

SIGNATURE.

* * ^» * I

G J «- pM -ttf m

D e d * -#* j Ji»

*p r iiffij

A * *» ¥I±£*

•^ r itf-*'2*F4pi **

B

4M- H * m Ml im ^^Ff »

*j> ** :** 3*P 4H> *> *|Ntf^

c*#«l ^ *» ^ ** * *s I

**=* *:

•=fc

If we construct a major scale on F as a key-note, we shall

find that, in order to obtain a perfect fourth, we have to lower

the natural B, by means of a flat.

F. G. A. Bh. C. D. E. F.

The scale of F major, therefore, requires one flat. B flat

major, in like manner, involves two ; E flat major, three, and

A flat major, four flats.


F Major. iSIGNATURE.

T r r r Ml$

Bb i **•_^ j j * &i

Eb • i& j j J '-1

r r r r b

Ab i _b* bf =f=

b# ''*-# *- b-#-

As there are but twelve different tones to be found within the

compass of an octave, all the major scales are comprised in this

enumeration of sharp and flat keys ; it is, however, sometimes

convenient to use five and even six flats, rather than six or seven

sharps, so that we often meet the key of Db major instead of

C#, and Gb instead of F# major.

From the foregoing it will be clearly seen, that all major keys

are exactly alike in their inner proportions. We have, in fact,

only two essentially different scales, if we look at the structure,

or the order in which whole tones and semitones succeed each

other. The one is the major, the other, the minor scale, which

being composed of whole tones and semitones, are called dia-

tonic scales. A succession of semitones only, is called a chro-

matic scale, and docs not convey \o the ear the impression of

any particular key. The minor scale has the following pro-

portions •

1. 5. 6. 7. 8.

the interval between the r,th and 7th degrees l*ing a sharp

second : however, for the better flow of meMy, a sort of com-promise is usually adopted in the execution of this scale, in con-

sequence of which, the 6th is raised a semitone in ascending, to

do away with the sharp second, and in descending, the 7th is

lowered a semitone, whilst the ttk returns to its original de-

gree. Taking A minor for a pattern, the correct scale wouldbe:

f<

It is usually played, in ascend ing ;

-#*- &

Hr-tTTt=t» «r £

[

In descending :

m irr

Since the descending scale of A minor is composed of the

same notes as that of C major, there must be a great affinity

between thesp two keys ; they are, therefore, said to be nearly

related, and the same signature serves for either. Every major

key has its relative minor, bearing the MM signature, and 1*»-

ing, as may be seen from the following table, always founded on

the sixth decree of the major scale.

C major. A minor. \'0 major, m minor.

G "i: •• (0 "(or Db). A# "(or Bb)

I) B ' Ab F ••

A •'\

" Kb " C <<

E " c# Bb *'M

B " c.# " F " D "


RECAPITULATION.

Q. VThn% if an interval 1

A. The distance from one note to another

<?. Vf list ii • semitone 1

A. The interval from one note to that next to it, as from Eto F.

Q. What it • whole tone 1

A. An interval of two semitones, as from E to F#, or from

C toD.

Q. What name is given to a regular succession of semitones 1

A. It is called a chromatic scale.

Q . What is a diatonic scale 7

A. A certain succession of whole tones and semitones.

Q. How many essentially different diatonic scales hare we 1

A. Two ; the major and the minor.

Q. What is the order of tones and semitones in the major scale 1

A. The first step embraces a tone ; the second, a tone ; the

third, a semitone ; the fourth, a tone ; the fifth a tone ; the sixth,

a tone ; and the seventh a semitone. -

Q. What are the interrals of the major scale with regard to the key note 1

A. The interval from the key note to the next is called a

second ; to the one beyond that, a third ; to the following one,

a fourth ; to the next, a fifth ; to the one after that, a sixth ;

then comes a seventh ; and finally, an octave.

Q. Are these terms used only with reference to the key note 1

A. No ; every note of the scale has its second, third, fourth,

etc.

Q, Does every third that can he formed in this way embrace the same

number of semitones 1

A. No ; the third from C to E, for instance, embraces four

semitones whilst that from D to F contains only three.

Q How then are these thirds distinguished t

A. The greater one is called a major, and the smaller one, a

minor third.

Q, What are the intervals of the major seale with regard to the distinction

of major and minor 1

A. Major second, major third, perfect fourth, perfect fifth,

major sixth, major seventh, perfect octave.

Q How many semitones dost ths perfect fourth embrace T

A* Five.

<?. And the perfect fifth t

A. Seven.

Q. The major sixth t

A. Nine.

Q. The major seventh 1

A. Eleven.

Q. And ths octave t

A. Twelve.

<?, Give me the names of the notes that correspond to these intervals, be-ginning with C.

A. C. D. E. F. G. A. B. C.

<?. What notes correspond to these intervaJsrif you begin with G

1

A. G. A. B. C. D. E. F#. G.

<?. Why F sharp ?

A. Because the scale requires a major seventh, embracingeleven semitones, and the interval from G to F natural wouldonly contain ten semitones.

Q. What notes, then, compose the scale of D major 1

A. D. E. F*. G. A. B. C*. D.

Q. If you begin on A, how many sharps do yon reqnire to preserve theorder of tones and se.mitones peeuliar to the major seale 1

A. Three.

Q. Which are they 1

A. F#. C#. G#.

Q. On whieh degree of the scale is the new sharp introduced f

A. On the seventh.

Q. What is the interval from C to G, from G to D, and from D to A

'

A. In each case, a perfect fifth.

Q. Since G major has one sharp more than C ; D major, one more thanG

;

and A major one more than D ; and since there is an interval of • perfect fifth

between every two, where must you look for the key that has one sharp morethan A major 7

A. A perfect fifth above A.

Q. Which note is found there 1

A. E.

Q, The key of E major, then, having four sharps, which is the new sharp

introduced ?

A. D#, being the seventh of E.

Q. According to this progression by perfeet fifths, whieh is the. key with'

fire sharps ?

A. B major, with A# in addition to the other four.


A.

QA.

QA.

Q. "WTiich key has six sharps !

A. F# major, with E# in addition to the former.

And which has seven sharps !

C# major, with B# added to the rest.

Name the notes of the scale of F major.

F. A. Bb. C. D. E. F.

Why B flat 1

Because the major scale requires a perfect fourth, embra-

cing five semitones, and B natural would be the sharp fourth of

F, which contains six semitones.

Q. Do the keys with flats progress downward by fifths as the sharp ones

did upward !

A. They do.

Q. Which then is the key with two flats 1

A. Bb major, having Bb, and Eb.

Q. Which is the key with three flato !

A. Eb major, having Bb, Eb, and Ab.

Q. Which is the key with four flats'!

A. Ab major with Bb, Eh, Ab, and Db.

Which key requires five flata !

Db major, demanding Bb, Eb, Ab, Db, and Gb.

With which sharp key does D flat coincide 1

With C#.

How many transpositions of the major scale have we had 1

Twelve in all.

What are the intervals of the minor scale 1

Major second, minor third, perfect fourth, perfect fifth,

minor sixth, major seventh, perfect octave

Q. In what intervals, then, does the minor scale differ from the major 1

A. In the third and sixth.

Q. What succession of tones and spniitones do these intervals produce !

A. A tone, a semitone, a tone, a tone, a semitone, a tone

and a half, and lastly, a semitone.

Q. Whit is the technical name for an interval at a tone and a half*

A. Sharp second.

Q. Which not<-s will correspond to those intervals, if you begin with A!

A. A. B. C. I). E. F. <;*. A.

Q. Is the scale of A Minoralways played thus '

A. It is generally played with F*f in ascending, to avoid

the somewhat startling effect of the sharp second, F, G#.

Q. And how in tlii* deviation from the tm* scale compensated fori

A. By converting the fJ# into G natural in descending, and

restoring tin- F to its proper degree.

Q. Which then, arc the notes of the descending scale of A minor 7

A. A. G. F. E. D. C. B. A.

Q Are these notes fonnd unmixed in any other scale

!

A Thry arc, in the scale of C major.

Q. What is the result of this similarity of scales

'

A. An intimate relation of the keys.

Q How is this relation indicated to the eye 1

A. By an application of the same signature to both keys.

A.

QA,

QA.

QA.

Q. Is this done with all the other major keys and their relative minor 1

A. It is.

Q. How is A minor to be distinguished from C major 1

A. By G#, the major seventh of A, which is always sharp-

ened by an accidental.

J}. On what degree of the scale of C major is the relative A minor founded

A. On the sixth.

Q. la this the case with all the other major keys and their relative minor !

A. It is.

Q. Which is the relative minor of G major!

A. E minor.

Q. How is it distinguished from G major.

A By its major seventh, D#.

<?. Which is the relative minor of D major 1

A. B minor.

<?. Of A major!

A . F# minor.

Q. Of E major!

A. CJff minor.

<?. Of B major!

A. G# minor.

Q. Of F sharp major

!

A. D# minor.

<?. Of F major!

A. D minor.

Q. Of B flat major

!

A. G minor.

Q- Of E flat major!

A. C minor.

<?. Of A flat major!

A. F minor.

Q. Of D flat major'

A. Bb minor.

EXERCISES.

In playing a scale, care should be taken that only one note

of it sounds at a time ; as soon, therefore, as the value of a

stopped note is expired, the finger must be lifted up at once.

The open strings occasion some little difficulty in this res|

as their vibration has to be stopped by a slight touch of eithi r

the left or the right hand, whichever may be most convenient.

As regards the fingering for the nirht hand, the general rule

is, that no finger should be used for two successive notes, ex-

cept when they are separated by 8 rest, or when the first of

the two notes is comparatively a long one The student will,

perhaps, find it somewhat troublesome to attend t<> this kind of

fingering at first; it is, however, of the utmost importance, for

a clear and rapid execution is impotable without it.

*


The following exercise will serve to initiate the ringers of I quires only a perfeotly regular alternation of the first and see-

the right hand to their new task, in an easy manner, as it re- ' ond finger.

•^-*fc*

H Vv-E5

• 2 • :

If * i0 s 9 I 9\ 97

9'~979' 9-0-9No. 32. 0—-$0-0

f * rr- r- r

.*. jjT|

I 'I

Fine. •^ ^„^ Jt:s:

«-**™00 T :|T «r»^B

r" f fT

f• r • r*

-#-# -j—

"

.«L_^ * * i«L#—»* *• ^uu# * ' 3M if f r

— r

r

The following exercise shows how scales should be practised

at first, until a perfect consciousness of the fingering is ob- .

tained. Play each bar eight times in succession before you

conclude with the single crotchet in the next.

no. 33. |ff*

fc

1[Xf

,

T CJfj^Hf^^^pi r0—r— :-

I±w*0^=*F*

IHM^ 3- 4-

II0=^

^ • • ; • »•--•*

ss-

When the student is tully possessed of the fingering of the

foregoing exercise, he should attend to the quality of tone.

Let him, therefore, repeat No. 33, frequently, giving at first,

the same degree of force to every note, in order to equalize

the touch of the different fingers ; after this is accomplished, to

a certain extent, every ascending portion of the scale should

be played crescendo, and every descending fraction, decrescen-

do.


The next exercise will confirm the student in the habit of I teenth bar, the little finger slides from A two frets forward to

reading the fingering. In passing from the thirteenth to the four- | B, after which the hand returns immediately to the II position-

II Pos I Pes..

No. 34 f

**S•

J- f&—J i 'rfT* ±==d

ST "S7"

II.

^^AS-r7^J J iJ-tr-j n^JH~es~ A

Rlinrd.

ft

II.

. • : :*|

BP^agg2•i )

' '

3fe 77}. J17J4 ^ 7

ii.

5==^

^^T^^^tiJ^,^ •,

II

r r

When the scale extend* so far as to make a complete shift of

position necessary, it is desirable to effect it whilst an open

string is sounding, to prevent any 'interruption of tone. Alter

a series of notes have been played in a position cxpr« >sly in-

dicated, the word loco is used to signify that the .subsequent

notes are to be taken in their usual places ; to prevent confu-

sion, the note of the open string, during the value of which the

shift is to take placi irally marked thus. ( >.

In the scale of C major, the shift should, whenever it is pos-

sible, be made after the first B, the hand moving from the I into

the V position, so that the middle C is taken at the fifth fret mi

the V$ itring ; the following 1) will bt bond two freta higher,

on the same string. K, F, and 6, are taken on the mi

string, respectively at the fifth, sixth, and eighth fret. The pla-

ces of A and \\ mi t'.. first string fire k 'hut the new

- here introduced are the upper C,

at the eighth, tenth, rod twelfth Iret on the first string. In No.

three ut this i nere ii n .«.» soond shift nccemtarv in going

from the upperC to I). In descending, the changes of po-

are made at the same places as in ascending.

raff

36 METHOD FOR THE GUITAR,

V o loco:V pos o loco

I I

vTf"

Shifts of position are frequently induced by the notes that ac-

company the melody, and the middle and upper frets of the

lower strings are occasionally required to produce the notes

which cannot be reached on the middle strings. As a step to-

wards a thorough acquaintance with the fingerboard, the stu-

dent may play and learn the notes at the 4th, 7th, and 12th fret

of every string, in the following manner :

£*? O 4th 7th 12th ' 4th 7th 12th O J

7th 12thO 4th

I» 4tU 7tU 12th -4- #4- fthl2th z± H: TT

w 4th

l?tiI

If a string is struck near the bridge, the character of the

tone differs widely from that produced by striking it above the

rosette. The latter is peculiarly soft and melting, the former

has something more spirited and decided. A proper alternation

of both contributes much to the good effect of a piece.

The following Andantino, which is preceded by a prelude,

begins in the III position. The middle C in the first bar is ta-

ken at the fifth fret on the G string, by the little finger, which

immediately skips thence to the upper C at the eighth fret on

the first string. A similar shift occurs in the fifth bar. Ob-

serve the change of fingers on one note in the seventh, ninth,

and eleventh bar.

The movement in the first three bars of the prelude is synco-

pated, which means that the accent falls on the light portion of

the bar, marked thus ::=-.


> >

PRELUDE.

No. 36. rfe^to > • > TTj rrn.J J- J /T^^^-# 0-

p if ^r F^* 7! ^f

.o loco

ANDANTINO.

Ill p08.

• • • . *i •

loco

,jj -, J ufe

f

iL

l

t=£=T r t fT f

A r r

ii^ 3

is

• • •

• • • • •

iN j 7^Z±

f ?3=r ^T k A xr

'

t r

J i • -H j ] T ,i-^^fai J

'

* ^fjjLltPtgtt# 0-mmloco.

•_le

U^t^

# * ' 4*4^rTs£ 7 m ii


The right hand fingering of the scale of G is almost entirely

the reverse of that of C, inasmuch as the notes played with the

thumb in the one scale, are played with the first finger in the

other, and vice versa.

No. 37. | A) C

^T^^^ l } l\T~P~l «^E3I I• . •

A • <?A

y^,r|ir^m-,i,

iff,iuud','h n;jpVII o loco.

o Vff- A TT : • ' ...: . a t • -#.

a

In the Prelude to the next piece, the first G is taken on the

D string, fifth fret, whilst the open G string is used for the sec-

ond. The sixth bar presents a similar case. For the sake of

uniformity, the D in the fourth bar is taken on the A string, fifth

fret ; and the E, two frets beyond. In that bar and the next,

the little finger must not be lifted from the first string whilst

gliding from one note to the other.

The D# in the twelfth bar of the piece is found between the

D and E just mentioned, the middle A is taken on the D string,

seventh fret ; G# and Gh, are, respectively, at the sixth and fifth

fret on the same string.

Dal Segno (D.S. $ ) means, from the sign, and indicates

where the repetition is to commence.

When a soft quality of tone is to be produced by moving the

right hand towards the middle of the strings, it is here indicated

by the letter M ; the letter B signifies that the right hand is to

return to the bridge.

METHOD FOR THE GUITAR 39PRELUDE.

No. 38.[ feC ^M mm i-*# • .M •

A • A • a • a • T •vw 4'.rt±S.*d±J<d5ns?A • A • A A • A ' A • A

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The right hand fingering of the scale of D major corresponds to that of the scale of G.

II pos. VII II

if ^nirrrTrrTiu^ n

Both the following Prelude and piece contain some harmon-

ics marked like the open strings, thus, O. These notes are pro-

duced by merely touching the strings, perpendicularly, above

certain frets, instead of stopping them in the usual manner.

The Harmonics made use of in regular compositions are found

only at the 12th, 7th, and 5th frets, as will appear from the fol-

lowing table.

7th.—e

—

6th fret.

22:

I JSE

1zzz:

~ar

12th. 6th

I_C2_

I~sr 12th. 12th. 6th fret.

8va.

m 323

I-»-

6th fret. 12th. 7th. 5th fret.

The tie, ^_ -^ between the first and second note of the Pre-

lude signifies that the second is to be slurred. To effect this,

the note is not struck with the thumb, but merely stopped by

the third finger of the left hand, which must fall with force on

the string, so as to prolong its vibration after the value of the

first note is expired.

As the subsequent shift from the II to the IX position must

tnke place after the A, it should be executed with great rapidity,

'hut the ear may not perceive the cessation of tone. In the

second bar, the lower notes represent the strings on which the

harmonics are to be played. For the E in the last triplet of

the seventh bar, the open string is used.

Towards the end of the piece, a new mark will be seen above

the upper C# and E. It indicates that this note is to have a

certain tremulous quality, which results from moving the finger

that stops it, a little up and down in the direction of the string,

so as alternately to increase and diminish its tension, affecting

thereby the pitch in a slight degree.

The term tenuto (ten :) conveys that the respective note is to

be held a little beyond the time otherwise allotted to it.


II pos.

PRELUDE.

.IX

No. 40. J J ljj Hr

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** METHOD FOR THE GUITAR.

As regards the fingering for the right hand, the scale of Amajor, in part, corresponds to that of C major. The second

scale of the next exercise ascends to the IX position, in which

F^ is taken on the G string, eleventh fret ; G#, A and B, on

the second string, respectively, at the ninth, tenth, and twelfth

fret.

IX.

2. A *A

:A

* A

In the fifth bar of the next Prelude, the middle C# is taken

at the eleventh fret on the D string, and the following E at the

ninth fret on the G string ; the middle C# in the seventh bar,

is to be found on the G string, immediately behind the preced-

ing D.

The piece itself contains many slurred notes, which like

those in No. 40, are to be played by the left hand alone, inas-

much as the finger which stops the upper note, in leaving the

fret, pulls the string a little sideways towards the left. If the

second note is a stopped one, it must be firmly taken before the

finger on the first note leaves its place.

A glide occurs in the sixth and seventh bar, which is effect-

ed by slipping with the finger that stops the lower note rapidly

up to the higher one on the same string, pressing it down all the

way, and thus keeping up the vibration until the little note is

reached, upon which the principal note, to which the former is

prefixed, is struck in the usual manner. Another way of play-

ing this glide is, to repeat the lower note instead of the upper

one, thus

:

2 ±4 I -*# I

It requires much practice to execute this latter glide elegantly,

as the finger that performs it must start the very instant the

string is struck. There is yet another species of glide, or rath-

er a substitute for one, which is employed when the notes to be

connected cannot conveniently be played on one and the samestring ; in this case, the finger slips from the one note to somedistance in the direction of the other, which is then struck byway of interrupting the glide, and in such close connexion

with it, that it appears to the ear as if it had been fairly carri

ed on to the terminating interval, for example

:

3s I Flayed

2nd string 1st string E*» 1st string.

Glides, though ch iefly introduced in ascending, may also be

used in descending, especially for small intervals, but then they

are generally treated in the manner last described, even if they

are played on one string only.

The whole figure, from the middle of the sixth to that of the

eighth bar, is played on the D string.

No. 42.


IX

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Compare the right hand fingering of the scale of E with that of the soale of G.

IX.

ISA

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loco.

A

The Prelude in E major contains a double sharp : x, which

implies, that a note already affected by a sharp, is to be raised

another semitone. The x is recalled by a fc|, and if the rfotc is

to remain simply raised, a simple sharp must be added to the

natural, thus : t|#. Double flats, (bb) are treatedin the same

manner as double sharps.

The chords in the fifth and sixth bar, marked IX, are not all

played strictly in that position, the D#, Fx, being taken with

the first finger at the eighth fret, and the subsequent B#, with

the same finger at the tenth fret. As, however, these notes do

not involve a shift of the hand, the whole passage is said to be

in the IX position. The bass B in the seventh bar is taken on

the lower E string, the other bass notes on the D string.

A «A*

I

The ninth bar of the piece contains an ornamental figure call-

ed a turn ; of the two little notes composing it, the first only is

struck ; the second, and the succeeding principal note being

produced in the manner of slurred notes. The grace note in the

twelfth, twenty-first, and twenty-fourth bar, is called, Appogia-

tura, the value of which, like that of the turn generally, is ta-

ken from the note to which it is prefixed. If the Appogiatura

has a cross, cut through the stem, it is understood to be of very

short duration, if not, it takes about half the value of the fol-

lowing note. It must, however, be observed that in Guitar

music the long Appogiatura is usually written out in large notes,

so that the short one often appears without its characteristio

mark.

VILPRELUDE.

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The key of F major does not occur so often in Guitar music

as the keys in which the student has hitherto played ; it is

more difficult, because it rarely admits of the open strings be-

ing used in the bass ; nevertheless it numbers among the most

practical keys, and should therefore be diligently studied.

No. 2 of the following scales is partly plaved in the X po*.,

the F -which begins the last octave bring taken with the first

finger, at the tenth fret on the G string.

No. 46.

—f -m- -0- w a • <*-0- m A • ' X '

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4S METHOD FOR THE GUITAR

CADENCE.

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The little notes at the end of the third part of the following

piece form an ornamental cadence ; such cadences are not reg-

ularly divided by bars and need not be played strictly in time,

which is here expressed by the words ad libitum.

In studying this piece, it will be well to remember that the

two. £ strings hare the same notes at the same frets with a dis-

tance of two octaves between them.

PRELUDE. •

j , J J=^=J: dW*=^^^m^ i& *iiT^No. 47.

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TEMPO DI HARCIA.

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rfecretc.

The principal major keys: C. G. D. A. E. and F., having

been amply illustrated, we now proceed to the minor keys most

frequently in use.

In ascending the scale of D minor, the F in the second oc-

tave is taken with the first finger at the sixth fret, and the suc-

ceeding G, with the second finger at the eighth, skipping the

seventh fret. In descending, the hand falls back from the VII

into the V pos., in which it remains to the exclusion of the

open strings, unto the end of the scale. The practice of scales

without open strings is extremely useful, for, supposing the stu-

dent to have mastered the descending scale of D minor, he

n.d

would only have to perform the same manipulation one fret

higher in order to play the descending scale of D#, or Eb mi-

nor ; one fret lower will give him that of C# minor, etc, etc.

In fingering scales and passages for the right hand, we have

chiefly to consider how we proceed from one string to the other

;

if, in ascending, the last note on a particular string has been

played by the thumb, the first note on the next string above

should be played by the first or second finder, whereas, if the

former has been played by the first finger, the other should be

struck by the second or third ; for instance

—

Good

II i I iM-^J-^rf-Mrf-MrA

In playing these examples, it will be at once perceived, that

the lingering marked as bad must be awkward and difficult in

mink postages, whilst the other is natural, because it comformsto the structure of the hand. In descending, the contrary order

must be observed :

4 n**4

H J I < J It

A perfectly strict adherence to this rule will, however, some-

times be found impracticable, or leud to other and greater in-

conveniences ; but if the student ha* carefully practised the

preceding scales, he can never Ik>' seriously at a loss in regard

to right hand fingering, nor be eejpoeed to the dangers result-

ing from the too far prevalent habit of using the fingers at ran-

dom


SCALE OF D MINOK

Eg^rz: J J * f

CADENCE.J22_

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If a chord contains more than four notes, the thumb is some-

times required to strike two and even three strings in rapid suc-

cession, falling;, as it were, from one string on the other, where-

upon the fingers follow each other as rapidly, so that the whole

chord sounds as if it were played with the thumb alone sweep-

sr

ing across the respective strings. The sixth bar of the piece

presents two instances of this kind. It is also advisable, and

sometimes necessary, in such cases to use the first finger twice

in the same chord, once for one of the lower notes, and a second

time for the upper one.

PRELUDE.

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The glide at the beginning of the last bar but one in the a- I first is substituted as the former approaches the D. In the fol-

bove piece is commenced with the fourth finger, for which the I lowing scale mind the crescendo and diminuendo.

VIIISCALE OF A MINOR. ~ l£~-A

CADENCE.

sJ&Z-

ISC AIa 3z:

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The middle D, in the sixth bar of the following Prelude is

taken as a harmonic on the twelfth fret, to cover the shift from

the X to the II pos. The last note in the eighth bar, A, is ta-

ken on the seventeenth fret, in doing which, avoid raising th«

elbow of the left arm, or allowing the thumb to slip from be-

hind the neck.

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It will now be evident to the student that the use of the

thumb of the left hand in producing certain bass notes cannot

be dispensed with, and he will find that it requires but very lit-

tle effort to stop the E string effectually with it, for instead of

bending the whole fore-joint over the finger-board, as some are

apt to do, it is only necessary that its fleshy part should touch

the string obliquely, when a slight contraction of the thumb will

secure the desired effect, see 6th and 21st bars above.


SCALE OF K MINOR.

No. 52.mzw^$

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ix .VII. .loco.

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The student's attention has been directed ere this to the sim-

ilarity of certain scale* in regard to the fingering for the right

hand. This similarity is the result of the regular alternation of

the thumb and the first finger in the lower octave of the instru-

ment, and the natural fitness of the former to strike the lowest

note ; it may now be observed that the inherent resemblance

which the descending minor scale bears to its relative major,

causes the left hand fingering to be, in many cases, the same for

both, as will be seen in comparing the descending scale of Eminor with that of G major.

CADENCE.

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All cadences like the above may be converted into simple I notes in succession, in the manner of an Arpeggio ; this should

preludes by breaking the chords, that is to say, by striking the | also be practised by the student.

PRELUDE.

No. 53. m. rn i r r'p-_

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Though it may seem strange to recommend a complete shift

of the hand between two semiquavers, as between A and G, in

the seventh bar when the same object might be attained by

a half shift, yet in practice, the former method will often be

found the easier of the two.

ALLEGRETTO.

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JEHj^^In Guitar music we rarely find a whole piece written in any

other minor key than those with which the student must now

relatives to the most common major keys, and as such they

occur frequently in modulations. It is necessary to be well

be familiar ; some of the rest, however, are of importance as versed in the following

No. 54. *^c S353: I

CADENCE.^ S* * I^~^~

~w use

VIIPRELUDE

[|V'IUlA A. A

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SCALE OF F SHARP MINOR.

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No. 56.

CADENCE.

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IX. loco.

PRELUDE.

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The following exercise is intended to give steadiness to the

left hand in changing positions ; it is likewise calculated for the

practise of the crescendo and decrescendo and for the cultiva-

tion of the legato, which implies that the notes should succeed

each other smoothly, without gaps or sudden transitions from

p. to/., or from one quality of tone to another.

LEGATO.

No. 57. Hfec i J ^ J^rjT3 1

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METHOD FOR THE GUITAR.VII

59

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The following is an exercise on the short Appogiatura. The

manner in which it is to be executed has been explained in con-

nexion with No. 44. It should be remembered, that the time

required for this ornamental note is taken from the principal

one; the Appogiatura must therefore be played together with

the Bass that accompanies the note to which it is prefixed.

ALLEGRETTO.

No. 58 ff>v p i

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GO METHOD FOR THE GUITAR.

The next exercise serves for the practise of the Turn, and

Double Turn, (Mordente). The former figure consists of two

successive grace-notes, the value of which, like that of the

Appogiatura is, in guitar music, taken from the following prin-

cipal note. The latter consists generally of three grace-notes,

the value of which is usually deducted from the preceding prin-

cipal note. If it is to commence on the degree below its chief

note, it is often represented by this sign -^ ; if it is to begin

with the note above, the sign is inverted, or placed upright,

thus, i ; for example

:

WRITTEN.

WRITTEN.

mm PLAYED.

PLAYED.

An accidental above the sign •^ affects the upper note of

the Mordente :

WRITTEN. ^=1 PLAYED|

r

An accidental below it, affects the lower note :

WRITTEN. PLAYED.

If the sign, instead of standing over a note, is placed behind

it, the Mordente is composed of four notes, ending on the prin-

cipal one :

WRITTEN. at*: PLAYED.

If the Mordente stands over a dot, its fourth note assumes

the place and value of the latter.

WRITTEN.l^r+^-ClH

;

PLAYED.

If there are two dots, the Mordente is performed at the ex-

pense of the first dot, and its fourth note fills the place of the

second dot

:

WRITTEN.BTrTI PLtrE°-HnDSiOThe bass that accompanies the note to which the Mordente

is prefixed ought to be played together with that note, and not

with the first note of the ornament in the manner of Appogia-

tura or simple Turn.

Besides the Appogiatura, Turn, and Mordente, there are a

variety of ornamental figures in use, which however, with the

exception of the shake, are always written out in notes ; this is

frequently the case even with the Mordente, as far as modern

guitar music is concerned.

ANDANTE.

No. 59. !#*£=£&

m m'/"'fPi^f f^ M r

r frf Tr r

m mm n i i—„ -»-w

i^T~Tr r r r

T

ry y t


I^3 J j ,

j?ni-m-rfU M ; »

i?~r-3r rT

rT

r r

:

sb ra^4n^ n.nBj-i a^ jajPSU

J 'd-~ -

r r r: T

f^lir

•

^=«m Issr

The shake is rarely employed in Guitar-music, as it requires either on one string, in the manner of slurred notes, as fol-

great proficiency to make it effective. It may be performed ' lows

:

WRITTEN.

^—i-

1] PLAYED

'"•

]J

Or, it may be played on two strings, as on the Harp, in the fol-

lowing manner

:

*J? T'r ffrfrffr*ffffr* g=g^^^^= s

This mode is generally preferable to the former, but it re-

quires jrrcat evenness of touch, and had better not be attempted

until after the 7 1st exercise.

The practice of the slurred shake, aa illustrate.! in the follow-

ing example, i» extremely useful in giving elasticity to the lin-

ger* of the left hand.


No. 60. {IBB:#i—3S J.iiiî jî-i-^îi

» ^55

"ST-

ifc

i

]1 p !

i < i" 1 i 1

~S7~

-# &J ^«Uil«U«UiJ.-Ui * OT-i^^TOjT

1ST "^

Tf., &' t^ n j- jTTn -*—»•-^q^ ro* • 4 • *-*-*-*-** 22:

*=—±**: »«-^nm^ JJ.J-/J J. J.J.J.JT2 1J.JLJ.JLJ.J.J.

"37"

*-=

^

i ^ i 1 j. i. j. j.iJ.iJ.iJ.3 . J, <±1±1H iiiiiiJTlI?

s

"ST

J-FTTT1 J.J.J.J.AJ.J.J. J. 4l^J.^lAi^l^l^l#7 * *«-*

r# ^..UULJULgrTTTJ J,fS^ I«: ±=*=±=*-=*=+-&-

m 3 j ^^ If

3g=

The student will now be able to play accompaniments of a

higher order, such as are here appended ; he may again study

6ome pieces of moderate difficulty by other composers taking

care to finger them according to the examples given in this work.

Sor's " 24 Easy Lessons " are recommended as collateral

exercises.

63SERENADE, FROM DON PASQl VLE.

" COM' E GENTIL LA NOTTS."—" OH SUMMER NIGHT.'

MDA.ME MOSSO.

aDO»IZETTI.

**£ i INo. 61.

> j.> j.>

*r*&&^

=z ji. Z1 i",r 8B^^^ *=r i

dolce r-^r r r = ±± i 3t ^: at

rrrr rirrOh ! sum - mer night,

P>

soft ly bright, How -sweet the

£P^ m ~m * m'3SL

#=*

1. Cora'

2. Com'gengen

til

til

la not - te a mez - zo A - pril ('. ii7. - zur - ro il

ij «N *T i 4tf=mti=£^^fefe^#

J!

—>

—

:± ± ± irzrzrzrzr zr zrzrzrzrzbow - «r Where sleeps thy era - died flow'r

E^ 5B£— S

f^s The liu'lit gale

oT- f=& '*=&

ciel, lu - na 6 sen - za vel

.

La hi - na e sen - za vel,

.

Tiitf 6 Ian

HA=MV* £\ l=» ^i^M^ffl.lt T 7 t ?-

r rrrr rr r T Z I ZZU t r r z

hi", To rock her I An 1 nri - t. r ilrw

-*-*— . S :

:

^t3=^

:

a_o

giior, k - ee, rai« - to - ro a - mor. Ren mio per - rhe

sHtHtiH" MM 1 1 it* -

1

r fr z t zr z rrrv.rz frr

f

t i

64

^T «&=&=£=&SERENADE, FROM DON PASQUALE.—Continued.

s - round her head. Then o'er her fly - - ing, She whispers

>

Ft L> :#£ xe ân - cor non vieni a me For - ma - no

II tno fo

l'au

deld'a - mo - re ae-

ei strug - ge

r tfr f Trr TiTi.T zr z f f ftT ZT Z

f0Bieh - ing

:

Sleep on till morn - ing light

!

^JE^

Sweet flow'r. good night

!

f >

m^ :ES5'cendi

ti,

de - sir,

Del rio nel mor - mo - rar

Ni - na cru - del !

so - *pi - nNi - na cru

een

del!

fefe&fcn r , j rudMt\iU4

T TT IT ZT Z T ZT Z T ZTZ T

*Sweet flow'r good night

!

'till morn - mg

r<£=r* I—*t-^ ân - cor non vieni aBi strug - ge di de

^St-

ti, Ben mio, per - che. . . . II tuo fe - del

iE£B=is El

rf\

i i .N .IN J*

.»— 7 7 T 7- j-i—f—r* *=*

r rr r r rr r

light Sweet flow'r good night

!

good night ! good night ! ( 1st time. J No< 2nd time. ]

""Thy

5r*3 £& pic

Ssfe£J?L-^^ ^

me.sir,.

Per - che, per - cheNi - na cru - del,.

ancor non vieni a me 1

mi . voi ve - der mo - rir 1

wÊÊ^m±=£ Li-hi £Poi

H%7 J» 7 TFEjE^g

r:r:rrr: u tr r

r7 — 7 7 — 7 7

SERENADE, EROM DON PASQUALE.—Continned. 65

spoil • er shall come near thee !

.

beau - ty's spell will charm thee !

.

LnlLul

la -byla - by!

No blight shall dare toNo stor - my winds shall

*-*-3sa ££=*£

quan - do sa to. piaa - ge - nu Ma ri - chia - mar-mi^ 'fl i

-

fl- n i

-?] n i r. Jl i FN§r.

v - - <•- 7 7 — 7 7 — 7 7 — 7 7r r t r» ' £ » » f

searharm

it*

thee!.tbee !

.

>

Lnl - la

Lul la

by!.

* * ? I£ ^^ta. non po - tra - i,

•P- J 7-»-7 7-=:7 77r 7 7 — 77-«- 77 -s:77T77 — 7 7

1Z3

£r

r r

Tr r

rr r ^ r r

t r^ TTf

7 7

*& 1'g.l

by. No storm - y winds shall

s 5 ±=; *-

tra i,

^fHyftdSj s.

Ma ri chiamar - mi 'in.

ihll'm ^^cU7 T 7-

fT r!

7 7 7T7 _ r T _ r 7

r z z r *

harm thee! Good night

'

good night.

t*A /Ts

r > 7 ^ir ' t c r ^ £:7=S:

^Ap

No, non

PPpo - tra

wrt r

//^

fe^ /Os.

r

If

66

CAVATINA, FROM IL TROYATORE.

"IL BALEN DEL SUO SORRISO."—"BRIGHTER THAN THE STARS.

VERDI.

Bright - er than the stars soft gleam - ing From the a - zure

No. 62.

depths the a - zure depths a - bore

JL feSIs the pla - - cid ra - diance beam - ing, In the

5^ wh £3-

--&t Wt« a

6tel - la vin - ce il rag - gio ; il ful - gor del suo bel vi nuo - to m

smile in the smile of her I love,

if^r-^^P^

She for whom, for whom my heart is burning "With a

> >

as

aom, lor wnom

#-^g pQ;^CT^Jfondle nuo-yo in-fon - de a me cor - rag - gio, Ah ! l'a - mor, l'a mo - re ond' ar - do, le fa- -

flove be - yond, be -yond con - trol

£=*=#£

She a - - lone that love re

*P\> > d«>lce.

a±=±± ^s_-; L.

da il so - - le d'un suo-liin mi - - o fa- vor eper - da il so - - le a ui

sj tij SJ r

ARIA, FROM IL TROV1TORE,—Continued. 67

turn - ing can quell the tempest of my soul, She for whom my heart U burn-ing with a lore beyond con -

dolcifsimo. con espressioiie.

Hfc hr^jÛfr r lJT Jf r JJ rff-L * ? r Pf-re in—-t^HbH^FF s S=t3:

sguar - do la tern - p«a-ta del mio cor. Ah! l'a- mor. l'aroo-re ond' ar - do, le favel- li in mio fa -

trol, She • - lone that lore re - turn - ing can quell the tern - pest of my eoul, She for whom my heart it

^ ^=^^Â^=^^* r ** +

^to - re, aper - da il so - le d'un auo "guar - do la tempos - tn del mio oor, Ah ! l'a - mor, l'a-mo - re ond'

ff^f-f £% 3 f Iff !CT=ffbH^rTEEglWOTWtu

burning with a love beyond eon - trol, She a - lone that love re • turn - ing can quell the torn pent,

> > >~~^V > > >

Tf-Un > ^'4-^ c T CT=f1#^HHaar - do, le fa - Tel - li in mio fa • vor

;

aper - da il bo - le d'un auo aguar • do la tem- pea . ta.

*d*: wmHHh-ifg^ff eg Fg-^-f=iNr :h—h—g-fr-ft^ S

can quell,

-*—êan quell the tempmt of my soul.

^S P

E-rHE-^l mx=t m * P'- » ^*^"# #' ^ r*r*3-

ah!

"'

la Um • pea • ta del mio eor.

(^ s**s; ***;*jf * -IIat

r

68

WHEN THE SWALLOWS HOMEWARD FLT.

No. 63.

*h±paAndantino.

F. ABT.

y^M ri

i

mjn

B—*UJ—^-n

is r r r• t

*—*

FINE.

I

-/ =¥=^ ^ ^ 36 ' r

J-

c

1*5HiS. s * * •

When the swal"When the white

lows homeward fly,

swan south- ward roves,

When the roTo seek at noon

ses scat - ter'd

the o - range

m niJ7n£Wl#n" ' r t r T s

-f f=*M ' 3 5

r r r

fc*- fe ^lie;

groves;When from nei

When the red

ther hill

tints ofnor dale,

the west,

*£5 w m

T

Chants the silv' - ry nightProve the enn has gone

J * 3 J|7 -j-j-f

f r r

1B«

to

IP

WHEN THE SWALLOWS HOMEWARD FLY.—fontinned. 69

*:PP ttrlmrnd*.

F=£Til. >^ > > ««»^

PX ^ E£ in-r-

its grief im - part

;

g»le;rest ! I

In these words, my bleed- ing heart, Would to thee

™"T^^^^^^ p^^^™^™^] ^^^^^^^^^ ^^^^^^^"^^^ ^-8J/ . Jr-i-Jr*=4=f= *=±=*=* 4 \ . 4 4 4 4 4 \

~4~4 4 «H l1

1-4

r* r• f U_LZrj r

±*zZ2~. f—f—a s^3t=» s

PPM'h.-n that thine im mage loose,

!*feE^dgj#=H=fJ j |fT^ l^fJT^r f r

• f

I*± > ereae. >^=*±=±L ^ BE

Can I, ah can e'er know re pose'

fc*: i:7=sJ

r f r•

I»/ £# rV ' & 3»*_#•

Can I, ah can know re - - poaal

lffi>~^TV^^

f ' r

70

ARIA, FROM DON GIOVANNI.

"DEH VIENI."—" COME SHINING FORTH."

-*ft#PAUtBTtu:

£

MOZART.

Coma

y ?

No. 64. VII

*6^ ^filH^L&Deh

s• t •

r• v.t- r f f"r- ".r

shin - - ing forth, my dear est, Thy - self one mo - ment show !

F53; i» •- *=&Oh!

r—r*—

t

3t=3t» F^F^g-^—

*

al - la fi - nes tra, 0, mi o te - so - ro

!

Deh,

*m T^ rTi^ffiSmmm^ i-d-+4P fr r r • r r T^

m my pwy'r thou hear ' - - - - est, "Wave hut that arm of sno-w

;

fe ib=£!*•—#—

*

^ -y t 7

vieni a con - so - lar pian to mi

——*

*? ITT

1?gj^jjjjj^ ;

5sEOT^^ d» '*

rrf' r r f r

Canst thou my cease - less sigh - - ing, With

P ^ fe£1 7

Se ne - • ghia mc di dar qual

3r

*=#

i § i^f 5s Sf

i_—

.

^yif WF7^7"' f r- r

ARIA, FROM DON GIOVANNI.—Continued. 71

cold in • diff' • renee gr««t ' Ah, wouldst thou see me dy • ing, Dee

I y Sif\N—

r

£7 ? m

ohe ri - eto ro, da - Tan • - ti a - gli oc- chi tuo

i^P•—

•

gajs.frmmm hbI#-3-#

^=T ?=Tr r

pair • - ing at thy feett

breathe on • num - bor'd ro

#* V 0- £

«'", Un • nam • • ber'd eUra I a**,

^^Yet ..

IS **=Z3t

ch'hni la boc • ca dol - - - - ct pin del mie - - le,

* •'r—T^TT T=

r r

.

"*^l

•tar nor flow'r di» - elo tea. Or balm, or light for me.

m ^£ -;**: • -

tu chr il xnche - ro por ti in meg - - io al eo -

m aiJj^TJ-^SNl

JJ^J-^jzig }..' -...-...

?r rf- f r r r

79 ARIA, FROM DON GIOVANNI.—Continued.

Thou in tny bo

1 T r i i r n^e * *—*-aNon eer gio - ja

±U i s* *=3=*- -

: * *&*=

iSTf5?

-#*

7"r r r-

besr est The on • ly balm I know, Then

*,j. : &*f

p 7 T

mo era - de k!

* 35*

^=iU 35s

¥^_fct JBBjTi

I• 2-0

r r rr rr

from thy case - ment, dear est, One bright smile he -

-0—

-

—0---m

*-*

a - mo

»

las - cia - ti al - men ve - der,

9^0- 0-*

bell'

m -0 0-3-0#+ g -I?

E*r r

—-7

Jt

etow,

Ii*=

3-y

—

t-

- re!

*saHs- •z^ab -*-»s jr ^d 0- 7 7 f-

"S6

r '

f • f T X f"

t . cy- 7 t

PART THIRD

The exercises in the preceding portion of this work can be

performed without any extraordinary physical efforts ; they

were intended to make the student acquainted with the princi-

pal keys, and the fingering for both hands ; they require skill

rather than strength, but as there are few, if any, among the more

extensive and important works of the great masters that do not

demand a superior development of the hand, it is now time to

face the purely mechanical difficulties in order to impart to the

muscles that degree of force and suppleness which makes the

execution of difficult passages easy, and gives to the perform-

ance generally, that polished style on which the pleasure of the

audience mainly depends.

The following exercise serves to stretch the fingers of the

left hand. At first, the student may be allowed to avail himself

of the open strings for the lower notes, but he must gradually

learn to adhere to the fingering as it is marked, and fniullv play

the whole piece without using any open string. The finger that

stops the upper note must not be lifted up or changed except at

the end of each part.

ANDANTE.

L T T T ^ T T

T i¥rY

*T

T V * *

/ rr 'T «r ^r ~? r

-

Uf T

I

*: n33=jnE jttj ,mm , jjjjj], im>v

y~T '' T T F T * * *T^Jr**r r

f4 i J

t

J J|b£ J J J J WJZW +=Jr ± HIES

...& "?.

'-*4— T T T

. . . . , i\LJ^_LJ=hpL±JJ>AJilsl=i'A^J-JZ£±r. I> c

fr'f

t t

f f T "T T T ft T


In the next exercise, two fingers have to remain stationary.

Antlante.

No. 66.*#—?

—

=t= ' ufy i»—?=:

f r f

J

f—*- 1

-*Aa+- Si^JB^S^Sr r = 'f t

^r mf T ritard. f lJ

1 a temDo.a tempo.

il basso ben marcato. rsT

'l »/" f ft

The contrary movement of the fingers in the next exercise, tends to render them independent of each other.

Moderate.

No. 67. ^^fp^^&&&^Q&&^^"?

-*-

n3 ] xn h n

^ lJ I aJ—J-gZlj-jf-ZJ-^-q|S&33=§3=|

n -43-

1-«-* •

5r§E^?^5ic

tr=5'=i

«?--t-*W 9- "h-^

METHOD FOE THE GUITAR. 75

t*=f*=j*=t*&!i&H*d!^&33kiEg ' °'

"^J'J '\jTj~ \J \J \J \J tftftftf Lf Lf Lftf

i/JTiJTn jto'JIH 531/25 4^3Z34

.LL-T

The following exercise for the right hand should be played I the movement must be gradually taken quicker, until the

very evenly, with the notes of the melody distinctly marked ;I utmost degree of velocity is obtained.

Vivace.|

I I

No. 68.| feC~p f p | » mP > - • - ^ »

rJ% i»*

1; i CsS ess usss»r-#—h#

J J ^J *£ J

L^f^^^gsmffi

J 4 i

n^^pt #—

a

•-a— # , ^^-.;'

'


The accompaniment in the next exercise is played by the

thumb alone, the first and second finger alternating on the notes

of the melody, which must be played perfectly smooth, so that

the, ear does not perceive an^y difference in the quality of tone

produced by these two fingers. To effect this, the piece should

be practised sometimes with the thumb and first finger striking

together, followed by the second ; and sometimes with the thumb

and second, followed by the first. The finger which appears

weakest, should at first be made to accentuate the note it has

to strike.

No. 69.FfezS 5A A A A

t_

S S~0~m-0'§§3§itei§S:B^^

. * . 0-0- -J 4 4 drrw TTT2 JTT1 JTT1 J

f0—0-

z.

6 -d-±-4- ^ *=£ -0 5^^f—o

-0-

_ L r

1 m \ P ' I

* —I* -" ' .. #F. - - —z

—

f fr

T+^^jmm^0-0-


The following is an exercise for the same fingers, which,

after alternating in the manner prescribed, may be used in the

inverse order for the purpose of equalization. The upper notes

should be played so evenly as to produce something like the

effect of sustained notes.

It may be observed here, that though the action of the fingers

of the right hand should proceed from the knuckles, as has

been stated in the article on, " Holding the Guitar," yet in pro-

portion as the fingers become independent of each other, their

motion grows less obvious, and in passages like the Following

seems to be more or less confined ro the f«ire-joh»ts. This apparent

inactivity of the other portions of the lingers is in realty the

result of habitually confining digital motion to those muscles

alone which are required to be active and leaving all others in

a state of repose ; a faculty which can only be attained by long

practice.

No. 70.

3^ 3^ I J33 7 ± JL JL.

r& t^f ---?^ . *m^mm Â jdH. f^TJ. 2A *

~w^m

*-Si=im.{m, Mj&ajsjimÛ^-Uîm

'

? ,F=?JH£_^ a^g-=

sSL-

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Jh-3 2

* 000» i\r

I


j? L^LW F=3 , ? im+=m^=i mL r r

P-?-

-«—» tf' — ' s S d

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-• 0-

3

f

r#iMiMfM

i

f J 4 2 7 «T^^ ^!V JLJ"^TZ£^ Wt

-7- 3 LF^J== ^e4—' — —0-

L r r

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-•—•- ? .m ? ml

L L

, ? ^^Mim-? fn-tmtm t*m t Lm

L r L

I jTI-1 i?

r I I

I


The object of the next exercise is a further equalization of ted by their being used in every inversion that can possibly

the touch of the three fingers which will be greatly promo- be made.

mzz zzz zzzz —~ zzzz zzz zzzz zm — — __ __~..—..—*M "" "" "" *ra = = = ===

0000 0000 000* 000i0-

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so METHOD FOR THE GUITAR

The practice of double stops, i. e. thirds, sixths, and octaves,

requires much attention and perseverance ; it is however not

more difficult than useful in giving to the hand strength

and precision.

No. 72.mS^^^k^^^^a^ru *tt' r f f

I

» r f-

£p|SU j j*

-^*- =P

irr

m/ p

u^tft&fH^ M^*$-9-^ P***t^s1 «T«—• Jr^ A A2.

A

INo. 73. lA) C =jU.XT

, -^— t r T - rIS*—s I*£?:#—*

1.

£fe 5I

Si^^^s^*S£E

m/^s

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S3tt a^f*te**—Hi-jW rcnJ . • ' -

± i i n" ZIT

Iaccel. ritmrd. /

r

Si J^Mf i f'fF *zrr IP^g^|g-M-g=gtr^ ^

In the above exercise, the double notes on the upper strings I rapid execution, but also because the first note of every couple

are struck with the first and second fingers; in the following, I

requires a slight accentuation which can be best produced byhowever, the thumb must be used throughout as marked in the

first bar, not only because this method offers less obstacles to ae um

'

Allrsr*. ir&5-pS-j5-H° J* ft H f3, F3 fl -fl fg a B

No. 74.«•*-

i^«'*' * *^^1A A A A mf rf

& =a* #: :**isp *#

*•

se^fea^:»^ ^•/ /

Um * r _ * JM-^P-tI-

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dimln rltarrt.

'

fS^^M^^J*. ' I' **

S3 METHOD FOR THE GUITAR.

m mm g—s-T Jbg^lP^ffffi ^ I=g^ a=S=ii=f ^2.

The bass in a passage of octaves is played by the thumb

throughout, whilst the notes of the upper part require an alter-

ation of the fingers, such as occurs in playing melodies generally.

In the following exercise, the strength of the left hand will

be put to the test, as well as the student's precise appreciation

of distances on the fingerboard. The shifts of position must

be very prompt to insure a smooth flow of melody, a regard to

which must be the chief consideration in determining on whatstring certain notes ought to be taken. A striking illustration

of this will be found in the sixteenth bar, where the G # and Ain the treble, which are generally found on the G string, will be

much more conveniently taken on the D string ; a similar case oc-

curs in the twenty-fourth bar. The same motive exists for taking

the F # in the twenty-first bar in the manner there prescribed.

Allegro maestoso.

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The style of playing, termed legato, at all times difficult on

the Guitar, is particularly so, when several successive notes

have to be stopped by one and the same finger, as is very

frequently the case in a series of octaves. The desired effect

will be more readily obtained, when a due distinction is made

between accented and unaccented notes, by giving the latter,

as nearly as possible, that degree of piano with which the pre-

ceding, comparatively accented note sounded at the moment of

its being intercepted by its successor. This holds good especially

in slow movements. The reason is obvious ; for a note struck

on the Piano, Harp, or Guitar, decreases very precept ibly in

strength in th of half a second or so; if, thru, a newnote succeeds in melody at the expiration of that time, it will,

if nlaved with the same energy as the former, sound like a re-

newed effort, and therefore preclude the idea of its being, as it

were, smoothly fitted to the other, which is implied by Ugata.

If, on the other hand, the new note commences as softly as the

preceding one erpired, it will be more easily accepted by the

ear as a mere modification of pitch of the same sound. Hence

it follows that, on the above named instrument*, the legato in a

atrial sense is only possible in conjunction with a dttntetudm;

yet, as in mono there is an ever changing tide of pMW and fort*,

it will not be found impossible even in crescendo passages, to

discover some DOtM to which the ulxive principle! may be

effectively applied, whilst in quick dn isions, the ear accustomed

to the so-called imperfect instalment*, will rendilv admit a

smooth und closely connected series of notes as a substitute for

a legato passage.


No. 76.

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The student has yet to become acquainted with the rest of

the major and minor keys. The following scales, cadences,

and preludes, which cannot offer any great mechanical

difficulty now, will suffice for that purpose.

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No. 77.

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CONCLUSION.

Thb means which classical composers for the Guitar

employ to convey their musical ideas, are so touched upon

in the preceding pages, that the student who has followed

me attentively to the end, may henceforth trust to his own judg-

ment in all matters relating to the manner of mechanical execu-

tion. I have purposely abstained from making him acquainted

with certain effects, which, though frequently indulged in by a

number of Guitarists, are not so fully recognized as to entitle

them to a place in an instruction book. As regards style of de-

livery, he must be referred to the living example of eminent

performers, since it would be impossible to describe exactly the

latitude which an experienced artist may take, or the minute

details of expression to which he resorts in his interpretations.

It is to be hoped that the student's taste has been sufficiently

developed to guide him aright in the selection of the pieces he

intends to play. Whilst considering the productions of the

great masters mentioned in the preface as standards of excel-

ence, he may feel assured that he is proceeding in the right di-

rection, and that he will finally see himself rewarded for his per-

severance by attaining to the perfect command of an instrument

whose fascinating qualities, if properly displayed, always ensure

it a prominent place among the refined sources of musical cn-

enjoyment.

OTTO FEDER


VOCABULARY OF ITALIAN TERMS USED IN GUITAR MUSIC.

A, by, for.

AccelIerando, accelerating.

Adagio, very slow.

Ad libitum, at. discretion.

Affetuoso, affectionately.

Agitato, agitated.

Al, All, Alia, to the, in the style of.

Allegretto, rather cheerful.

Allegro, quick, lively.

Andante, sedate.

Andantino, somewhat quicker than Andante.Animato, animated.

A piacere, at pleasure.

Assai, very, extremely.

A tempo, in the regular time.

Attaca subito, commence the following movement directly.

Ben, well.

Bis, twice.

Calando, diminishing in tone and quickness.

Cantabile, in a singing style.

Capricio, a fanciful and irregular composition.

Coda, a few additional bars at the end of a piece.

Colla Parte, following the principal part.

Con, with.

Con Brio, with intense animation." Calore, with warmth." Dolcezza, with sweetness." Dolore, with pathos." Fuoco, with intense fire.

" Gravita, with gravity." Grazia, with grace." Gusto, with taste." Impeto, impetuously." Moto, with animation." Spirito, with spirit.

Crescendo, increasing in tone.

Da, by, from.

Da Capo, from the beginning.

Dal Segno, from the sign. Mark of repetition.

Decrescendo, decreasing in tone.

Diminuendo, diminishing the tone.

Dolce, soft, sweet.

Doloroso, mournful.E, Ed, and.

Energico, with energy.

Espressivo, with expression.~

Forte,/., loud.

Fortissimo, ff., very loud.

Forzando, fz., with particular emphasis.Grave, the slowest degree of movement.Istesso, (Stesso) the same.Lorghetto, slow and measured.Largo, very solemn and slow.

Legato, smooth and connected.

Lento, slow.

Legieramente, lightly.

Lentando, with increasing slowness,Ma, but.

Maestoso, majestically.

Marcato, marked.Marcia, march.Marziale, martial.

Mesto, sadly.

Mezzo, half.

Moderato, moderate.Molto, much, very.

Morendo, dying away.Mosso, moved.Notturno, night-piece.

O, or.

Obligato, indispensible.

Patetico, pathetically.

Perdendosi, disappearing gradually.

Pianissimo, pp. extremely soft.

Piano, p., soft.

Piu, more.Poco, little.

Portamento, gliding from one note to another.

Presto, very quick.

Primo, first.

Quasi, as it were.

Quieto, quietly.

Rallentando, see Lentando.

Rinforzando, rf. see Forzando.Ritenuto, holding back in the movement.Rondo, a composition of several strains, each of which is follow-

ed by a repetition of the first part, or subject.

Scherzando, playfully.

Segue, follows.

Semplice, simple.

Sempre, always.

Serioso, serious.

Sforzato, sf., see Forzando.Siciliana, a movement of a pastoral character.

Smorzando, extinguishing.

Soave, sweet.

Solo, principal part.

Sonata, a composition of several movements.Sostenuto, sustained.

Staccato, detached.

Stentato, see Lentando.

Subito, quickly.

Tardo, slowly.

Tuttaforza, as loud as possible.

Tutti, all.

Un, a.

Veloce, rapid.

Vigoroso, vigorously.

Vivace, briskly.

Volti subito, turn over quiokly.

t m

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I H i

1

a complete method for the guitar : containing the

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