First Notes (Classical Guitar Study)

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Contents

Page 4.

Foreword

6. 7. 11. 18. 21. 25. 29. 30. 37. 41. 42. 43. 44. 46. 48. 49. 51. 52. 54. 55. 56. 57. 58. 60. 61. 62. 64. 65. 66. 68. 70. 71.

The open strings Lesson 1. First three open strings Lesson 2. The three bass strings Lesson 3. Preparing the left hand fingers Lesson 4. First tunes The bass notes on strings 6-5-4 Review of all notes covered Lesson 5. First tunes revisited Harmonising with open notes Waltz. (Carulli) Andante in C Major (Carulli) Lesson 6. The key of G Major Scale study in G Major First chords. Harmonising in 3rds Introducing two new sharps Two short scale studies Scale review All notes in first position First tune using G sharp Malaguena Short arpeggio study 1 First study in C Major (Carulli) Study in C (Sor) Arpeggio study 2 Moving from 1st-3rd position Waltz (Aguado) Final Part Waltz in C Major (Carulli) Allegro No. 13 (Giuliani) Conclusion. Final part Andante in A minor (Carcassi) Romance (Molino) Reference page - Musical signs List of composers

















6 THE OPEN STRINGS

Each string on the the guitar has a named note; these notes notes are not so easy to remember remember in the early stages as the open strings do not appear to be in logical alphabetical order (i.e. a b c ...) although at a later stage when we form a scale they will make alphabetical sense. To give the strings and notes more meaning and to make them easier to remember, it is often a good idea to give each string an image: images have a greater impact on the imagination and the memory than words do. You may want to make up your own 'Nemonic', below is an example: The 6th string (the thickest) The 5th string The 4th string The 3rd string The 2nd string The 1st string

(E) Elephants (A) And (D) Donkeys (G) Grow (B) Big (E) Ears

There are two basic techniques that need to be addressed before starting the exercises: THE REST STROKE: (apoyando) (apoyand o) THE FREE STROKE: (tirando) The 'Rest Stoke' or (Apoyando) is a method of plucking the strings to produce a rounded prominent sound: This technique is the first and most important concept that is sometimes overlooked in the early stages. stages. Place the fingertip fingertip on the open E string and play the note note bringing the finger to rest on the next (B) string. The 'Free Stroke' or (tirando) literally means to play the notes in a free flowing way with the right hand fingers being relaxed and not curled under; the wrist of the right hand should also be relaxed with a slight arch, think about what action this arch produces: If the hand is flat, the result will be that the fingers will point away from the strings: Create an arched wrist and the fingers will be poised above the strings where we want them to be. Right hand fingers will be indicated as follows: English: 1st. Index 2nd. Middle 3rd. Third

Spanish: Indice - (i) Medio - (m) Anular (a)



















7

Lesson 1 The Top Three Open Strings: The First String

The open (E) on first string > E      

    E

0

0

0

0

0

0

Thick string (6th) >

The first note on the first string is E. 4/4 indicates the number of beats in each bar

fret 1

fret 2

fret 3

(Important reminder)

fret 4

 The 'Rest Stoke' or (Apoyando) is a method of plucking the strings to produce a rounded prominent sound: This technique is the first and most important concept that is sometimes overlooked overlooked in the early stages. Place the fingertip on the open E string and play the note bringing the finger to rest on the next (B) string

Play these open notes using 'Rest Stroke' and say them out loud. Count or tap out the beats 1. 2. 3. 4........ simile - (proceed in the same way) E 1



i

m

i

m

i

m

i

m

i

m

i

m

0

















8

The Second String

The open (B) on the second string > B 

 B

0

0

0

0

0

0

fret 1

The first note on the second string is B

fret 2

fret 3

fret 4

As with the first exercise, play these notes using rest stroke: Repeat using (m) (a) fingers, count and name the notes.

B

1



i

m

i

m

i

m

i

m

i

m

i

m

i

m

i

m

0

















9

The Third String G

G



 0

0

0

0

0

0

0

The first note on the third string is G

G

1

                   i

m

i

m

i

0

i

m

i

0

1

5

m

i

2

m

3

i

4

m

i

m

i

0

m

i

m

0

simile.......

m

i

m

i

m

i

m

i

m

i

m

i

m

                0

0

0

0

Repeat this exercise using fingers (m) (a)

1

E

B

 

















10

Open String Exercises On All Three Strings

All three strings: Name the notes out loud keep your eyes focused on the notes (not the names of the notes above!).

E

B

G

                  

1

i

 

m

i

m

i

0

m

i

m

i

m

i

m

i

m

i

m

0

0

1

2

G

3

4

0

simile.......

B

G

B

E

               

5

i

m

i

m

0

9



i

m

i

m

0

B m

i

m

m

i

m

i

m

i

E m

i

m

i

m

0

0

E i

i

i

B m

i

G m

i

m

i

m

















11

Lesson 2 The Three Bass Strings This is how the three bass notes n otes look on the staff: Play the exercises below with thumb (p) Pulgar. Name the notes out loud as you play.

E A D    0

 0

0

D

A

1

  

A

E

 

0

0

0

E

0

D

            1



0

   0

E

4

0

2

3

A

4

D

0

0

0

simile.......

A

E

A

D

A

                0

0

0

0

 

 



















12

Lesson 2 (con') Combining Bass & Solo Strings Open string exercises putting bass & treble strings together

E

B

                  

1

E

G

5





  

E

9

 A

  

B

 

     

 

     

 

     

 



















13

Note Values

These notes > q are called crotchets and receive one beat or count for each note:

      

1

1

2

3

4

These notes > h are called minims and receive two counts for each note:

   



2

1

2

3

4



















14 This note > w is called a semibreve or full note and receives a count of four:

    1

2

3

4

Play these notes using rest stroke:

         

1

1

2

3

4

1

2

3

4

 1

2

 3

4



1

2

3

4



















15

Bass & treble strings con' Make sure you use correct fingering with these open notes: Play slow and evenly

Play these notes using 'Free Stroke'

               

1

1



p

p

i

m

a

   i

m

i

p

p

i

m

a

   i

m

i

p

p

i

m

a

   i

m

 

i

 



















16

            1

2

3

Introducing Introducing a new time signature:

1

Introducing a new note and its equivalent rest This new note > e is called a quaver: two quavers > iq = 1 > q crotchet:

(quaver rest)

            

2

3

1

1

+

2

2

+

3

+

The quaver in 3/4 time:

3

Introducing the crotchet rest The rests are not played but are counted

                

1

1

2

3

1

2

3

+

1

2

3

1

+

2

+

3





















               

17

1

+

2

+

3

+

1

+

2

+

3

+

1

2

3



Back to 4/4 time

In this exercise, use thumb for the bass notes, (i) for notes on third string (m) second string (a) for top E string.

17





















18

Lesson 3 Preparing the left hand fingers Learning the first three notes on the first string: E. F. G. First finger (index) on first fret. Third finger on third fret.

Open E > E 0

F  1 - fret 1

fret 2

G  3 - fret 3

Play these notes rest stroke:





















19

The second (B) string Open B > B 0

Learning the first three three notes on the second string: string: B. C. D. Use first and third fingers.

C 

A (B) note can also be played by holding a G string down on the fourth fret

fret 1

fret 2

D 

fret 3

 fret 4

1

B

C

D

B

                i

0

m

i

m

i

1

m

i

m

i

3

m

i

m

i





















20

The third (G) string Open G > G 0

Learning the two two notes on the the third string: string: G. A.



Second finger off left hand on second fret.

fret 1 2 A 

fret 3

Play the (A) note with 2nd finger Count out the notes as you play: 1, 2, 3, 4.......

A

G 1

fret 2

                   i

0

m

simile..

2

0

2





















21

Lesson 4 First Tunes We are now ready to start making making music with the the notes learned so far: We will later build on these simple one-string melodies melodies making them full-sounding full-sound ing by harmonising the melody lines. Play these tunes slowly keeping the timing even: Don't start off quickly with the first two bars because they are easy to play, then slow down and fumble your way on bar 3. Count the note value as you go along keeping the whole piece even.

Jingle Bells

English Trad:























22

Good King Wenceslas English Trad:























23

Au Clair de la Lune French Trad: Translates to 'By the light of the moon'























24

Yankee Doodle American Trad:























25

Part 4 The bass notes on strings 6-5-4 The four tunes that that we have covered so far will be re-visited later. later. The choice of these tunes tunes are not unique and crop up in other other books of this kind. The reason for this is that that they are popular well known traditional pieces. pieces. The problem with these tunes and many others like these that are written in a one line melodic form is that after the initial feeling of being pleased about























26

First three notes on the 6th string (con') 1

  

1

2



3

4

1

2



3

4

1

2



3

4

1

2



3

4

























Notes on the 5th string

27

























28

Notes on the 4th string

























29

























30

Lesson 5

























31













































































































































































































































































































































































































62

Waltz in C Major

F. Carulli (1770-1841)

Allegretto q > 100

                                  

1

4

0

1

1

0

4

0

0



3



2



3



                         

5

4

3



1

0

4

1

0



3



3

 

                                

9

1

4

3

 0

2

4

0



2





                         

13

1

4

3



0

2

4

1



0



3

3





                                

17

2

 1

4



2

 1



2

                        

21

2



1

4





2

2



















63

                                                                                      s s. g l i i s

25

0

1

0

1

2



1

2



1







g l i i s s.

29

0

1

0

2

1

1

2



2

2







0



33

4

1

4

0

3

0





2







                         

37

4

1

4

1

3



0



1

0





3



3

                                

41

1

4

3

 0

2



2

4





0

                        

45

1

4

3



0

2



4

1



0

3



















64

Allegro Op. 50 No. 13 M. Giuliani (1781-1829) Before starting this piece, place the first and second finger down in preparation: From bar 1- 5 keep the second finger down as an anchor: Play free stroke throughout.

Allegro q > 130

                              

1

0

1

2

1

3

2

0

2

1

0

0

3

                            

4

0

2

1

0

3

2

1

2

3

1

                             

7

2

1

0

4

1

3

1

2

2

0

0

                        

10

1

3

2

2

1

0

2

0

3

1

0

3

                           

13

3

1

0

3

1

0

3

2

2

0

                                

16

1

0

2

0

1

1

0

2

0

1

0

1

2

0

















65

















66

Andante in A minor M. Carcassi (1792-1853)

> III= slide to 3rd fret

The Roman numeral

Andante q > 130

                  mf  

1

0

0

1

2

0

0

0

                    f     1 3

0

0



 

0

9

    mp

1 3

1

0

III=

0 1

0

         s s. g l i i s

g l l i is s s s .

1 2

1 2

0

0

              0

1

0

1

3

0

2 3

2

0

1

0

5

1 2

3

0

                     

13

0 0

1

3

0

1

3

1

0

0

3

0

0

2

0

                  

17

0

2

1

0

3

1

0

2

0

2



















67

                             

21

1

0

1

0

2

0

2

0

0

0

0

2

3

                        

25

3

0

2

    

29

0

3

1



2

3

2

0

0

0

1

0

1

0

3

rall. 3



  0

2

1



2

  2

0

p

On the final piece, Romance by Molino, try and make good use of the hairpin This sign indicates a chort crescendo (dynamic rise in volume) There is lots of scope to turn this piece into a good little concert piece: Take time to look at all the expressive possibilities such as 'ponticello' (use sparingly)

















68

Romance F. Molino (1768-1847)

Expressively use rubato throughout

Moderato q > 100

III=

                           f

1

1

0

3

5

     p 0

0

1 2

1

2

0

0



0

0

1 3

0 1

1 2

1 2

0

3

3

4

0

3 0

1 2

4

3

1

1

0

2

3

ponti................

III=

 

    

1

1 0 2 3

1

3

   

                       f

3

1

0

1 3

3

1 3

1 3

3





1

0

0

0

p

13

4

1

                      mp

9

1

3

0 2

 0

0

1

 0

0

 1

    1

3

















69

          p

21

4

1 2

1

1

0

1

                          1

0

0

0

2

0

0

3

2

0

3

p

f

1

1

p

f

accel.

accel.

III=

                                    

25

1

3

0

2

2

0

29

III=

  1 2

0

1

3



0

1

1 2

2

0

 

2

0

  2

0

0

0

 

3

0

1



0

rall. 1 2

1

0

0 1

 

  1 2

p

















70

















71

First Notes (Classical Guitar Study)

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