RIGHT-HANI DEVELOPMENHJA22
EGUIT\F
itil
:ilii'..:.+
$*
BY RENARDD.HOOVER
ffi
PFEFACE
The materialcontainedin this book is the resultof countlesshoursof playing, observation, andteaching. TheconceptevolvedwhilestudyingclassicalguitarandI beganto realizethat the immensemusicalandtechnicaldemandsplacedon the righthandinclassicguitarwere, generally, ignoredin modernmethodsfor pick-style guitarThesemodernmethodsassume t h e r i g h t h a n d w i l l a u t o m a t i c a l l y f o l l o w t h e l e f t i n t h e ict u r seevoefl o p m e n sd Mf a n y om f yown students'musical andtechnicalproblems weredirectlyrelatedto the inability to executethe righthand properly. Thisright-hand tecnhique beganas anattemptto correctthesedificiencies, andresultedina markedandrapidimprovement in mystudents'playing. On thisbasis,it is mycontention that the righthandin pick-style deservesthe sameattention thatourclassicalcolleagues spend timedeveloping withPaparraro, Pujol,andGiuliani. Practicing withthesestudieswillimprove clarityin single'lineimprovisation, phrasing, reading,musical and chordmelodyplaying.In short,the overallqualityof musicianship will be raised. Thearrangement of thisbookassumesthe levelof beginnerAdvancedplayersmayf indthe latterexercisesmoreappropriate to theirimmediateneeds.However.I cannotstresstoo strongly, the needto practicethis bookfromthe beginning. Therighthandmustbe allowed timeto adaptto the appropriate movesrequiredin eachset of exercises. It is my hope that this book providesa meansfor all seriousstudentsof this beautiful instrument towardsattainment of self-expression-regardless of styleor idiom.
THE RASIS Whystudythe right-handof pick-styleguitar,independently fromthe left hand?Namely,it is important to developa technique(always witha viewto a musicalstatement), whichwillallow modernguitariststo playalltypesandstylesof music.lt becomesnecessaryto focuson the righthandbecausethisiswheretheinstrument's soundis initiated. Someoftherequirements placedon the righthandare:dynamics,differencesin texture,repeatednotes,rapidscalar and arpeggiatedfigures,wide leapsbetweenstrings.The handmustbe trainedto respono accuratelyand quickly,accordingto a wide varietyof musicaldemands. Thefollowingmethodis oneof severalmethodsfor righthandandrightarmmovement. Some playersadvocateplayingwith the arm and wrist locked,with motionoccurringonly at the elbow.Stillothersadvocateall threepossiblemotions,fingers,wristand arm. Thesestudiesfall underthe last category.Approximately 90%of the motioncomesfromthe fingersandwrist(depending on whetheroneis playingchordsor singlelines). Thistechnique providesfor the most efficiencyand its usageis widespreadamongstprominentguitarists today.
STARTNG
POINTS
Two fundamentalaxioms must be rememberedin regardsto right hand movement: 1. The pick movesflat acrossthe pickedstring(noslicing). 2. The shorterthe stroke(distance)the pick travels,the better. lnthef irstinstance, thisinsuresgoodtoneproduction. Thelatteris a necessity for eventually attaininga rapidpickingtechnique. Further, thereexistsa plethoraof pick gaugesand shapes.lt is recommended the student use a heavygauge,jazz-stylepick. The heavygaugewill allow the guitaristto vary rne hardnessor softnessof the attack.Thejazz-style pickwillenabletheplayerto maintainbetter controlof it.
HOLDING THE PICK The handshouldbe suspendedabovethe guitarwrthno anchoring of the second,third,or fourthfingerson thepickguardor guitarbody.Thepickis heldbetweenthethumbandsideof the forefinger.See PhotosA and B.
Thethumbandforefinger worktogetheras a singleunit.Forsinglelineplaying, thearmand thewristremainrelatively withthe movement stationary, comingonlyfromthesetwofingers.
PICKINGTHE STFINGS Next,initiate thedown(l'l)stroke onthef irst(orE)string. Position therighthandso thatthepick will moveflat acrossthe stringand only movea shortsidtance.Do nof rest the pick on the stringpriorto attack.Thepick is thenpushedacrossthef irststring(E)withthe collapse of the thumbknuckle.See PhotoC, below.
To initiatetheup (t7) stroke,thethumbknucklearcheswiththeforefingerpushing upward;this movesthe pick back up, and acrossthe string.See photoD, berow.
This is a subtlemovement, so observeit carefullyand diligenilyin all of its apotications To initiatepick attackson the remaining open strings,the handshiftsto the aporoolate positionfor eachstring.Thisassuresthatall six stringswill be picked in the samemanne. assuringcontinuityof soundand form,as well as accuracy. In the followingexercises,beginpracticeby settinga slow tempo.Beginning anc ^:e,m e d i a t es t u d e n t s h o u l du s e a m e t r o n o muen t i la n " e v e n "s e n s eo f r h y t h mr s d e . e : c e c Concentrate on allrequiredmovements andthetwofundamental axiomslVhen.thiso.3cess becomesaccurateand secondnature,velocitywill come automatrcaltv
Thesenotes ore to be picked os indicoted,ploying eoch note os loudly qs possible.Rernemberthethumb knuckle collopseson ll , qnd orches on V. Don't reoch for the nexl string with the fingers, shift the hond.
'1
-
V
n n -
V
V
'1
-
r
n -
V V
r
:i
- _"'l
i
-
lo'v v v v v V -
V - n - - - ' r
r r
|
-
v v v v
n n -
v
-
i
t
-
-
-
V
f
V
i
Thisis the introduction to repeotednote picking. Groupsof two, three, ond four rrcteswill hove on occent ploced over thJfirst note of eoch group.
rr t
ll
>
n v n v - v - v I v r v l v
- f -
r / J Vt V - v r r v n ! r \ l : > 3
- v - v n v n v r'l_f_! I rr v ! tl - I n tl rrln
2t.
n n v n n v n n v r']-l-l >
v n v n v -
! n v ! n v ! n v r.'l-l r - n V r r r
3
-e
-C
>
-
r
N V V - V V N V V - V V ! VV - V V ! V V - _ V V 1 1 V V r , , > 3
: > 3
= 7 a >
23.
V V n v V n v v n V _ I _ nI v
nIri
nIV
n r lv -
: > 3
a
l
>
t
a
-
S
>
J
= = = > 3
v n - V n - v n - v-n n I n - I n - I rr - V n n v r n v n rl
27.
28.
V
V
V
V
V
N
V
-
V
-
V n
V -
! {
V
V
V
V -
N
V
V
V -
y
V
VI
V V V I V V I V V VV
V
V
v n v"t:'
V -
V netc.
This exerciseis in preporotionfor the tremolo. Begin slowly, so you will be oble to ploy the thirty-second notes in the lost meosure. -'V - ,'i Vetc. f'l V f':l Yetc. V - y'l V V i'l etc. V -etc.
V X
t
al\/fyetc.
\
a
+
-
rl'liI,I;i;:
V - V 1 e f c .
ilv V l'l V l'l FVl f':l yetc. v -etc. - v - v :
i
>
>
Apply the obove formulo to oll strings.
V
V
V
Here, we encounter cross-stringpicking involving two odjocent strings. lts mostery is essentiol. Wotch for thr different_demqrds plocedon your hond. The llor V con be initioted on the"outsiderroron the t'inside'rof two odjocen strings.The lotter tends to be more tricky. Not-e beginningwith No. 30, ploy eoch repeot four (4) times, then O.C ord ploy stroight through without repeots. ln future, oppiy this procedure'to oll similorly noioted exercises.
30.
'V i V etc. >
etc.
n V n V n! :>
:>
etc. etc.
D.C
V
1 etc.
D.C
10
35.
n
! etc. etc.
V
-V-Vetc. >
V - V -etc. > etc.
-V-Vetc.
VnVletc.
1 etc. etc.
l1
Thissectioncombinescross-stringwith repeotednote picking. ploy oll notes evenly, os there is o tendencyto speedup on the repeotednotes, especiolly the sixfeenth notes. Remember, the shorter the stroke the better.
-
v n V l v :>
V etc. etc.
l'1 etc.
:>
f -
J . ! .
-
4
t2
47A.
V n Vetc.
n V -
V n V tl V n e tc.
>
-
>
V >
V n
n
V
:>
:>
-
V :
>
yetc. etc.
V 1 etc. etc.
l3
1..1 ! etc. etc.
V n V nV
498.
:>
:>
1 p.1! etc. > etc.
1 1 !etc.
)>
etc.
5 1 !etc.
:>
etc.
N V ! etc. >
etc.
1 etc. etc.
t4
55.
V V etc. etc.
= 7 7 -J
;1 V !etc.
:>
etc.
V 1 etc. etc.
V V - e etc. tc. > etc.
V ll etc. etc
[51etc.
I
I
etc. etc.
'l '! etc. etc.
V - -etc.
1 1 1etc. :>
etc.
1;1etc.
l'1 f''l l'1 etc. :>
1.111 1etc.
r>
etc.
V V etc. etc.
D.C
-t-=
16
! etc. etc.
:>
v vetc. >
etc.
1 1V l ' 1V e t c .
V 11V f'l etc. > etc.
! l \ / ! \ /
\Yi It \t iY! e tc. l t e t c :>
etc.
1..l V l. .l V etc.
V f'l V ll etc. :> etc.
f ' lV l \ i e t c .
V ll V fl etc. :> efc.
, J V r , , rV e t c . V ll V l'1 etc. r> etc.
.
D.C.
This section involves on owkwqrd configurolion between cross-stringond repeoted note pickings.
B 0 A.
-
v n \/ -
ve tc.
V
-
fl etc.
:>
V
-
V
:>
V -
1 1 , V>
Vetc.
V n
V etc. etc.
V etc. etc
-
n
V n
:>
-l n v >
-
>
-
Vetc. ata
-
Vetc.
V -
-
V
-
lletc.
J
V n
88.
-
1etc.
v v t t t / V I etc. >
89.
V I
V V -
>
V V t'tetc.
-
C
-
-
e
a
O a
a
t
-
1
a
)
20
|1 n
n
n
-
n
-
n
|1 |letc.
-
letc.
V V V V V Vetc.
V V V V V Vefc.
2l
Thissectioninvolvesthe problem of the precedingone while oddingo new one: skipping ocross the middle string in groups of ihree odjocent sirings. This must be dme cleonly. Postion the hond so thot the reoch of the f-ingers is equolly distributed in eqch direction. Do not move the hono.
?xvx
ll V etc. V l'l etc.
>
:
>
fVnViVetc. VnV-Vlletc.
n V V l ! V etc. >
>
e
N VVt'tVVetc. :>
etc.
-nVFliVetc. :>
:>
nnVt|FlVetc. >
>
g
V n l V - n etc. :>
:>
et
))
l 0t .
V--V-netc. :>
:>
etc.
V V - V V - e t c .
VV-VV-etc.
ll - - 11 l'''l ll etc.
nn---t'l
etc.
>
etc.
:>
VVVVVVetc.
V V V V V Vetc. :>
:>
etc.
This is o voriqtion of No. 29; quintuplets qnd septupletsqre introduced. Ploy oll occents os shown. Agoin, concentrote first on occurccy.
lV
tI
li
fV
v x ? x 3 - xv
v-
V
n
V etc. V fl eic.
N
:>
:>
3
;V v' t 1Vv -l vV f- ' Vt
vV : - r \ i
I
5
fV ' l- \ Vi f -\ / Vf
V etc. retc.
5
tV v- : V v - : Vv -l \V i ' : 1vV f - \ V/ fN ' V: r- \ /
'':l VfV-V'1 V - V - V'l
l>
>
:>
yetc. V Fletc.
:
>
Apply the obove formulo to the following sets of odjocentstrings.
|09.
It0.
V
vf'l V
V -
V
vr'':r V
| 12.
il1.
3 X ? X V ? X x ?
V -
I etc. I eTc.
V I V i ? X
-
:>
? x ?
! etc. I eTc. :>
5
5
lV y - l lV l i' l V
-
6
y l \ / - r \ / : ' / ; l rv V F ] V
'
Y
-
V
6
- V''l f ' : V l F V - V e t c .
-
v
r
V -
V -
>
V l'1 etc. >
Apply the qbove formulo to the following sets of odjocentstrings.
| 14.
It5.
I 16.
lt7,
24
V
I tB.
v I
r V
r
V 1
'
-
\
V
/ N
.
v V
l
'
j
? x ?
V
! etc.
I I
r I eTc.
x ? xllI etc. ? 3 X ? X ? X ? X ?? X etc. iV ' l\n / Vf ' \:- /r Vn v1 n1y Vn v- aVt
n
vV f 'n tvV
\/ l'l v'1 \/ ''1 r/erc. - ::l V I V '1 V |l V 'letc.
D.C
Apply the obove formulo to the following sets of odjocent strings.
| 19.
tzt.
I 20.
:v vt ' f l " \ l /
3 x ? x ? x Y
-
I
u
i eic.
3
i l x 3 x ? x ? { ?lV r {- V VN nV V5
5
6
nV y- lV y I l Vy Nn vV : N t Vr \- i Vt \N / Vt \N / >
>
6
VXV r | '
'r V
!
/
V -
Apply the obove formulo to the following sets of strings.
124.
pin "'"'
t v -etc. l>
7
123.
- etc.
t25.
-
\
V
t26.
>
-
/
n
V
:
? x ? x ? ?x x ?
\/ etc. l'l etc.
n
>
:>
3
lV V I f lV
'
\ i : ]v a t v ' r \ / ]
V
-
V
-
V
I
l
? x ? x ? ! etc. l'l etc.
I .) 5
5
6
6
\/ :':r \/ n v :'l v :'l v :'l \/ :':r \/ '':r V I I V - V - V | 1 V . V 1 - V N
Fi V - y n V - Vetc. V - V - V '1 V r'letc.
:
:>
>
>
:>
Apply the obove formulo to the following sets of strings.
127.
I 28.
-
v
V
n
-
V
Y
129.
s X V X ? !X x ?
! etc. fl etc.
-
- \ / - \ / - \ / - v - \ / V
-
V
n
V
-
V
-
V
-
Iv
V I
-
V i':l Yetc.
V
-
V
l'letc.
6
'l
-
v Vn - vV nr V\ /- -V Y n ! l Y n Yi - V f ' l v -
:>
Apply the obove formulo to the following sets of strings.
t 3t .
- yetc.
V fl V f':tV V '1 V - V - V l'letc.
I ,!
132.
26 Theseexercisesore closely reloted to studiesfor right-hondin clossicolguitor literoture. All possible pickingpotternsore not given. The student,olong with the guidonceof o quolifiedteocher,will hqve to determinethose other possibilities. -
| 33.
I
\Y /
r
I
\Y / av rr vn.
V -
V t'ietc.
t
E
E
. \ /
-
t , l
i
l
v
:>
n - - v
- V V V
:>
,, - !etc. ; V - V lletc.
V V V n
-
| 35.
V
\
:>
/
-
V
V V V -
\/ etc. 1 etc. :>
X V ! etc.
| | eTc.
I 38.
3 X ?
I etc. ll etc.
V V -
V i t - -
140.
-,V V -
V
Vetc. lletc.
I V
I V
yetc. 'letc.
V -
Thesesextupletsshouldolso be ployedos follows: o.
t 4t .
v x ? x n
V
y etc.
ll etc.
> etc.
n \ / v l l
r.r V V | l
l.l V
Vetc. I letc
>
b.
28
| 43.
:'l V
r
\v/
I 45.
i
r
v
V
rI
V
-
:'l -
V
\
/
,.' V
v
V rr
l
:"1 !etc.
e
..'
t
c
.
Vetc.
" 1 V - V - y e t c . V I V - V l l e t c .
:] \/:':l \/-Vetc. V : l V - V ' t e t c . :>
etc.
Alternote occented rhythmic potterns for this group:
>
:
>
These two voriotions ore opplicoble to previous ond future three-note figures.
- FVf n V - .!lee ttcc. . v i V V "1
t47.
V -
-
-'/etc.
:>
-
V
-
\i etc. 1l etc.
V
v ll t't V V
r I eTc.
- v -(V fllV)utc. v - Vflv-)etc.
I50.
n n v
v
- -
n - \ /
! I [fi?xnq N
v -
n
| 53.
V V
\
i
V
-
\
V V
/
-
? -
-
V V N
I
E
\
r l
/
v
:>
V V N
f ?rx?$:r:: u
>>
-
E
V
i il!fi?$""'\
|ln\/ :>
| etc.
f't etc.
V V -
- l l v
V V -
-
n i v
1 - v
30
Ploy os written. The four sixteenth notes should olso be ployed os eighth notes ond occented os follows: b.
3XV
I 56.
! etc. fl etc. etc.
n v n!
V n V ll
etc. etc.
>
eTc.
etc. ? X ll!Vetc. eTc.
I5 7 .
?x?
! etc. l'1etc. etc.
D.C
N V n ! etc. V n V n etc. >
etc.
-e
J
-
- \ / n ! V n Vll :>
etc. etc. etc.
Thesequintupletsshouldbe ployed os written in oddition to the following occentedrhythmic potterns:
This sequenceof potterns oppliesto qll future groupsof quintuplets.
I60.
- v r l v V n V r V
\
1\/ . / F
\ /
v
/
l l
F
r,l Y
\ i) e t c . ll)etc.
>
- \ / n \ / - (V n v V n V n V (n V N
6 t/)etc. V ll)etc.
n V - V V N V - V (( nVn v vn :>
6 !) etc. etc.
:>
162.
I5 3 .
f\if_l\/f_l V l l V - V
:>
- \ / - \ / -
v i vY ji ' \' i
_
I V I V | r V - V - V
l>
( V n V ll )etc. ( n v n v nV )e r c.
(n V n
(v nv
n y)etc. V l.1)etc.
( Vn V
l"l V)etc.
( nv n
v n)etc.
32
This group is to be ployed os i n d i c o t e d . ln oddition,opply the following potterns: a.)
3
3
b.)
6
l ' : \r / f ' :yl - ! e t c . V-V-Vtletc.
|66.
:>
I
>
>
etc.
, l V r . lV r . lV e t c . V-V-Vlletc. \
,
I
>
:>
>
etc.
D.C.
lV v- fV' lflv fVV e t c . >
>
>
fl etc. etc.
?x!xix
etc. etc.
> > > e f c .
lvFVlVetc. \
Y / rl \l / v ! l\ l/ -Y l l e t c .
>
D.C.
>
lVV- 1: r V l Vetc. :>
V - V - etc.
>
>
etc.
D.C.
33
t72.
173.
174.
tll'l Vi'irVetc. i'l VnViVi'l
etc. > > > e t c .
l ' 'V l f " ly l r ! e t c .
VflV-VI'letc. > > > e t c .
f\ l/V- f\ '/ l!-n\ !/ e- t c .
Y t t y t t Y t t e l c .
> > > e t c .
nV V a!lJ!etc. nV-Vlletc. > > > e t c .
-V-y-!etc. 116. VfiVnVietc.
l ' ' lV f ' : !l - ! e t c . V-VnVietc. > > > e t c .
Use the following odditionol occented potterns for this group: 3
l>
>
t>
-
I 78.
>
V f"l V I
ll :>
>
'
>
V n V -etc.
V V t V I > : > > > e t
Vefc. c .
I \/ n \/ - \/ - V ietc. v - \ / n v n V l ! e t c .
179.
>
>
>
>
>etc.
It \/ - v - \/ n V ietc. V n V - V n V l V e t c .
| 80.
>
r8l.
>
r
:>
>
f'l v f':l \/ V -
V -
>
:>
>etc.
v r1 V l1 etc.
V |1 V -
:>
f'l V I
>
>
Vetc.
>etc.
V n V lr ! -etc.
V - V l V l V - V e t c .
>
| 83.
>
>
vx!
>
>
:>
>
etc.
v - v - V ietc. - V n V n Vetc. >
>
>etc.
-
.
?
A
2
35 Proctice using previous occented potterns for five note groups.
I 84.
n -\ /v - " v
F etc. V etc.
I 85.
n -\ /v - "v
; etc. ! etc.
Y
\,'
Y
\/ v
-
\
v
n
",'
F
f.|1 '. ,'
v f.!
' , -. '
V
v
i
-
v
-
'
"
I etc. V etc.
- etc. V etc.
1 etc. V etc.
\/ f't v -
! x
n etc. ! etc.
36 Utilize the following occented pctterns: b . 3
-y nv \ -/ -V
- V netc. V 11 Veic.
D.C.
> etc.
t93.
n
V - \ /
xi
!
tt
i_1etc.
v eTc.
> etc.
-
fi Vn
n
! lt
- etc. v eTc.
>
t95.
lt
etc.
\/ n v -etc. Y
-
- \ /
t V rr
V etc.
> etc.
N
V
-
V
I I
V
V l,l -
V n etc. Y rr V etc.
>
- v - V r V - V
n V
D.C.
etc.
V n etc. ir ! etc.
> etc.
-
i v -v V-
Y tl etc.
il
V etc.
> etc.
\ / -
l
v
- V 3 etc.
rr V etc.
>
etc.
D.C. -e
'J
37 Use these qdditional occented potterns:
V - V - -VV- -V! t-l eV tec t .c ' n\/
-
200.
-\/
l>
\/Y -I
l>
etc.
\/Y ll V etc.
- V N V --VnVrretc. I
llvrrv
>
;'>
>
>etc.
s J1 V etc.
-
202.
V - V - 1V - V - \ / i V n e t " . >
t'i
203.
|.lv-
>
Y ,1 \i etc. -!-etc.
x !XV
V N V
204.
>
>
: > >
n
>etc.
>
etc.
V - V r v
- V n v nfV V- Vn -v etc. etc.
>
>
>
>
:
>
?x?x
N V- V l V e t c . V ll V - "t".
:
>
>
>
>
etc.
n\/-vltvf.t V i l V,
!fy"t..
, v r r \ / ttVlletc.
etc.
iV-\/ r VttVn
r v l l
V-Vetc. fl V - etc.
38
Proctice this group of eighth notes, occenting the first of two, then os sixteenth notes.
208.
rV vI i Vv -l 'V l I\ /V n V
7ng
etc. ? J ? X ! J-lV etc. V etc.
2t 0 .
! X V X nV
etc.
I I etc.
V etc. I I eTC.
39
f ' l \ / i r \ / - \ / l " l\/ elc. V n V n V I V- e t c .
2 tt .
:
>
>
>
>
etc.
l ' lV l V l y l l y e t c . v f ' lV - V l l V - e t c .
n 2t3.
D.C.
V n \ /
n Vr-r - lI i nV ! e t c . lletc.
D.C.
F V n V - V F Vetc. V tr V n V n V ietc.
> - V F l
V r . l \ l
215.
V N VF"
2t6.
f'lv: V -
r r
\ i -
v
- ! etc. V ll efc.
V:i V - yetc.
V -
V -
V netc.
etc. l>
-
V n
n y
! etc. J ? -X V ll etc.
D.C.
40
The studiesshouldbe ployed first os eighth notes, then sixteenth noteswith opproprioteoccent plocement. Two more chollenging pctterns con be opplied to these, qs well os oll previous four-note groups.
vx!
>
>
- \ / -
V n V
220.
\/ etc. l'1etc. etc.
y etc. 1 etc. etc.
etc. VXVny etc. etc.
!xvx etc. etc. etc.
a-+
etc. etc. etc.
VJVX
223.
V J ! etc. X etc. etc.
>
>
41
Apply oll previous five note occented potterns.
224.
I
V t,r V tl etc.
V >
V l'1 Vetc. etc.
225.
I V f':l V ietc. v - v - vetc.
226.
l_l V f':l V ietc. V i V - Vetc. >
227.
etc.
I V n V -etc. V -
V -
Vetc.
228.
- V - V -etc. V n V I !etc. > etc.
229.
n V - y letc. V I V n !etc.
>
etc.
D.C.
42
Apply oll previoussix-note occentedpotterns.
230.
-V-ViVetc. VIV-V-etc. >
:>
>
etc.
I \/ | \/ - vetc. V n V - V fletc. > > > e t c .
232.
l] V f':lV f'llVetc.
V - V - V l'letc. > > > e t c .
233.
f"l V f':l! - yetc. v i v - Vnetc.
234.
1.1v - u n uetc. V-V-V-etc. > > > e t c .
??(
I V q''lV l.'lVetc.
V - V ll V lletc. > > > e t c .
D.C.
43 Apply oll previoussix-note occentedpotterns.
? x ! x
1 etc. V etc.
237.
v x ! x
l'l etc. v etc.
? x ? x
ll etc. V etc.
V X V X
I I eTC.
239.
V etc.
v x ! x
ll etc. V etc.
v x ? x
ll etc. V etc.
! x v x
- etc. V etc.
243.
V J V X
l'1 etc. V etc. Tta
44 Apply oll previous six note occented potterns.
f'l V f''l V f'l yetc. V
ll
V
n V I V
246.
247.
-
V
-
V
|letc.
V n yetc.
n
V
|letc.
!xvx
nv Y etc' ll etc.
n V - V n Vetc' v n V I v 1etc.
I
V
V i
-
V
V t'l !e tc.
-
V
l'letc.
Iv V f':l V I ye tc. - v r] v l l e tc.
f,l V n 250.
V
-
V
V i
-
V
f'l V l-r V | V
-
V
-
V
ye tc. -etc.
!etc.
lletc.
4!
Apply oll previoussevennote occentedpotterns. - v - \i - V'letc. V - V - V - Vetc.
n V n V - V lletc. V n V n V I Vetc.
. , r v i ' : l \/ | V -
2s5.
V -
V '" 1 e tc.
V -
Vetc.
- V ' 1 V - V 1 1e t c . V n V I V - Vetc.
il V il \/ I V 11etc. V - V - V - Vetc.
:'l v I 257.
v l'1 V -etc'
V ff V n
V I
Vetc.
f'l V t_l V f':l V ietc. V - v - v - vetc.
259.
f.] V f':1 V t_l ! V n V - V -
-etc. Vetc.
>etc.
=== + + + +
46
Apply oll previous six note occented potterns.
- V - V i Vetc. V n V 1 ! 1etc.
nV V f VV f 'Vl V e t c .
l'1 v f] 17 l'"1 y etc.
i ' l V l ' : lV i V e t c . V - V - V lletc.
V n V i
-
V -etc.
-
l'1 etc.
yetc. fi v ll u; V - V 1 !;etc.
n V n V i V e t c . V I V t l V - e t c .
n V a \i fl yetc. \i - v - v J1etc.
r . 'V' l t ' " !1- ! e t c .
iV \/ f,r \/ f'l vetc. l'1 V -
V lletc.
267.
269.
V -
V -
V lletc.
- V - V , - V e t c . V l V l V l e t c .
47
Apply oll previous seven note occented potterns.
|l VnViViletc. \ / i \ / r \ / i \ /
?XVX?XV
!xvx3x?
r.l \/ r t v r
etc. etc.
Y r t Y t t Y l t v e T c .
272.
ivttv-\llletc. 274.
V - V - V - V e t c .
rV- N\ i lV\ ii l V' l\-/ Vf
etc. etc.
D.C.
273.
t
\/ v r
r
\/ v r
r
etc.
V - V - V - ! e t c .
D.C.
- V - V r V l e t c . VttV-V-Vetc.
'1
V-V-Vlletc.
\ / ; \ / i \ / - \ / Y i l v l t v I v
eTc.
> etc.
l ' 1V - V - V - e t c . V n V n V - V e t c .
-vl.lvnv1etc. VnV-V-Vetc.
:>
> etc.
_J-J
J
