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Contents Page
Rudiments of Music Holding the Guitar Tuning the Guitar The Six Open Strings: E, A, D, G, B, E Counting the Beats: zl4Time 'lhe E: rrnger-rlaclng Finger-Placing IF $st Finger) and G (grd Firger) Dtrrng, r,: Firsl String, The rtrst Finger-Placing C (rst Finger) and D (3rd Fingu) .. Strine. B: Fineer-Placine The Second String, Femiliar Familiar Melodies on the E (Ist) aand B (znd) Strings The Down Stroke on Two Open Strings Striking Three-String Chords. Song Atcompaniment using the C and G7 Chords. .: The-Third String, G: Finger-Placing A (znd Finger) The Fourth String, D: Finger-Placing E (znd Fingcr) and F (3rd Fingcr).. Melodies using Fingers on the D (ath) and G (3rd) Strings Three New Chords: G, D7 and F Chord Practice : C, F, G7 Fun with Songs to Play Note Values: Semibreaes and Minims Changing the Pitch of Notes: Sharps and Flati
i{q'Ui[!Fjj :.WtSt.i,,g Time A New Rhythm: 3/4
,o ir,.
c
and D7 cno,as
Review: C, F and G7 Chords Note Values: Qtaaers . .
Song Practice using Quavers . .
Note Values: The Dotted-Crotchet Adding the D (4ln) String to the C, F and G7 Chords Song Practice with Chordal Accompaniment
' :l : :. .
iv
vi I 2
3 3
+ 5 5 6 8 B
9 IO
II
r3 r5 r6 r7 .
.
r8 r9
2t 22 23
2+ 25
z6
RUDII\{ENTS OF MUSIC
\fusic is re.presented on Paper by a combination o{ characters and signs; it is necessary to learn all o[
Guitar intelligently.
SvmLrols called notes are
written upon and between five lines
these
in order to play the
which is the staff.
The staff is divided by barlines into bars as follows":
Dar
Dat
Bar
Bar
These' in turn, are equal in time vaiue, according to the fractional numbers, (Time signature) placed at the beginning of the music, The different time signatures will be introduced throughout the book as the need arises.
TheTrebleorGclelFfoundatthebeg.inningofthestaffencirclesthesecondlinewhichestablisheSthenote G on this line, from which the other lines and
spaces are named as follows
Spaces
G
In addition
Every
Good Boy Does
Fine
notes are written upon and between short lines above and below the staff. These lines are called leger lines.
;;rF .{ rest indicates a pause, or
silence
Semibreve
J'^D E
SGtt
for the value of the note after which it is named, such as
rest
Minim
rests
Crotchet rests
Quaver rests
The end of a piece is indicated by a light and heavy line.
\\'hen a section or part of a piece is to be repeated it will
be shown by
a double bar with two dots.
Key Signatures, Sharps, Flats, and Naturals will be taken up and explained as the need
IY
arises.
HOLDING THE GUITAR IN PLAYING POSITION IN SITTING POSITION Sit erect in a straight chair and cross the left leg over the right knee. Place the guitar (lower curved part) on the left leg about halfway between the knee and the hip. Raise the neck of the instrument so that the head is approximately in line with your left shoulder. Hold the guitar rather firmly (but not tight) against the body with the right arm just below the elbow. The right hand and wrist should be completely relaxed.
Many performers prefer to cross the right leg over the left knee. ways and use the one which is most comfortable for you.
Try both
THE LEFT HAND
THE LEFT HAND Place the thumb against the under side of the neck approximately in line with the first fret, The wrist should be well arched bringing the
hand above the strings. Allow the tips of the fingers to fall straight down upon the strings. THE PALM OF THE HAND SHOULD TOUCH THE NECK. "^TOT
HOLDING THE PICK
HOLDING THE PICK The pick (large rounded cnd) is held lightly between the thumb and curved first finger of the right hand. Use as little of the point as possible for the best tone. The more point you use the greater will be the string resistance thus resulting in a poor hard tone. Rest the little finger on the instrument to help supPort the hand. The strings are plucked with the pick slanting downward.
IN THE tsEGINNING YOU MIGHT FIND IT EASIER TO PLUCK THE STRINGS WITH THE THUMB OF THE RIGHT HAND.
After you are able to locate the different strings readily you might try using thc pick.
TTJNING THE GUITAR
Piano keyboard
FROM THE PIANO Tbe six open strings of the guitar shoutd
J
be
d
tuned to the same pitch as the notes shown on the piano keyboand. Note that middle (C) is just to the left of the keyhote.
3 D
(t
^
I
#-
X.yt
"t.
I
I
written for the piano actual pitch
sounds one octave lowet ll
THE ACTUAL PITCH OT THE GUITAR IS ONE OCTAVE LOWER THAN THE VTRITTEN NOTES ON THE STAFF.
THE GUITAR PITCH PIPE Pitch pipcs giving the correct pitch of the six open strings are obtainable from music stores. WHEN TUNING FROM A PITCH PIPE BE SURE THE STRINGS ARE PITCHED ONE OCTAVE LOWER THAN THAT SOUND.
fu'6ammcam
tret I
ING ON THE PIPE.
TUNINC WITHOUT PIANO OR PITCH PIPE ,.,Tn* (E) wilt. vary the teast in pitch we Ij. l:y3, mrght us€ thrs string as a starting point and tune ihe other
lTrgr.r roilows (see Fig. l): Place finger just behind itr. Stt fret of.the low (E) 6th string, the 5th string to the same pitch. (A) Stop the (A) string at the 5th iret and tune - 4th the string
and tune
to the same pitch. (D) (D) string at the Stir tret and tune 3rd strin.g to the same pitch. (G) Stop the (G) string at ine fOURTH fret and tune the 2nd string to t[e same pitch. (B)
th€
Stop the
Stop the (B) string at the 5ih fret and tune
the lst string to the sime pitch.
oPen stfrngs
on the guitrr
(E)
fret
r
ftet
z
fret
3
fret
4
ftet t
vi
ftet
z
lret
l
ftet
4
THE SD( OPEN STRINGS OF TEE GUTTAR
Stringnumben 6
4
)
Z
t
I
DGBE and notes on the Guitar and
on the
Piano
Begin by playing four crotchets in each
bar. The crotchet
is to receive one count.
| 234
The symbol for this method .of counting is indicated at the beginning of the bar and called the tim-lignature
4-
trme means
4-
.
Four counts in each bar.
{ t Bu.t crotchet (
receives one count.
STRIKE ALL NOTES WITH A
DowN (n ) STROKE. - B - G - D). See diagram above. FOU R DOWN ANI) UP
Start by - using only the first four strings: (E rst
Bn
E
Count:12t412?4
Fint recite letter
names of notes as you play them,
E
thin repeat counting I - 2 - 3 - +. Be sure to count
evenly
FOUR UP AND DOWN
Count:
1
2
3
t234 TWO DOWN UP, DOWN AND U P
F^ E
trE Eg trtr
tr tr
MERRILY Using the open G
@ Guitar
Piano
&D
strings.
@
E Etr EE
COUNTING TIIE BEATS: TWO-FOUR TIME
cr_
Two counts in each bar.
ttme means
4=
Each crotchet receives one count,
REPEAT SIGN' Two dots :ll before a double b1r indicate a repeat to the beginning or to the play again.ll: Repeat rll 'rlrsr reclte retter names of notes while playing, then repeat, countingl evenly.
last reversed repeat sign
ll:
and
-2 TWO DOWN TWO UP
ALL MIX ED UP
tr
F
o Gu
T EN LITTLE IN'J UNS
F
E
E
AMER ICAN SONG
E
JINGLE BELLS PIERPONT
@
E
Gu
Piino
o Gu itar
Piano
LIGHTLY ROW NU
RY
E E
THE FIRST STRING, E: FINGER-PLACNG F (lsr Finger) A\:D G, (3rd Finger) HALF STEP E TO F, WHOLE STEP F TO G. Place fingers firmly upon the strings just below (not on) the Fret (seeillustration).
)
m' 1
On the Guitar
m"
On the Guitar
ffi
i
1
On the
staff
-4------.-
On the
fiF=+= .r
staff
aG
F
tr
RCH
tr
0
tr trI
0
T2
34
0
I
tr
0
FIRST STRING MELODY
3
Count:1 2 t 4 THE SECOND STRING,
B: FINGER-PLACING C, (lsr
AND D, (3rd Finger)
Finger)
HALF STEP B TO C, WHOLE STEP C TO D.
t
On
the Guitar
On
the Guitar
ffi il-t-1_rl o
Ff+l+ i
On the
staff
On the
g I
Count:
tr 0
staff
AND CMA RCH
tr I
tr EI o
1
SECOND STRING MELODY
ffi
FAMTLIAR IVTELODIES
oN THE E, (rsr) AND B, (2nd) STRINGS
A crotchet-rest( | ) rcceives one count, the same as a crotchet, Recite the letter names of notes before playing. r Hold fingers dou,n until necessary to lift theml
OATS AND BEANS 031 Fn n n
Count:l 2 3
ol
it
t3
0l3l
4
FOLK SONG *
I nFtn
lo8
I
30
l0l
n
Count:12 t.1
FRENCH SONG
I
ro
t
I
G
MERRILY 0 3
0313
| 2t JINGLE BELLS o8
*
LIGHTLY ROW l$ tl
Counr: 3
I
2
9013
103
i4 3
SKIP TO MY LOU
AMERICAN SONG
slosl
r2t1
THB DOWN (n )STROKE oN Two OPEN STRINGS z--l f--{
+=j 3rd AND OPEN Count:l 2 j
2nd STRINGS
4
STRIKING TWO STRINGS, USING lst FINGER F ON THE E, lst STRfNG 0 ro I
0ll nnllnnFt
Think Counr:
0
000
srRrKrNG Two srRrNGs, usrNc tst FTNGER c oN THE I r r.'rfrFnn
0
I
0
I
0
B, 2nd srRrNG I 0l0l
STRIKING THREE-STRING CHORDS when three or more notes sound together in harmony--thly produce a chord. It is most important that you learn and memorize the names as well as the fingerins for each chord. ST{UM'ALL cHoRbS WITH A DowN (r.t srRoKE.
)
@
lq
G?
^
ii
0ol
@: aJ cbr _L
*
Hold fingen down. Never lift a finger unless you have to.
tr
iG7 ci,*al
I
cfid
SONG ACCOMPANIMENT usrNc THE AND lffi] CHORDS
o
A CHORD MELODY
SONGS TO PLAY USING THE ABOVE TWO CHORDS You are no* ready to accompany many lamiliar songs and have lun playing the suitar. 'I'he songs on the following pages may be used as guitar duets or to zrcc()mpany singing. PROCEDURE: (r) Play the melody line, (z) Play the chord line yog can play it "ntitline may be sung *'ithout hesitating at a chord change, (:) Try to sins the melody line while strumming the chords. The melody bv a group, or played on any C instrument such as piano, violin, oboe oi flute.
SKIP TO MY LOU
g
@
MOUNTAIN
Chord Think
Be
Count:
my
paft - ner,
skip my
I,felody
my
lou
Part
-
ner!
skip my lou-
-
skip my
my
lou
Part
-
ner,
-
SOME, FOLKS DO
@ Chords Think Count:
Some
folks like
ro
It{elody
some folks
like
to
get grey hairs,.-
FOSTER
MORE SONGS TO PLAY USING THE E AND GZ CHORDS MERRILY WE ROLL ALONG COLLEGE SONG
@
@
l_El
Chords Think Count:
Mer -
ri
ly
we
0El1 Melody
E the dark
blue
LIGHTLY ROW !-OLK SO\G
@ Chords Think Count:
light - ly
glass
-
y
waves
we
go;
_
Melody
smooth
-
ly
glide
smooth
-
ly
| on
glide
the
si -
lent
OATS AND BEANS OLD ENGLISH
bar
- lry gro*;-
THE THIRD STRING, G: FINGER-PLACING A (2nd Finger) (Whole step G to A)
Oo the
Guitar
On the staff
G AND A MARCH
E
@ 0
0
THIRD STRING MELODY ZoP Count:
2 j4 G STRING SONG 20
Counel 2 4
4
THE FOURTH STRING, D: FINGER-PLACING, E (2nd Finger) AND F (3rd Finger) (Whole step D to E, half step E to F) 2
Hffie
On the Guitar
On the Guitar
H:Ftr] i
On the
A2
staff
7F-=n .ff
C)n the staff
E
tr,
E
tr 3
D_E AND F MA RCH
E 0
FOURTH STRING MELODY
j I
D STRING SONG
MELODIES USING FTNGERS
oN THE D,
Learning the names and fingerings of the notes on this page
learn them.
(4th) AND G, (3rd) srRrNGS
will be most helpful in your later study of the guitar. Be sur€
THE KING'S CAROL
JUMPING JACK
IN THE MINOR
L2 r
4
FINDING OUR WAY
Count:L2r4
Do you know your fingering?
Count:1231
TESTING
to
10
THREE NEW CHORDS: G-D7 AND F (Do you remember the C and G7 chords on page 5?)
E
@ 0
03
2
L)
t
t
0 0
I
)
GBG rhe F-il
ACF$
and @ chords will
q l;.*J t;t F-l 0 0 3 l.9l GBG
*p:
a little extra
practice.
tnewl
o
i o E T=?.,8 o orq€),
chord G C E chbrd
AC Ffchord G B G
cirord
F, ,
i,gY++n
GCE
u
$$ft[
u,lE7l u i o tr
ACFchord GBF chord GCEc
lilh.A
E
zfi
E USING TWO NEW CHORDS IN A FAMILIAR SONG
tr
JINGLE BELLS
n
PIERPONT
Chords Think Count:
Jin
gle
bells,
_
- gle
gle aLl 302
bells,
Melody
-
the
WlY,
0'
ll FUN WITH SONGS TO PLAY CHORDS FOR THIS PAGE
g
@g
@E
Be sure you associate the correct fingering with the different chord names.
Slantine lines
W ^El
mean the chord is to be repeated on each beat of the bar until the next chord change indicated.
is
BLUE.TAIL FLY
@
MINSTREL SONG
BnnnFl
Chords Think C-ount:
Melody
LITTLE BROWN JUG
@ Chords Think Count:
Melody
t2
MORE SONGS TO PLAY USING THE C_F AND G7 CHORDS By this time you should know the fingering for these chords.
OLD MAC DONALD'S FARM
trE@
o
rel
AMERICAN TUNE
Chords Think Count:
Melody
B on this
chick,
chick,
Old
Mac
{arm
ev - 'ty where
here,
- don -
s
ald
DINAH
@ Chords
lE4
sourHERN soNc
1
rhink l
Count: \
Some-one's there with
kitch-
ru.toay (
en we
NB some -
one's there
with
Di - nah, we
know,
Di - nah, blow
your
horn, your horn.
know,
.11 MORE FUN WITH SONGS TO PLAY "Pick up notes" or the Up Beat lead in. Notes at the beginning of a song belore the first full bar are called ,,pick up notes,,. The
last bar of a song completcs the time value olthe first incomplete bar. observe the count carefully. Review fingering oinotes on the D and G strings on page B.
COMIN''ROUND THE MOUNTAIN
o
PLANTATION SONG
hords
moun- tain when she
comes,
when she
Melody
B com
- in' 'round
the
com
- in' 'round
the
moun -
tain when
she
tain, she'll
be
comes,
when
she
comes.
moun
She'll
-tain, she'li
G7
com
- in'
'round
the
moun
- tain when
she
Before playing "Buffalo Gals", be sure to review the G and D7 chords on page 10.
BUFFALO GALS
@, Chords
was walk - in' Melody
chanced to
down the street,
come5.
be
be
r4
MORE SONGS USING THE G AND D7 CHORDS (Refer to page 10 for diagrams)
BILLY BOY
have you have
have you
been
have
thing
0.r."
charm - ing
wife,
young
you
She's
the
Bil - ly
Bil - ly Bil
ly
big joy of
my
life,
She's
a
and
OH, SUSANNA
came from
os*
go in'
:
-'l
to
Lou It
si
Al - a
-
knee,
my
knee, I'm
_1' .
NOTE VALUES: SEMIBREVES AND MINIMS
In order to play a melody in correct time it is necessary to sustain
some notes longer than others.
up to this lesson you have
crotchets r J I which receive one count. we now learn that MINIMS and a SEMIBREVE receives four counts. been playine
fu d
Y'lx%"li'iT8
"o""
L2 j
recerve two counts
4
H'?xfT."H"$+s'fu
e
_4- 4:
counts in each bar. each crotchet receives one count.
MINIMS_TWO COUNTS EACH t
l3
i4
t2
L2
'4
,4
0
NIINIMS AND SBMIBREVES *
I
3
@) Count: I
2
, 4
t2t4 COMBINING THE NOTE VALUBS ALREADY LEARNED UP AND DOWN
UNCLE NED
t2 ,4 UP THE STAIRS
Count: I
t234 MELODY
r6
CHANGING THE PITCH SHARPS, FLATS,
AND NATURALS.
oF NOTES:
SHARPS AND FLATS
A sharp ( [ ) RAISES the pitch of the note to which it applies by a semit.ne or o'e the pitch of r rot. trf:u i.,o,ro,r. or one tret. * Natural Ih, ( b )( LOWERS A h ) restores the note to its original pitch.
fi-et.
LEARNING TO USE F r (sharp) Remember that each fret on the guitar denotes one semitone or one step. To play a whole tone or whole step you must SKIp one fret. To sharpen a note use the .,e*t higher fret.
gl
/44\ q9 PLAY THESE TUNES USING
FT
Recite letter names of notes before playing.
LITTLE BROWN JUG
GOOD KING WENCESLAS
t23t. GOOD NIGHT LADIES
a
COLLEGE
.t7 THE MAJOR SCALE A musical
scale is a successiort of notes from a gi'en note to its octave, eight notes higher. The lorm or progression of all major scales is as follows: Two whole tones' one semit.,ne, three wh.le tones, one semitone. The semitones come between the 3rd & 4th
andtheTth&Bthnotes.TheNATURALhalfstepscomebetweenE&FandB&C(seescalebelorv).
THE NATURAL OR C MAJOR SCALE (not to be played at thii time)
KEY SIGNATURES Sharps ( $ ) or flats ( b ) at the beginnine of each line relate to the key signature. These sharps or flats affect arr the notes or the same name throughout the piecJ.
ACCIDENTALS A sharp or flat which does not belong to the key signatr.rre is called an accidental. An accidental applies oNLy to the bar in *.hich it is placed.
LEARNING THE KEY OF G MAJOR (One sharp,
Ff
)
G MAJOR SCALE --
Count:
-.o- - - -?
L
:
-
- --ll-
---t-- --l* - {__.,^,
3$20$l
3
214
o2
@" 4 z '
FRENCH FOLK SONG 3_-
-- -- -*
*0
Count: | 2 i I t2 34 Hold 3rd finger down throughout
Think F
0 03
sharps and stretch your 4th finger.
LIGHTLY ROW
18
ADDING THE OPEN D (4rn) STRING TO THE G AND D7 CHORDS For review of these chords
see diagrams
on page 10. Strum all four strings with a down stroke.
rdd open D-:-:o oo
SONGS TO PLAY USING ABOVE CHORDS
RrG-A-Jrc OLD AMERICAN JIG
g
@
down the sreet, A
- lio!
heigh
- ho! heigh
-
SHOO.FLY, DON'T BOTHER ME
E
@ Chords Shoo -
Melody
fly,
don't
shoo
- fly,
don't
Fiol
heigh
19
A NEW RHYTHM: : TIME
3:
tlme means
4-
1
Three counts in each bar.
1
(
Each crotchet receives one count.
ADoTTEDMININ{/.;i,.q..uttothreecrotchetsandmakesafullbarin!time..ffi A TlE-or:zwhen sound.
connecting two notes of the same pitch or sound, combines the value of both notes into one continuous
r2 j ANDANTE WITH APOLOGIES TO HAYD\
LITTLE ANNIE ROONEY
lioL!\-\'
20
SONGS TO PLAY
IN I TIME (using four string chords) CLAPPING SONG
o Chords
/
rhi"k
I
M.r"dy
(
Count: \
-E
Way
down
in
DOWN IN THE VALLEY
@ Chords Think Count:
Melody
.E
@ Semibreverest i n
KENTUCKY MOUNTAIN SONG
n
n
E
2L
REVIEW: C-F AND G7 CHORDS SONGS TO PLAY CIELITO LINDO
(See page
l0)
FERNANDEZ
0r0
o
ffi tr
E
Chords
Melody
THE MAN ON THE FLYING TRAPEZE
@ Chords
fly
through the
move - ments
22
NOTE VALUES: QUAVERS A clrta'cr
is erqual
#
t.
one half the value of a
crotchet
Tw'o quavers
#:
ffi ----
ei;::.,.it,;re(lr,i'.|letffiFortrqtr:rvet.sffiequaloneMi'i,"F=andeightquavers +---r---L-_r --twer1rt:tltrttesemillrer.efr\qua,,.errest(?)receivesthesamecountasaquaver. -l'Try usinq tlic down and up ( y ) stroke on
repeated quavers of the same pitch when using the pick.
Observe carefully how to count (lliavers.
QUAVERS IN ? TIME
QUAVERS IN
i
TIME 2 nvnvrr
Frvlrvnn
l+2
YANKEE DOODLE
g
o
Chords
an Melody
- kee
doo - dle
rid - ing
ou
+ t4
23
"
SONG PRACTICE USING QUAVERS
D.S. AL FINE means to go back to the sign
(* ) and play to fine(encl).
LONG, LONG AGO
o
BAYLY
E
Chords
Tell
me rhe tales that ro
long, long a- go,
Melody
Sing
me the songs I " de
lcing, long
ow you are here, all my
a
- go, long a
Lbt me for - get
that
so
long you haveroamed,
CAMPTOWN RACES
sing dis
miles long,
ohl
Doo-dah
my mon-ey on
song,
cdmptown race rrack
Goin' to run all
de
24
NOTE VALUES: THE DOTTED.CROTCHET A
DorrED cRorcHET
is equal in time value to three quavers follows: Play line A, compare it with line B, then play line B.
(
J.
as
- J7-J
) obr.rrr.
(y)
carefully the count for these notes
(z)
A
o B
l +2 + a+4+ l+2
l+2+ t
r+2 + L 2
+
COMBINATIONS OF DIFFERENT RITYTTIMS
e6uq3; I
*2 *
n Couot:
n n n
'lvnvn
1+2+ j+ 4+ t+ 2 +,
n
rn I
rrur
Ft
4
L+2+ ALMA MATER guide to the chords you
will
tr
tr rrv - ers
Stands our no I
ble
use.
wa
-
ter,
COLLEGE SONG
with
its
waves of
2' ADDTNG THE 4th STRING (D) TO THE C_F AND G7 CHORDS New ldlchord
E
GC
New lGTlchord
New
E
fl
F
chord
AC
F
Be careful in placing fingers that they do not touch the other strings. FIRST AND SECOND TIME BARS' Play throrgh to the repeat barring at the end of the rst time bars. Return to the beginning i and, after bar 6, proceed directly to the znd time bars.
DEAR EVELINA
o
COL LEGE SONG
@
hords
Sweet
Ev -
e-
Melody
MY DARLING CLEMENTINE
@ Chords
dar
- ling,
Metody
and
gone for
"
€f,
dread - ful
oh my I dar
ling, Cle-
-tihe,
You
are
z6
SONGS TO PLAY USING CHORDS THUS FAR LEARNED
RED RIVER VALLEY
o
AMERICAN FOLK SONG
E
E
*Y-
- ,:---------- ---: -nH--*--
Chord
From
Melody
4+--
miss
t-
this
your bright
J"l
l.y
and
they
say
you
afe
that
has
E
t-
go - lng
r
We
will
your
girl
@ Chords
\7^y
turn -
ing
ev - er,
down up-on the
hbr's where the
way,
rltd
folks
^jt
Ohl
Dark-eys how my hbart grows wea-ry,
devXorld.ani
Ther's wheren-ryheanis
shd and drear.y
far from theoldfolksat
27
MORE FUN WITH MORE SONGS Using a new chord
FJI
{rt,rdv diagram)
HOME ON THE RANGE
g
1
tct
ffie
COWBOY SONG
E
Chords
me
a
home where the Buf-fa-lo roam, where the
Melody
CHORUS
HAVE YOU MEMORIZED THE NAMES AND FINGERINGS FOR THE CHORDS ALREADY STUDIED? TEST YOURSELF ON THIS SONG. BLOW THE MAN DOWN
2 Chords
It{elody
E
SEA CHANTI'
E_
28
HOW WELL DO YOU KNOW YOUR FINGERING FOR THESE CHORDS?
oLD BLACK JOE FOSTER
is young and
gay,
Gone are my friends
hear their gen-tle
SILENT NIGHT
Printed in England by Commercial Colour press, l/92 (13001)
Since the
publication oJthejnt A Tune A Day book more than 60 years ogo, this enduring series oJinstruction
guides has become the mainsay oJbeginner musicians and teachers alike. Ench book encourages the development oJa sound instrumentnl technique whikt giving an excellent grounding The presentntion oJthe books allows the student to progress ot o pace best suited
to
in
music theorSt
and enables him to
his abilities
reoch an advonced sage oJpe{ormance in the optimum time.
Eq"olly efectiveJor indiwduol or Broup studSt, the books embrace most instrumens oJmodern musical combinationsrJrorn Flute to French Horn andJrom Saxophone n Sousaphone.
AcconoroN
ErEBb BAss or. SousapuoNr
Book One
Book One
TnoNrsoNr
Flurr '
BnNto
oR.
EupHoNruM
Boss
CleJBook One
Boss
CleJBook Two
BookOne
Book One
BookTwo
Tnol,rsoNe on EupHoNruM
Repertoire One
Treble CIeJBook One
beble CleJBook Two
BassooN
Fnr^*cs HonN on TrNon Honr.t
Book One
Book One
Tnunprr on ConNrr
Crrlo
Gurren
Book One
Book One
Booh Two
Book Two
BookTwo
Ensemble One
Repertoire One
Repetbire One
CremNrr
Manrnra, Xvt-opgoNr aNo Brrrs
Book One
Vrore
Book One
Book Two
Booh One
Ensemble RePo-r1oit"
Book One
BookTwo
Osor
6n"
Book Three
Book One
Cnssrcnr Gurran
SnxopsoNr
Book One
VrouN
Book One
Book Two
Book One
Book Two
Booh Two
Book Three
Book Thrce
fupertoite One
C' Paul Herfunh , author
Graduating
llthough
best
1
Book One
P ia
Book Two
P io no Accom pa ni m
BookOne
Ploying String Bas
oJ
theint
titles to be published, later enlisted the semices oJ Hugh
ll
893, HerJurth begon violin
in l9l6, hisint knownJor
his
Beginning Scale Book
Dnuus
Howard Born in
SrruNc Bass
Peterson (Mollet Percussion) as associate lessons
at the age
oJ seven
A Tune A Day
b ooks,
Helfurth
M. Stuart (Woodwind),
wilets n expand the instumentnl
ln I922
he moved
a
yeor
to
beJore
coverage oJ the books
entering the
New England Conservotory oJ Music
in
I9II
.
NewJersey and organised that snte\JtrstJull instrumennl music program.
llillililllllilruilililll ilflfiilflil ISBN 0.7 l 19. l 570.9
O ne
ts Two
Vernon A. Miller ond Herbert A. Mattick (Brass) and
hos olso edited and arronged many collecionsJor violin, cello and viola
OrderNo. BMl0199
en
Repermire One
and studied in Germanyjor
school Position was at Asheville, North Carolina.
no Accompa ni me nts
with
piano.
He
now ;ives in retirement in Florida.
