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Classical Guitar Method
Andres BuitragoRelated Papers
CLCWeb: Comparative Literature and Culture
Buchenau, Messmer: Selected Bibliography for the Study of Interculturality in the Americas: Theories and Practice2001 •
2010 •
Executive summary Creative Commons licenses have been designed to facilitate the use and reuse of creative works by granting some permissions in advance. However, the system is complex, with a multiplicity of licenses options, formats and versions available, including translations into different languages and adaptation to specific legislations towards versions that are declared compatible with each other after an international porting process.
In recent years, there is a trend of miniaturization of devices like heat exchangers, microfluidic devices, MEMS and electronic chip devices. The study of fluid flow in these devices is of great significance nowadays. Due to small dimensions, the entrance design is a matter of concern and importance. In this work, the effect of variation of corner radius, on thermo- hydrodynamic characteristics of a three dimensional model of T-junction square mini-channel duct of 2 mm sides, is studied at various Reynolds number under constant heat flux boundary condition (H2 type) on the horizontal section. The length of vertical section and horizontal section of the T junction is 60 mm and 300 mm respectively and the T junction is placed at the middle of the vertical section. The numerical simulation was done in general purpose CFD package FLUENT. The simulation was performed for two Reynolds number, one in laminar flow range (Re 1000) and the other in turbulent flow range (Re 3200). The variation of velocity profiles, pressure gradient, skin friction coefficient and Nusselt number were depicted from the simulation at different positions in the mini-channel. It was observed; that incorporation of fillets at T-junction changed the nature of the fluid flow and heat transfer locally. Variations in velocity, Nusselt number, skin friction coefficient and pressure gradient have been observed in both the laminar and turbulent flow regime. It is observed that for laminar flow the effect of corner radius variation are insignificant, whereas increase in Nusselt number is observed for 0.6mm corner radius model in turbulent flow under every heating condition as compared to the base model.
The Melbourne Festival of Organ and Harpsichord (MIFOH) and its successors ran from 1971 to 2010 under various other names. MIFOH is used as shorthand term covering the whole period including the names: Melbourne Autumn Festival of Organ and Harpsichord, Melbourne Autumn Festival and finally Spring Autumn Early Music Festival. It hosted ~1000 different performers at all stages of their careers. It fulfilled for many a complete arc from enabling students to perform and attend master classes with major international figures in a collegiate mode to becoming the pre- eminent Australian early music festival. The present thesis is both an examination of this largely lost legacy to musical Melbourne and Australia, and also a work of eScholarship on the substantial physical and digital music lost prior to this work. It covers the requirements for the creation of a digital archive to house the material recovered from magnetic media from the 1970’s onwards, and the recovery of analog media. There are substantial Intellectual Property barriers to assembling such large collections of original historic performances, if they are to become accessible through an Open Music Repository. This task is complicated by almost all now being classified as Orphan Works. The evolution of MIFOH matched the evolution of the absorption and professionalization of early music in Melbourne, and to further a critical mass of performers who went on to teach new generations. Organ and Harpsichord, choral and modern composition, and early music all benefited. MIFOH and its successors contributed forty years of performance and teaching to Melbourne and left a major legacy to many people. It is surprising that such a large body of work had slipped almost out of visibility. This research has delivered an overall perspective and the supporting materials to enable this long running substantial Festival to be seen in a clearer light (Wigan 2017). It covers the contributions it made, and also addresses the repository and analog to digital recovery aspects now required to fully realise its musical legacy for the community at large. The substantial Appendices provide a basis for future scholars and interested parties that simply did not exist previously. Social network explorations are now possible. Large scale digital recovery - already ~83Gb - from original recording media is now possible, to create a major Music Repository. This will require the issues identified on music metadata, Intellectual Property, clearance and access requirements to be integrated into a fresh and living repository archive for musical works.
thisisclassicalguitar.com
Classical Guitar
Method
Volume One
(Begin n er)
B y B r a d f o r d We r n e r
Third Edition 2015 | Available for Free
Creative Common s Licen s e (CC BY-NC-ND)
Classical Guitar Method
Volume I (Beginner)
By Bradford Werner
thisisclassicalguitar.com
Third Edition 2015
Available for Free Download
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0
International License. To view a copy of this license, visit:
http://creativecommons.org/licenses/by-nc-nd/4.0/
You can share this work but must give proper credit, link to my site and mention the license. You may not
sell this work, use it for commercial purposes, or alter it and/or distribute a modified version. It’s simple,
if you share this work you must include the below info (make sure the url is an active link):
Classical Guitar Method - Volume One (2015) by Bradford Werner is licensed under a Creative
Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Original Source: http://thisisclassicalguitar.com
Special thanks to my friends, family, and colleagues who have used my books and contributed helpful
feedback: Erin Fisher, Jeff Werner Michael Dias, Adrian Verdejo, and Douglas Hensley.
Bradford C. Werner 2015
www.bradfordwerner.ca
Sheet Music, Lessons, Daily Blogging:
www.thisisclassicalguitar.com
Made in Victoria, British Columbia, Canada
!ii
TABLE OF CONTENTS
PART I: PROGRESSIVE METHOD
7
Introduction to Notation and Rhythm
10
Right Hand Walking No. 1 & 2, Arpeggio Prelude
13
Open String Duets: Nocturne, Nuevo Tango
15
Left Hand Notes, Prelude No. 1, Prelude No. 2, Notes, Ode to Joy
21
Notes and C Major Scale, Note Naming No. 1, Twinkle Twinkle, Jazz Cat No. 1
25
Eighth Notes, Allegro, New Notes, Note Naming No. 2, Summer Cicada, Sor Study,
31
Accidentals & Chromatic Scale, Greensleeves, Minuet in G, Note Naming No. 3
35
Checkpoint No. 1
36
New notes, Canon in D, Short Reading Works, Impertinence Duet
40
In the Hall of the Mountain King, Jesu Joy Of Man’s Desiring, Canary Jig, Turkey in the Straw
42
Major Scale Theory
43
Checkpoint No. 2
45
Two-Voice Textures: The Swan, Leyenda, Sicilano,
48
Arpeggio Prelude No. 2, Django Swing, Tutu Maramba, Very Little Romance
52
Final Pieces: Andante, Spagnoletta
PART II: CHORDS & BLUES
54
First Chords, London Bridge, Expanding Chords, Tom Dooley, Full Chords, Red River Valley
57
Scarborough Fair, Saint James Infirmary, House of the Rising Sun
60
Chord construction and reference chord progressions: I, IV, V, vi Chords
64
I, IV, V Practice; I, IV, V,vi Practice
66
Scales for Blues and Popular music: Pentatonic Minor and Blues Scales
67
Twelve Bar Blues, The Shuffle, Rhythm Riff Blues
PART III: SUPPLEMENT
70
Harmonic/melodic intervals, Introduction to 3rd and 5th Position
72
Right-hand alternation on open strings, left-hand placement and slurs
74
Scales: Single String Scales, Chromatic on E, Major and Natural Minor
79
Blank Notation Paper
!iii
ABOUT THIS BOOK
Video Lessons
Video lessons for this book have been made to help students successfully complete the material.
Look for the list heading Lessons for Method Book Volume One at:
www.thisisclassicalguitar.com/lessons/
Find a good teacher
This publication is intended for use with a qualified teacher. Many important concepts have been left
out to allow a degree of flexibility in teaching styles.
How to use this book
1. There are three sections to this book, use all three simultaneously. After starting the progressive
method the student should begin the chord and supplement sections.
2. Cover every page, especially in the progressive method.
3. Do not write-in left hand fingerings, students must learn to recognize the notes on the staff.
4. Phrasing, dynamics, and articulation have been omitted to produce a clean score. They should be
discussed and added by the teacher and student as a lesson activity.
A note to students
1. Listen to your teacher. Even if your teacher recommends something contrary to the materials in this
book, you must trust their expertise in deciding what is best for your unique development.
2. Ask questions. Your progress will depend on how well you understand the material. It’s not all about
practicing so ask for clarification on anything you do not fully understand.
3. Request material. No beginner book will ever satisfy all your personal interests so request material
from your teacher.
A note to parents
1. Go with the flow. Avoid telling your child that they will “have to practice” or “you have to behave.”
Instead, set up a regular time of day where practice is expected; the goal is to build routine and
productive habits. When something is routine, such as going to school or brushing one’s teeth, it just
happens and usually does not require much maintenance once established. Keeping a practice chart to
record the number of minutes practiced is an excellent way to make sure the routine gets established.
2. During the lesson: Parents are around too much (as far as kids are concerned). Sorry, but your
presence might distract your child during the lesson and inhibit a relationship of respect and friendship
between student and instructor. This is not always the case, but important to consider. A nice
compromise is to have the parent join the lesson during the last five minutes to review the lesson
content or see a positive performance. The best situation is when the parent offers praise for good work
and the teacher takes care of the rest.
!iv
Recommended While Using This Method
Sight Reading For the Classical Guitar, Level I-III by Robert Benedict
Daily Sight Reading Material With Emphasis on Interpretation, Phrasing, Form, and More. This book
will help you gain musical skills and understand the context of reading music. Alfred Publishing.
Keyboard Theory: Basic Rudiments by Grace Vandendool
This book will ensure you learn everything you need to know about theory rudiments. Learning about
the piano will help you learn the universal language of music. Publisher: Frederick Harris.
Watching Videos on thisisclassicalguitar.com
I post videos on a daily basis. Studying professional players can help you learn how to play as well as
absorb the culture and repertoire.
Printing This Book
I recommend printing this PDF and placing the pages in a three ring binder so you can add or remove
material. For example, you may wish to remove your favourite pieces and create a gig book of your
own, that is, a collection of easy pieces you can play for others.
Join The Email Newsletter
Join Bradford’s Classical Guitar Newsletter for links, free sheet music, lessons, videos and more. The
newsletter has 7000+ subscribers and is 100% free to join. Stay connected to the classical guitar scene,
lessons, and more. Sign up at thisisclassicalguitar.com
Recommended Books After Completion of this Method
Intermediate Books, Lessons, & Sheet Music at thisisclassicalgutiar.com
Guitar Method, Volume 2
20 Favorite Exercise
Ten Classical Etudes
Sheet Music Selections & more.
More Recommended Sheet Music and Methods by Others:
At the bottom of the below webpage I list a number excellent books to further your study:
www.thisisclassicalguitar.com/sheet-music-for-classical-guitar/
!v
Posture & Finger Names
View many lessons about posture, hand positions,
and technique in high res colour photos, videos, and more at:
www.thisisclassicalguitar.com/lessons/
!vi
Notes, Beat, & Tempo
Beat and Tempo
Beat, also called pulse, is the basic time unit in a piece of music. For example,
if you listen to a drummer and you begin to tap your foot at regular intervals,
you are likely tapping 'the beat'. Your heart has a pulse, each beat of your heart
is similar to the beat in music.
The word tempo is used to describe the how fast or slow the beats are moving.
Notes
Notes are symbols used in music to represent the pitch and rhythm of a standard
musical sound. Pitch refers to how high or low a note sounds. Rhythm will be
discussed in the following pages.
Anatomy of a note:
Noteheads
Noteheads with stems
Stems with flags
Notes will be placed on a staff (5 lines), as shown below.
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
7
Basic Musical Symbols
The Staff has five lines.
The Treble
Clef Sign is used in guitar notation (also called G Clef).
A treble clef with an 8 below is often used in guitar notation.
Bars, also called Measures, are used to divide the staff into sections.
Bar line
Double bar line
Final bar line
The Time Signature tells you how many beats there are in each
measure and what type of note equals one beat.
The top number states how many beats there are in each bar.
The bottom number states the rhythmic value of each beat.
Standard music notation starting on the lowest note of the guitar.
The lines above and below the staff are called Ledger Lines.
E
F
G A B C D E
F
G A B C D E
F
G A B C D E
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
8
Note Names & Rhythms
Line Notes Memorization: Every Good Boy Does Fine.
Space Notes Memorization: FACE
E
G
B
D
F
F
C
D
4
1
A
E
The note names go up in the order of the alphabet.
E
F
G
A
B
C
E
F
Rhythm & Beat Values
1
2
3
4
Quarter Rest
1 beat silence
2
3
Quarter Notes
Solid Notehead
Stem
1 beat
1
Half Rest
2 beats silence
3
4
Half Notes
Hollow Notehead
Stem
2 beats
2
Whole Notes
Hollow Notehead
No stem
4 beats
Whole Rest
4 beats silence
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
9
Right Hand Walking No. 1
Reading:
E is the first string (nylon string nearest to the floor).
B is the second string, G is the 3rd string.
Numbers within a circle indicate the string number.
Ways to Practice:
1st time: Say the right hand fingering as you play.
2nd time: Say the note names as you play.
3rd time: Count the beat as you play (1, 2, 3, 4).
Rest the right hand thumb on a bass string while playing.
E
i
m
i
m
B
i
m
i
m
i
i
m
i
m
m
i
m
i
m
i
m
i
i
i
m
i
m
m
i
m
m
i
m
G
i
m
i
m
etc.
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
10
Right Hand Walking No. 2
Count the beat out loud as you play.
I've added the beat and fingering on the first two lines only.
Continue counting for the whole page.
i m i
1
1
i
2
2
3
3
4
4
1
1
2
3
i
m
i
i
m
i
2
3
4
4
1
2
3
i
m
i
1
i
m
i
2
3
4
4
1
2
3
i
m
i
1
i
m
i
2
3
4
4
i
m
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
11
Arpeggio Prelude
p i m i
p
p
p
i
m
i
i
m
i
i
m
i
p
p
p
p
i
p
m
p
p
i
m
p
i
m
p
p
i
m
p
i
m
p
p
i
m
p
m
i
p
p
i
m
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
12
Bradford Werner
(b. 1981)
Nocturne Duet
The student plays the top part.
mf
f
mf
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
13
Nuevo Tango
Bradford Werner
(b. 1981)
The student plays the top part.
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
14
Notes for Prelude No. 1
C
D
E
G
B
3
0
2
0
0
4th string
2nd fret
2nd finger
3rd string
open
2nd string
open
5th string
3rd fret
3rd finger
4th string
open
Preparation for Prelude No. 1
p p p p p
p
p
p
3
0
0
0
i m i m
2
i
m
i
3
m
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
15
Bradford Werner
(b. 1981)
Prelude No. 1
Let all notes sustain.
p
i
m
p
i
m
rit...
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
16
Notes for Prelude No. 2
E
F
G
B
E
2
3
0
0
4th string
2nd fret
2nd finger
0
4th string
3rd fret
3rd finger
3rd string
open
2nd string
open
1st string
open
Preparation for Prelude No. 2
p
2
3
0
p
i m i m
0
0
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
17
Prelude No. 2
Bradford Werner
(b. 1981)
p i m i p i m i
etc...
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
18
Notes for Ode to Joy
C
D
E
F
G
3
0
2
3
0
4th string
2nd fret
2nd finger
4th string
3rd fret
3rd finger
3rd string
open
5th string
3rd fret
3rd finger
4th string
open
Preparation for Ode to Joy
Use either the right hand thumb or the fingers but
remember to keep the right hand in the proper position.
3
0
3
0
2
2
3
0
3
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
19
Ode to Joy
Ludwig van Beethoven
(1770-1827)
Theme from the 9th Symphony
Use either the right hand thumb or fingers but remember
to keep the right hand in the proper position.
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
20
New Notes & C Major Scale
The student should now memorize all the notes.
C
D
E
F
G
A
B
C
3
0
2
3
0
2
0
1
3rd string
2nd fret
2nd finger
2nd string
open
2nd string
1st fret
1st finger
C Major Scale (Repeated Half Notes)
Notice the right hand fingering, use i, m for the entire scale.
3
0
i
2
i
i
2
3
0
i
m
i
m
i
m
i
m
m
0
1
m
i
m
i
m
i
m
i
m
m
i
m
i
m
i
m
i
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
21
Note Naming No.1
On the first line name the note.
On the second line name the fret number.
On the third line name the string number.
C
D
3
0
5
4
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
22
Traditional
Twinkle, Twinkle, Little Star
Learn by ear:
Do your best to learn this song by ear (don't look at the sheet music).
Then invent rhythmic variations of your own.
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
23
Jazz Cat Duet
Bradford Werner
(b. 1981)
The student plays the top part.
The teacher may choose to leave out the 7th on the chords.
Cmaj7
Cmaj7
Cmaj7
G7
Cmaj7
Dm7
G7
G7
Cmaj7
Am7
G7
Am7
G7
Am7
Dm7
E7
Am7
Dm7
E7
G7
Am7
G7
Cmaj7
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
24
Eighth Notes
Both exercises contain the same rhythmic pattern but indicate different counting.
Become comfortable with both systems of counting. Count out loud as you play ('+' = 'and' ).
Notice that eighth notes are connected with 'beams' instead of using flags.
Exercise No. 1
1
2 + 3
4 +
1
2 + 3
4 +
1
2
3
4
1 + 2
3 + 4
1
2
3 + 4 +
1
2
3 + 4 +
1
2 + 3
4 +
1
2
3
4
Exercise No. 2
Only count the written numbers (do not say "and" between quarter beats).
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1 2
3 4
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
25
Allegro
Bradford Werner
(b. 1981)
Let all bass notes sustain for the entire bar.
New Note: "A"
5th String
Open
0
mi
m i m i m i m etc...
p
p
mi
mi
p
m i
m
p m i
p
m i
p m i
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
26
New Notes
C
D
E
F
G
3
2nd string
3rd fret
3rd finger
(or 4th finger)
1st string
open
1st string
1st fret
1st finger
1st string
3rd fret
3rd finger
(or 4th finger)
1
0
3
2nd string
1st fret
1st finger
1
Many players use the 4th finger to play D and G. I suggest you become comfortable with both
since when playing technique or melodic passages we will sometimes use the 3rd finger but for
classical guitar pieces we will often use the 4th finger.
Walking (Eighth Notes)
3
or
4
1
3
i m i
0
m
1
etc...
C Major Reading Exercise
etc...
i
m i
m
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
27
Note Naming No.2
On the first line name the note.
On the second line name the fret number.
On the third line name the string number.
C
D
3
0
5
4
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
28
Bradford Werner
(b. 1981)
Summer Cicada
Let all bass notes sustain for the entire bar.
m i m i m p m i etc...
p
G#
3rd string,
1st fret
1
m
p
i
m i
m i
m i
m
etc...
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
29
Sor Study Duet
Fernando Sor
(1778-1839)
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
30
Accidentals & Chromatic Scale
Sharps raise the pitch by a half-step (one fret).
Flats lower the pitch by a half step (one fret).
Naturals return the note to the original pitch.
G Chromatic Scale
0
1
2
3
0
1
3
2
1
0
4
3
3
2
2
1
0
3
2
4
1
0
0
1
2
The Musical Alphabet
There are 12 notes in the musical alphabet.
Some of the notes have two different names for the same pitch (enharmonic notes).
Notice there are no accidentals between B and C or between E and F.
Basic Letters:
A
With Sharps:
A
With Flats:
A
B
C
D
A#
B
C
C#
D
Bb
B
C
Db
D
E
F
G
A
D#
E
F
F#
G
G#
A
Eb
E
F
Gb
G
Ab
A
Enharmonic Notes share the same pitch and fret: A# = Bb | C# = Db | D# = Eb | F# = Gb | G# = Ab
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
31
Greensleeves
Am
E
E
Am
G
Am
G
Am
G
C
Am
Traditional
Am
E
Am
E
G
C
Am
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
32
Minuet in G
Christian Petzold (1677-1733)
From J.S. Bach's Notenbuch der
Anna Magdalena Bach
Play quarter notes detached and eighth notes legato.
2
4
4
4
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
33
Note Naming No.3
On the first line name the note.
On the second line name the fret number.
On the third line name the string number.
C
C#
3
4
5
5
G
Gb
3
2
1
1
Gb
4
4
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
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34
Checkpoint No. 1
C Major Exercise 1
i m i m
etc...
C Major Exercise 2
i m i m etc...
G Major Exercise
F# in the Key Signature
i
m
i
m
2
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35
New Notes
E
F
G
A
B
0
1
3
0
2
6th string
3rd fret
3rd finger
5th string
open
5th string
2nd fret
2nd finger
6th string
open
6th string
1st fret
1st finger
Low Note Exercise
Use the right hand thumb "p" throughout.
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36
Canon
Johann Pachelbel
(1653-1706)
The student plays the lower part.
p
mf
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37
Bass Blues
p
Minuet
p
J.S. Bach (1685-1750)
Django Bass
Am
p
Dm
E7
Am
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38
George Frideric Handel
(1685-1759)
Impertinence
The student should play the lower part.
4
4
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39
In the Hall of the Mountian King (Peer Gynt Suite)
*This piece contains a high A (1st string, 5th fret).
Edvard Grieg
(1843-1907)
*
Jesu, Joy of Man's Desiring
Some careful fingering is required to get this work sounding legato.
3
J. S. Bach
(1685-1750)
4
2
4
3
3
rit.
3
4
2
4
3
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40
Gaspar Sanz
(1640–1710)
Canary Jig
Turkey in the Straw
Traditional
C
G
C
C
F
C
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41
Theory: Major Scales
Two types of intervals must be understood before learning how major scales are constructed.
A Half Step is the distance from one pitch to another or one fret to the next on the guitar.
A Whole Step is the distance of two pitches or two frets on the guitar.
Half Step
A
A#
B
C
C#
D
D#
E
F
F#
G
G#
A
Whole Step
The pattern of whole and half steps for the major scale is:
whole - whole - half - whole - whole - whole -half
C Major:
Whole
Whole
Whole
Half
Half
Whole
Whole
G Major with Accidental:
Whole
Whole
Whole
Half
Whole
Whole
Half
G Major with Key Signature:
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42
Checkpoint No. 2
C Major #1
C Major #2
C Major #3
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G Major #1
G Major #2
G Major #3
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44
Bradford Werner
(b. 1981)
The Swan
Two-Voice Texture
Legato
4
3
mp
4
3
f
mp
4
3
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45
Leyenda
Isaac Albeniz
(1860-1909)
p m p m etc.
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46
Siciliano
4
4
4
4
Matteo Carcassi
(1792-1853)
4
4
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47
Arpeggio Prelude No. 2
Bradford Werner
(b. 1981)
Tempo: Slowly
p mi
a
142
4
2
i m a i m
3
p
4
2
4
1
2
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48
Django Swing
Bradford Werner
(b. 1981)
Swing the Eighth Notes
Tempo: Bounce!
(1
2 +
3
2.
4
1
4
1
4)
1.
2
1
2
3
4
0
1
2
rit.
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49
Brazilian Folksong
Tutú Maramba
4
4
Fine
D.C. al Fine
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50
Bradford Werner
(b.1981)
Very Little Romance
Influenced by the popular Spanish Romance
m i a m i
3
2
4
a
p
4
2
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51
Matteo Carcassi
(1792-1853)
Edited for this book
Andante
Look for familiar chord shapes
and opportunities to sustain notes.
4
4
4
1
3
4
1
4
4
1
3
1
3
2
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52
Spagnoletta
Anonymous
Lute Work
Edited for this book
(Españoleta Theme)
A curved line connecting two of the same notes is a tie, sustain
the note for both rhythmic values but do not replay the second note.
2
1
0
3
4
4
4
3
4
4
4
4
1
1
4
0
1
4
3
2
1
3
2
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53
Em
First Chords
Chord diagrams are pictures of the
guitar. The vertical lines are the
strings and the horizontal lines
are the frets. The string on the
left is the 6th string, the string on
the right is the first string.
G7
C
0 0 0
0 1 0
0 0 0 1
Em
C
G7
London Bridge
The student strums the chords (they do not read the notes on the staff). Strum four beats per bar.
If no chord is shown, continue strumming the previous chord.
C
Lon - don Bridge is
Lon - don Bridge is
G7
C
fal - ling down,
fal - ling down,
fal - ling down
fal - ling down,
G7
my
fair
C
la - dy
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54
G
C
Em
Expanding Chords
There are many chord shapes for the
same chord, these are larger versions
of the previous chords you've learned.
2 0 0 0
2 0 1 0
1 0 0 0 3
Em
C
G
Tom Dooley
The student strums the chords (they do not read the notes on the staff). Strum four beats per bar.
C
G
C
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G
C
D
Full Chords
2 1 0 0 0 3
G
3 2 0 1 0
0 1 3 2
C
D
G
Red River Valley
Come
G
and
sit
by
my
side
if
you
Do
But
C
not
G
-
has
G
re - mem
ten
to
bid
me
a
ber
the
Red
D
and
the
cow
-
love
me.
D
-
dieu.
C
Riv - er
Val - ley,
boy
who
loved
you
so
G
true.
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56
Am
0 2 3 1 0
Em
G
D
0 2 3 0 0 0
2 1 0 0 0 3
0 1 3 2
Scarborough Fair
Am
Are
you
D
ma - ry
and
go- ing
to
Em
Am
Scar - bor - ough
Fair?
Am
thyme.
G
Am
there,
for
once
sage,
rose -
Par - sley,
Em
Re - mem - ber
me
to the
she
G
Am
one who lives
Em
was
a
Am
true love
of
mine.
Now Try Fingerstyle Accompaniment
Play the bass note of the chord and the top three strings as demonstrated in the example below.
Am
p
i
m
a
m
Em
i
p
i
m
a
m
i
etc...
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57
Am
E7
0 2 3 1 0
Fma7
0 2 0 1 0 0
3 2 1 0
Saint James Infirmary
Two chords in one bar will usually imply that each chord counts for two beats (when in common time).
The Fmaj7 chord is optional.
Am
E7
Am
Am
E7
E7
Am
[Fma7 ]
1.
E7
Am
E7
Am
[Fma7] E7
Am
2.
Am
[Fma7]
E7
Am
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58
Am
D
C
0 2 3 1 0
3 2 0 1 0
E
F
0 1 3 2
3 2 1 1
0 2 3 1 0 0
The House of the Rising Sun
Am
C
D
F
Am
C
E
There
Am
C
is
a house
New Or - leans
they call
D
in
F
the Ris -
ing
Am
C
E
Sun.
It's
Am
been
C
the ru - in
D
of
many
F
poor gal,
Am
and
I
E
oh
Am
Lord
was
one.
Now Try Fingerstyle Accompaniment
Play the bass note of the chord and the top three strings as demonstrated in the example below.
Am
p
C
i
p etc...
3
m a
m i
D
F
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59
Chord construction and chord progressions
Only a partial explaination of chords and chord progressions is neccessary at
this time. For now, try to remember the basic difference between major and minor
chords and the order of major and minor chords in the harmonized major scale.
Scale Degrees in C Major
1
2
3
4
5
6
7
8
C Major Triad (Three Note Chord)
1
3
5
b3
5
C Minor Triad
1
Harmonized C major scale
Capital Roman numerals represent major chords whereas lower case represent minor chords.
I
ii
iii
IV
V
vi
viiº
I
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60
I, IV, V, vi chord progression in C major
C
I
F
G
Am
IV
V
vi
I, IV, V, vi chord progression in various keys
The V chord in minor keys can be either major or minor. This book uses the minor chord for an introduction.
C major:
G major:
D major:
I = C
IV = F
V = G
vi = Am
I = G
IV = C
V = D
vi = Em
I = D
IV = G
V = A
vi = Bm
A minor:
E minor:
D minor:
i = Am
iv = Dm
v = Em
VI = F
i = Em
iv = Am
v = Bm
VI = C
i = Dm
iv = Gm
v = Am
VI = Bb
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61
Reference Chords
(For use on page 63)
C Major: I, IV, V, vi
C
3 2 0 1 0
F
3 2 1 1
Am
G
2 1 0 0 0 3
0 2 3 1 0
G Major: I, IV, V, vi
G
2 1 0 0 0 3
D
C
3 2 0 1 0
0 1 3 2
Em
0 2 3 0 0 0
D Major: I, IV, V, vi
D
0 1 3 2
A
G
2 1 0 0 0 3
0 1 2 3 0
Bm
1 3 4 2 1
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62
A Minor: i, iv, v, VI
Am
0 2 3 1 0
Em
Dm
0 2 4 1
0 2 3 0 0 0
F
3 2 1 1
E Minor: I, IV, V, vi
Em
0 2 3 0 0 0
Am
0 2 3 1 0
Bm
1 3 4 2 1
C
3 2 0 1 0
D Minor: i, iv, v, VI
Dm
0 2 4 1
Gm
3 1 1 1
Am
0 2 3 1 0
B
1 2 3 4 1
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63
I, IV, V Chord Progression in Major
Below is a I, IV, V chord progression which happens to be the pattern for the twelve bar blues.
Play in various keys.
I
IV
V
IV
I
I
(V)
i, iv, v Chord Progression in Minor
Play in various keys. The V chord in minor can also be played with a major chord if you choose.
i
iv
v
i
iv
i
(v)
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64
I, IV, V, vi Chord Progression in Major
Play in various keys.
I
vi
V
IV
I
i, iv, v, VI Chord Progression in Minor
Play in various keys.
i
VI
v
iv
i
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65
Scales for Blues and Popular Music
Below is the pentatonic minor scale up to the highest note in position.
It can be used for soloing over blues and other chord progressions such as House of the Rising Sun.
Tablature (TAB) is a picture of the guitar. The horizontal lines are the strings and the numbers are the frets.
The line on the bottom is the 6th string and the line on the top is the 1st string.
A Pentatonic Minor (open position)
0
3
0
2
0
2
1
1
0
0
0
3
0
3
0
3
3
0
3
0
0
3
3
1
2
2
0
2
2
0
3
3
0
0
3
A Pentatonic Minor (closed position)
Closed position scales can be moved around the fingerboard to change the key.
Example: If you start the pattern on the 6th fret it will be an A# pentatonic minor scale.
1
4
1
3
1
3
1
5
5
5
5
3
1
4
5
8
1
4
5
8
5
8
5
7
7
5
7
7
5
7
7
5
8
8
5
A Blues Scale (closed position)
By adding an extra note to the pentatonic minor scale we can create a blues scale.
5
5
5
5
5
5
6
7
7
7
8
8
8
5
8
5
8
7
5
7
5
7
6
5
8
8
5
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66
Twelve Bar Blues
Use the TAB to check your note locations.
Take a solo using the A pentatonic minor scale.
When finished repeating, end using the A chord instead of E.
Swing the beat (think: long-short-long-short).
A
1
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
D
A
1
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
/E 0
E
D
A
1
0
2
0
2 2 2 2 2
0 0 0 0 0
2
0
2
0
2
0
2 2
0 0
2
0
2
0
2
0
2 2 2
0 0 0
2
0
2
0
2
0
2
0
2
0
2 2
0 0
2
0
2
0
2
0
2
0
2
0
2 2
0 0
2
0
2
0
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67
The Shuffle
A
1
0
2
0
3
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
D
A
1
0
2
0
3
0
2
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
/E 0
E
D
1
0
4
0
3
0
2 2 4 4 2
0 0 0 0 0
2
0
A
2
0
4
0
4 2
0 0
2
0
4
0
4
0
2 4 4
0 0 0
2
0
2
0
4
0
4
0
2
0
2 4
0 0
4
0
2
0
2
0
2
0
2
0
2 2
0 0
2
0
2
0
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68
Rhythm Riff Blues
A
2
2
0
2
0
2
0
2
0
2
0
2
2
0
0
2
0
2
0
D
2
0
2
0
2
0
0
2
2
0
0
2
0
A
3
1
3
1
2
0
3
1
0
0
1
2
2
2
2
E
2
0
0
2
2
0
0
3
D
0
2
0
2
0
2
0
2
0
A
/E 0
3 3
1 1
2 2
2 2 0 0
2
0
0
2 2
0 0
2
0 0
2 2
0 0
2
0
2
0
2 2
0 0
2
0
2 2
0 0
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69
Harmonic & Ascending Melodic Intervals in C major
Unison
Second
Sixth
Fifth
Octave
Seventh
Fourth
Third
For ear-training purposes find songs that begin with each melodic interval and
write them down to help your recognition of the sound.
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70
Introduction to 3rd and 5th position
Roman numerals above the notes indicate position (fret locations) on guitar.
Do not confuse these with chord analysis which is placed below the notes.
Position I implies first finger at the first fret, position V implies first finger at the fifth fret.
I.
3
1
I.
III.
1
0
III. (Third Position)
(First Position)
3
3
1
0
1
I.
3
4
(Fifth Position)
4
1
2
V.
1
3
V.
1
3
III.
4
4
1
3
1
2
V.
Ode to Joy
Play in 3rd position and again in 5th position.
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71
Scale Work: Right Hand Alternation on Open Strings
Use the metronome and keep track of your speed.
Make sure to practice with both rest-stroke and free-stroke.
Accent the first note of each eighth or sixteenth note grouping.
i
m
i
m
i
m etc...
m
i
m
i
m
i etc...
i m i m i m i m i m i m etc...
m i m i m i m i m i m i etc...
i m i m i m i m i etc...
m i m i m i m i m etc...
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72
Finger placement
1
1
1
1
1
1
1
1
1
1
2
2
2
2
2
2
2
2
2
2
3 3 3 3
4 4 4 4 4 4 4 4 4 4
3
3
3
3
3
3
Ascending slurs
2 1 2 1 2 1 2 1 2
1
2
2
3
1
2
1
3
2
3
2
1
4
3
2
4
1
2
2
4
1
4
2
1
4
1
4
1
3
1
3
etc. etc. etc. etc. etc.
Descending slurs
2
3
1
2
2
3
1
2
2
4
1
3
2
4
1
3
2
1
4
2
2
4
1
2
2
1
4
1
2
4
1
1
2
1
3
1
2
3
1
1
etc. etc. etc. etc. etc.
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
73
Chromatic Scales on Single Strings
Eb D Db C B Bb A Ab G Gb F E
E
F
F# G
G# A
A# B
C
C# D
D# E
A# B Bb A Ab G Gb F E Eb D Db C B
B
C
C# D
D# E
F
F# G
G# A
G
G# A
A# B
C
C# D
D# E
F
F# G
Gb F
E
Eb D
Db C
B
Bb A
Ab G
D
D# E
F
F# G
G# A
A# B
C
C# D
Db C
B
A
A# B
C
C# D
D# E
F
Bb A
F# G
G# A
Ab G
Gb F
E
Ab G
Gb F
E
Eb D
Eb D
Db C
B
Bb A
E
F
F# G
G# A
A# B
C
C# D
D# E
Eb D
Db C
B
Bb A
Ab G
Gb F
E
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
74
Chromatic Scales on E
E Chromatic 1 Octave
2
3
4
0
1
2
3
0
1
2
3
4
0
4
3
2
1
0
3
2
1
0
4
3
2
E Chromatic 2 Octaves
0
1
2
3
4
0
1
2
3
4
0
1
2
3
4
0
1
2
3
0
1
2
3
4
0
4
3
2
1
0
3
2
1
0
4
3
2
1
0
4
3
2
1
0
4
3
2
1
0
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
75
Major Scales
These scales have been left unfingered for flexiblity in teaching styles.
C Major
G Major
D Major
E Major
Ab Major
A Major
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
76
Eb Major
Bb Major
F Major
Natural Minor Scales
A Minor
E Minor
B Minor
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
77
F# Minor
C# Minor
F Minor
C Minor
G Minor
D Minor
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
78
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
79
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
80
© Bradford Werner, 2015. Victoria, BC, Canada. Creative Commons License (CC BY-NC-ND).
Lessons, Sheet Music, TAB (free & sales): www.thisisclassicalguitar.com
81
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