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-7",rr*orl Through this method I hope to open the door to a new type of harmonic technique and hnowledl for the guitar. There has been a shormge of good constructional harmonic material that develops d hand mechanically and increasesthe knowledge musically. All exercisespresentedin this volume have bec carefully tested through years of teaching. Each one hasa definite purposefor developmentof the hanr no metter how insignificant it may seemto the student. The exercisesare given in condensedform to savespaceand also to encourageand develop independer thinking on the part of the student. They are written in one key but are to be played in alt the keyr as shown in the explanations accompanyingthe exercises.Think of the tonic of every k.y as "do' Therefore if you are in E flat, consider the E flat as "do". Through this systemall keys are equal an therefore you will not favor any particular key or keys.Someof the exercisesin this method are writte in whole noteswith no dividing bar line but should be practicedat a slow even tempo. Succeedingvolumr are in preparation for publication in the near future. GsoncE VaN Eps
GENERALINSTRUCTIONS HOLDING THE GUITAR Holding the guitar correctly is a point that should be studied very carefully becausethere are man': irnportant factors to be considered,the first of which is comfort. It is almost impossible to work freely i you are trying to support or hang on to the guitar with your hands. The normal technicalities of the instrument are dificult and tiring enoughwithout an awkward posture to make them more rc. Flere is the correct posture. Sit in ? straightback chair of medium height and then crossthe left leg over the right so that your left knee rests on your right knee at the semetime keeping your right foot flat on the floor. Then place the body of the guitar on your lap so that the lower hollow 6ts the left leg and the upper hollow rests against the right side of your chest.The body of the guitar should be on an angle of approximately twenty degrees in relation to your torso and the scroll should be on a
level with your shoulder,but slightly forward. Never lean back in the chair,leanslightly forward alway as this helps to hold the instrumentsecurely.After following theseinstructionsthe guitar shouldbalanr on your lap by itself.(Fig.No. 1.) -2-
IHE PICK AND WruST ACTION Bring the right arm up until the elbow r$rs very lightly on the top edgc of the body. Thc cnd of your hend should now be half way between the bridge and the end of the fingerboard. TbG inside of the wrist should be approximately two inches above the string level. Fold the fingers of t{re right hand under, but not rc far as to have them touch the palm of the hand. For example, wrep tJrc fingers of the right hend eround a broom handle, bending tfie fingers from the firct and second joint.
After doing this
remove the hendle and noticc the position of the fingers. The result should bc the correct cutre. (Fig. No. (2.) Now plrce the pick on the f,,rst joint of the 6rst finger rc that the horizonal axis is perdlel to tlrc back of your hand. Then plece tfie end of your thumb (approximatcly l/+
nch) on the pick so thet
tkre is a half inch of the pointed end showing. Do not hold the pick, too tightly .r it must be allowcd to occillatc rather than bcnd. In a complete wrist action the wrist imitates a twisting motion with each stroke, vcry much like flicking something off your hand. Sce that you use a quick and accurate stroke, eliminating dl excessmovement becauseyou want the notes to sound simultaneously, not one by one. Vhen pleying on inside strings use the next highest string as a pick-stop. The axis of your wrist should be directly ovcr the highest note as the top note should predominate. In other words if you are picking the B, D, and G rtrings as a triad, the axis should be over the B string with the result that the D string will sound sofdn thc G string r litde louder, and the B string will be the loudest, w.hich is dynamically correct.
-t-
THE LEFT HAND In studying this bootr it is necesary to bear the following frctors in mind as they will not be mcntiono in the explanetions of the exercises. The fundamentals do not change in rhe difrercnt excrcises,but th situatioru do. There is only one correct way to place the fngers on the fngerborrd. Drop your left hm dovn alongsideyour body entirely relaxed. Now bring it up slowly leaving the fngers curved (slowl twisting it counter-clockwise) until your ttrumb touches the neck halfway between the body and t*re nut The thumb must ride rpproximately one-third of the way around thd neck from the bessside. Neve Iet your thumb extend above the fingerboard level, and never let it travel more than halfway around th curve of the neck. Your knuckles should be almost parallel to the side of the neck. Now plece you fingers on the fingerboard in an arched position, not trying to finger anything, just letting them rest rheft Slide your hand slowly up the neck toward the body. Vhen your hand touchesthe body of the instrumen your elbow should be next to your torso. Now slide along the neck slowly with your elbow traveling r just half the speedof your hand. This principle is similar to the hour and minute hand of a clock. I this is properly applied you will notice the position of the hand will change very lirtle in relation to th, neck. This is of Sreet importance in the development of mechanical perfection.
The fingers must be arched until just the tips rest on the strings so that they work .tp and down ham, mer-frshion seating just back of the frets, not in between and not on top. Bend your left thumb back slightly so that only the ball or fleshy part touchesthe neck. Do not hug the neck wirh the inner part of the hand. It is necessaryto k*p
the
fingers suspendedover the 6ngerboard at all times. Do not let them stand up straight, curl under thc fngerboard, or wander in any fashion. The correct place is approximately one-half inch above the strings for in this position they ere alwaysready to operate.This grcatly improves rccurecy of the fingers. Here is a practical example of this principle. If you suspenden object above a designetedspot and dropped it, wouldn't your accuracy be far greater than if you stood a few fer awey and threw the obfect at the spot? The wrisr musr be kept straight at all timesexcepr whcn executin a very long reech.Your hand is like a pieceof machinery which can developmechanicaltrouble if thrown int odd positions.Thoselittle push-rodsin the baclcof the hand that operate the fingers must have a straig[ course if expected to work properly. Besidesbeing correct, the straight-wrist posture is more comfort able and nrtural when you ger usedto ir. (Fig. No. j.) -1-
It is important to remember that the exercisesin this book should be practiced very legato. In order to do so, the notes must be given their full value and must be connectedwith no pausebetweenthem. The changesfrom formation to formation must be executedin the leastamount qf time. Do not stint the value of the notes in order to give yougs3:lftirne to make the next formation. In making these quick shifts, do not rush the tempo. Plant your fingers solidly and firmly on the fingerboard. After releasingthe pressure on a formation get used to forming the next position while the hand is in motion. Do not wait until the hand arrivesat the location before forming the fingers. This savestime and naturally goeshand in hand with the legato principle. The reasonlegato is being stressedso much is becauseit is the hardestform of phrasing for the guitar. Stacatto, the reverse,is the natural form and therefore the easiestone. In practicing legato rememberto re-apply the pressurefor each formation. Do not slide around holding the pressure,yet do not to to the extreme by lifting the fingers too far off the strings during the change. Eliminate all waste motion with the fingers. The closer they are to the fingerboard, the lesstime it takes to place them. The mechanics of theseexerciseshave been carefully planned and tested.
THE ATTACKAND Dffi A clean smooth technique dependsupon a good 6rm attack which is accomplishedonly when both hands work in perfect unison. To fret a note or chord before picking it producesa poor tone and limits the speedof the hand. In the correct attack the pressureis applied the instant the pick strikes the string. Always aPPly the pressurequickly with a deliberate snap,like a trigger releasinga srrong spring. In the exit of a note or chord, the pressurernust be releasedasquickly asit wasapplied becausea slow releaseproducesa bad buzzing sound, especiallywhen working on the lower strings.
The pressure releasernust be straight up off the fingerboard and not slanting in the direction of the next position, otherwise a slurring effect will be the result.
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EXPLANATIONOF THE STRING CHART In this method rhe strings rre listed in groups, or sets (seethe chart), and for eachset there is a symbol, eirher numerical, alphabetical,or both. This system has to be usedbecauseof the many different locations to plry rhe srme notations. For example,the C major triad with the first finger on the secondfret of the B string, the open G string, and the secondfinger on the secondfret of the D string, can be played in three different positionsirsing the samevoicing. In exerciseswhere the secondhalf is fingered in reverseof the of the first, markings will apperr only in the first half. Set,pick, and finger markings remain good until hrve no merkings,but are referredback to previousexercisesfor the fingchrnged. Someof the exercises erings.
FINGERBOARD CHART Showing the different setsof strings rnd their symbols. The x's designatethe strings usedin eachset.
l s t s e to f 3 ( l 1 3 ) 2nd set of I (2lt) l r d s e to f t ( l l t ) 4th set of 3 (4!3) lst set of 4 (ll4) 2nd ser of. + (214) trd set of 4 (tl4) lst set of broken t (llBl) 2nd set of broken I (2lBl) lrd set of broken I (3Blr) broken lst set of 3 (Blil) broken 2nd set of I (B2i3) broken 3rd set of t (B3lt) Ist set of broken 4 (llB4) 2nd set of broken 4 (2184) lst set of broken 2 (llB2) 2nd set of broken 2 (Z!BZ) 3rd set of broken 2 (llBZ) 4rh set of broken 2 (4182) (All)
(Al2) (Alr)
V I V r y I I I I I
-6-
WARNINGS
Remember to treat all the exercises,wntten and referred to, asseperatestudies. Do not skip over any of them becauseyou will only have to come back to them later on, which is not the desiredcourse.Another important point is che fact that learning and pracdcing a study are two different things. Vhen learning an exerciseyou are teaching the fngers their respectivelocations. After that time you srarr pracdcing to perfect what you have lerrned, which is the real prrctice. You.derive the most beneft from rn exercise n'hen you can practice it for ten or fifteen minutes withour a break and with cornpararivelyfew errors. A mismke is a bad habit becruse it makesyou corxtciousof that particular place *i,.r.".,
it may have oc-
cured. It is natural to conccntrate your efforts on that one place and by doing so, mistakesmay be made in other places. To avoid this, practice an exercisevery slowly for a long time. This gives you time to think of all the poina thus establishingthe foundation for a good, clean technique. This can only be had by practicing slowly and gradually increasingthe tempo, at the slme time never practicing an excrcisefaster than you can play it correctly.
To start with, your practice periods would be a half-hour in the morning and a half-hour in the afternoon'
Increase to forty-five minutes after a month's time. Build your prectice time up so that after
three months you are practicing in three forty-fve minute periods, and in 6ve month's tirne, in three one -hour periods per day.
Never practice morc than an hour in one period, es thc mind becomesdull after
that time and is no longer reccptive. Three hours a day of the right kind of pnctice is suficient, though more time will not hurt, providing you follow the rules just mentioned. After a concentreted hour of practice your mind, as well as your fingsrs and hand, should be tired.
In order to obtain the best results, do not rush through this book. Take three exercises(forms) per week as regular lessoru. Each week take three more, while still pracricing the preceding exercises,erc. Keep building this way, never dropping an exercise,as you will need the technical as well as the musical lcnowledgecontained in all thesestudies to have a retdy technique.
-7-
WITH MAJOR CHORDS Seebefore EX. 48 EX. I The first exerciseis a harmonized major scalein triads using six di{ferent fingerings. The 6rst form il on thesecondand first setsof three strings.(Seenotations hlow the staff.) The secondform of Ex. I i: played entirely on the secondset of three strings. The third form is playedon the secondand 6rst ser ol threestrings but variesfrom the first form becausethe cross-overis on a different note of the scale. Tht fourth forrn is on the third, secondand first sets of three strings. The notation in all the forms of tht first cxerciseis the samebut the fingerings are different in each one, and should be practiced as separat( exercise.s.You will notice that the first four forms of Ex. I are long forms which cover quite a bit of tht fingerboard.The fifth form is more condensedand the sixth form is the most condensedform of this harmothe notesareof equa) nieed scale. This first exerciseis written in wholenotes with no division of barsbecause value and shouldbe practiced very slowly. Ex. I and all im forms should be played in all the keys, madt possibleby the six different fingerings, as follows: lst
forrn-from
C.rptoF
2nd form-from
C .tp to C sharp (D if possible)
lrd form-from
C,rptoF
4th form-from
A flat up to D flat (D if possible)
Ith form-frorn
AflatuptoE
tith form-from
F sharp up to C sharp
It is necessaryto becomefamiliar with all theseforms as they will be referred to often. F O R MT
FORM 3
-8-
FORU T
EX. 2 Ex. No. 2 is t preparetory exercise. This form of picking is termed arpeggio picking.
To get ac-
quainted with this form'for the right hand, it is used on ollen strings so that you have to concentrltc only on trhepick and wrist action. It should be developedto rcund even dynamically and steadyrhythmically. To explain the pick and wrist action in Ex. 2 is dificult as we do not actually pick each string individually. The pick passesover eachstring and accentsit with a slight kick, which is more of a pulsadon. The reason for this is thet rsing the pulsation principle you will be eblc to meintrin a steady tcmpo and you ryill not strihe two strings at oncc, as you might do if you were just forcibly pushing the pick acrossthe strings. In other words it should have a smooth but deliberete effect. If and when you do strike two strings together, you will know that you're not "pubating" properly, if at all. In the down strokcs, use the next highest string as r pick stop. In the up strohcs,you will not need a stop es the pick returns in in upward modon.
-9-
Ex. I This is tfie harmonized scde combined with the arpeggio picking and it should be practiced in six f,ngerings,the 6rst of which is shown in the exercise. The other five are to be found in the forms of Ex. l. Prectice all six forms as sepante exercises. You will notice that at the beginning of each measureyou will find a triad in parenthesiscombining the notes in that meesure. This showsthat it is a chord formation and is not a single string fingering. Practice this exercise in all its forms slowly. Also make sure that the notes re of equal value, as the tendency is to skip over the last note in each meerurein order to ger to the next position in time. Practice all theseexercisesas legato as possible,which will necessitatea quick accurare shifr from one pcition to another.
EX.4 In this cxercisethe major scale (harmonizedin common triads) is shown in sequenceform, three steptsup and return on the first triad, then, on the second triad, etc., ascending;the reverse,descendir'g. This is elso to be practiced using the five other fingerings as found in Ex. l, and in all the heys. Practice it very slowly and maintain an even tempo. Ex. 4 is to be practiced later on rsing the arpeggio picking.
-10-
EX. t Care musr be taken in maintaining an eyen tcmpo, as every other measureis in arpeggio picking and as you the natural tendency is to hurry the whole nores. Count four beats for the firct measureiust would for the second measure. Also practice in all the fingerings found in the Ex. l, and in all the lseys.
EX. 6 is similarto Ex. i, in the fact that it is arpeggio piclcing combined with the whole note Thisexercise triad. The sameprinciplesareto be applicd.
EX. 7 This exercisedevelopsjudgemenr of distancewith the left hand. Note that the gap betweenthe first ju-P. Care shouldbe taken and the secondtriad is an ocravewhich when played in the long form is a long hazin makint sure that the fingers light surely and firmly. In the condensedform you do not have the ard of a long iu*p berween first and second triads, but crossingover the setsof strings to iump the octave presen6a dilferent problem as this must be done cleanly. This is to be played in all six fingerings and in all the keys asfound in Ex. l. Later employ arpeggiopicking. /:\
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218
EX. 8 A rhphmic
form of the scale. Vhen prrcticing bear in mind all thc previous exple'.etions end warn. ingF. Notc that thc scale goes through e rhythmic cycle, which is vcry finc practicc as the "hdf-time' providcs a breatfiing spcll bcfore the next burst of speed. To bc practicd in all the differdnt fingerings an
EX. e Another sequenceforrn of the harmonized scale-the reverseof Ex. 4.
In the sevenrh measureo
this exercise,the second triad should be played not only with a Barre of the fourth finger as marked, bur also with Barresof the third, secondand first fingers alternately.
In the last measure the second triac
should be practiced using the third set of three strings and also the fourth set. Later employ arpeggic pickirig.
( also 3rd,2nd & tst fingcrs )
-t2-
EL IO This cxerciseshould be pncticed crrcfully as it is very confusing becauseof the finggrins chengin within itself. Practicc in dl L,eys. Later cmploy arpeggiopiching.
EX. tl
(Two forms)
To be practiced very slon'ly, paying strict attention to the medrings. Later employ arpeggio pictrin, FORU I
lt
EX. 12 (Three forms) This exerciseis in two sharpsbecausethat is the lowest form of the harmonized scale on the guiter After all the forms have been perfected join them up with the harmonized scale an ocrave higher an, prectice without a break. You witl then be able to run two octavesin the harmonized scale. Later emplo, erpeggiopicking. FORU I
l2
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ElC lt
(Two forrns)
The first form was espccially designedfor strengthening the third and fourt'h fingers. The recond form is difficult in the high register and therefore good practice.
EX. 14 (Three forms) This exercisehas a definirc purposeand should bepracticedvery slowly and carefully. The upper (mc. lodic) Iine is in half notes while the two lower voices are in whole notes. Make sure they sustain their fuli value. Practiceall three forms equally asthe purpose throughout this method is balancedrechnique. FORU I
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EX. lt
(Two forms)
This is practically the sameasEx. 14, the difference being that in this exercisewe modulate a half tonr up and a half tone down at each two-bar phrase. Practicein all keys.Go from one key to anotherwithour a stoP. F O RU
t6 FORM
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-14-
EX. 16 (Three forms) This exercisemust be pncticed very carefully as we introduce a new principle in the first two forms "breaking" (or flattening from an arched position) of the 6rst joint of the fingere. In which is the the first form at the secondand third measuresr/ou flatten the fint joint of tfie second 6nger to produce the addednote, which brings this principle into the classification of a fifth 6nger.
It is 1 very dificulr
maneuver becausethe finger that is doing the flattening must sustain another note during the process. In the second form, in the firct and last mersures,the third finger doesthe flattening which is alrc vcry dificult. This flattening principle must be practiced methodically as it must be reliable rhythmicelly and should be done with a snap. Do not skip over this principle as it is very important. Prectice very slowly. The third form does not employ dris principle but should be practiced just as carefully.
l6 FORM 2
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to FORIf, 3
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EX. lZ (Two forms) This is the modulating form of Ex. 16. The sameprinciples should be epplied, mating sure that thc point of modulation is clean and distinct. Do not slide the left hend in the modulation It shouldte a fast, accunte change. The pressureshould be releascdfor just a fraction of a secondduring thc change.Precticc in all keys. FORU
t7 213 F O RU 2
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EJ(. 18 (Four forms) This exercisc,a combination of cxerciscs14 and 16, producesthe major scelebuilt on the tonic chord. Tlre two lowcr voiccs must sustain for their full veluc. This exercise should be precticcd in ell teys, which is made pcsible by the differenr fingerings.
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EX. re A maior arpeggio study in triads which takes in all the consecurivesets of three strings. Practice a Iegato as possible,without slurring. Vatch the markings carefully as the fngerings ere constantly chang. ittg. To be played in ell keys, and later employint arpeggiopicking. l-
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EX. 20 A veriation of the major scalewith the top voice in quarter notes and the bottom voices in wholr notes. Be very careful in this excrciseas the finger flattening principle will be doubly hard There arr no markings in this exercisebecauseit should be practiced using the four different forms found in Ex. l g Practicc in ell keys.
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-16-
EX. zt This is a lower form of the rneior scale built on the tonic chord. It should be practiced up to tihcLey of C.
lat.fi Ex.22 A variation of Ex. 21. Apply the same
n
a EX. 2l (Three forrns) This major exercisewas especiallydesignedto strengtlren
To be practiced in all
keys. FORU I
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28
IA
FORT 2
29 218
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28
E'x.24 A modulating form of Ex. 2t, in which the same principles are to be applied. Practice usint all the forms found in that exercise.
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EX. 2' A variationof Ex. 24, to be practicedutilizing the fingeringfound in Ex. 23, jnst asyou did in in Ex.24 above.
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WITH MINOR CHORDS EX. 26 Starting a harmonized minor scale study in six different forms. Pay closeattention to the markings 'V'atch in these forms as they are yery confusing and dificulc the movement of all the fingers closely. Give this exercisethe sametreatment as Ex. l, such as arpeggiopicking, erc. Practice in all keys.
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-18-
EX.27 (Six forms) This is a different form of the harmonized minor scaleand should be given the sametreitment rs Ex. 26. Always berr in mind the legato practice and the use of the six different fingerings. Practice in etl keys. FORM I
27
FORM 3
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FORU T
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27
FORM 5
27
FORM 6
27
-19-
EX. 28 (Three forms) This is a lower form (itt pitch) of the harmonized minor scale.Practice very crrefully as some of the fingerings,though correct, are confusing. Practice this also with the arpeggio picking and in all keys. FORU I
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EX. 29 (Three forms) Another low form of the harmonizedminor sclle. It shouldbe given the samerreatment asEx. 2g. FORU I
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-20-
EX. to (Six forms,p A different hermonizationof tfie minor scde which, lile the otlrer scde studics, is in sir for To be given the sametreatmcnt asEr. l.
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EX. tl
(Six forms)
The harmonized mihor scale built on the tonic chord. To explain this more clearly in caseof doubt, it is written in the key of D minor (using accidentals),using the tonic triad only, asharmony. Practice eacl form carefully as each fingering presentsdilferent hazards. This exerciseis to be practiced in all keys.
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FORM 3
-22-
EX. ,2 A lower form of the harmonizod minor scalebuilt on the tonic chord. Apply the same principles ir this exerciseas in the previous on6.
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FORM +
-2t-
CHORDS WITH SEVENTH EX$ " &, t4 Buift on thc scventh arpeggio which tekcs in the entire fingerboard. Theseexercisescannot bc playod in ell rhe keys in thcir original form but crn be moved up and down the fingsrboard by leeving out thc first measurewhen descendint (if too low) and leaving out the fifth measurewhen ascending (if too high). Ex. ll
is in one form and Ex. 34 is in four forms. Practice the fingerings in Ex. 33 tuing the same no-
tation as in Ex. ]4.
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EX. rt A short s€venrharpeggio in triads. You will notice that the fingerings in this exercise fell right under the hand. P.y special arenrion to the markings es this exerciseuscsalternate picking, which means that the secondand fourth triads in the measureare played with up-strokcs. Practice in ell'keys, descending chromadcaIy. ^ n
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-24-
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EX'. t6 (Three forms) A long scventharpeggioin trieds. Vhen the fingerings in all three forms are learned,start practicing them with alternatcpicking, rs in Ex. 3f. Also practiccwith rrpeggiopicking.
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FORU 3
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86
EX,. t7 (Two forms) This is the first of a seriesof stretching exercises, You will notice that the middle note remains the same while the other two voicer move around the middle voice in chromatic tentlu. This is the first exercisc using a broken set of three strings. (Sce page 6). Pay close attention to the set marlsingsunder the staff in all theseexercises. Practice in all keys in srraight down strokes,then with arpeggio picking. Be careful in the larter as you have ro jump over a string with the pick. This must be done smoothly. FORM I
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EXS. 18 E t9 Ex. ]8 is in one form rnd Ex. 39 is in two forms. Give theseexercisesthe sametreatment.as given Ex. 3 7 Practicein all keys.
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EX. 40 (Two forms) Contrary motion is introduced in this stretching exercise. This comesmore under the headingof hand gymnastics. C-onstantpractice of rhesetwo forms will definitely increaserhe spread of the fingers, parricularly in the first form.
Though dissonantin spors, it is correct. Practice in all keys which is mrde pos-
sible by the two forms. FORM T
6\
40 FORM 2
40 EX. 4l (Two forms) This is relatedto Ex. 40 inasmuchasit is a stretching exercisewith similar srrucrure. The sameprinciples are to be applied. FORU t
,lt FORII 2
tl 313 EX. 42 (Two forms) Contrary motion is again employed in this exercise. Observeall markings carefully. ktYt' F O R MI
12
M
Practice in all
r,x.4, This is the samenotation asEx. 42, but
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Apply the sameprinciples.
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F'X.44 (Two forms) Introducing a new type of picking which is very hard ro gauge, therefore it will develop accuracy with the pick. Although this exerciseis written in 8th triples, practice very slowly at firsr. Note the new set markings under the staff. They refer to the chart on page 6. Pay specialattention ro the mechanics
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EX. 4t
Alg octave higher. Practicein as many keys rs possible.
Same notation as in Ex. 4
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EX. 46 (Two forms) Contrary motion is again employed. This exercisesurts on the seventhtried, goesthrough a progression which resolves to a more open voicing of the Eameseventhand retracts. Practice slowly in all keys. FORM I
40
FORU 2
33 8X'.47 (Two forms)
The lower three notesof this exerciseare identical with Ex. 46, but we have addeda stationary nore on top which makes it necessa ry for this to be pnc ticed es a new and separateexercise. Observe all markingr carefully and practice slowly in all keys. rORUt 6 17
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WITH DIMINISHED CHORDS EX..ft Starting the diminished study of this volume. These first two exerciscson the diminishcd trird are very important. As you know thc diminished chord relrcar itself every four frets. Therefore it is neccssary to have e good foundation in order to judge the distance betwcen triads. You will notice the fingering remains the samethroughout this exercise. The jumps should be fast and accurate with tfie fingerc rclidly implanted each time. In other words, look out for slides. The first finger should rest just above the fourth string, not riding it, but suspendeda little ebove the string. prac tice slowly.
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EX. 49 The semeprinciples apPly in this exerciseas in Ex. 48 except for the finger ,suspension,which is reversed. This time the first, secondand third fingers do the worh, and the fourth finger is poised just abovc the firct string. You rnay have to spend a lot of time on these firct two diminished exercisesto get the two idle fingers to lie in readiness. This is important and musr be practiced until perfecc
EX IO You will notice in this exercisewhy thc finger training in Exs. 48 and 49 is necessrry. Those exercisesare combined in this one, in . one for one order. The first and fourth fingers should alternate like thc endsof a rocker trm. In other words the first finger should remain down until the fourth comesdown, but make sure therc are never four notet sounding not even for t fraction of a second. Vith this fingering the exercisecan bc playcd very tegeto. Down strokes should be u$d throughout until thoroughly acquaintcd with the exerdise,aftcr which time alternate picking should bc usod,with the up-strokes falling on the secondand fourth triads. Observeall markings carefully end prlcrice slowly.
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EX. il Our prcvious diminishcd fingerings pley rn importrnt part in this cxercisc, which is iri cyclcs wirh scycn MerhinF will h fourd in thc first cycle onl1' rs the set rnd fingering mrrhings rrc thc same rn t{re rcrt of the cycles. Prrcticc with down-strokcs until thoroughly rcqueinted with thc excr-
trieds in each cyclc.
cisc, thcn usc elternetc piclitrt, rs cxplaind in Ex. t0.
Precticc slowly.
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EX. t2 The cycles in this exerciseare divided by " bar line. Notc the similarity to Ex. fl.
The first cycle
to€s up the scale, the secondcycle is the revereeof the 6rst a hrlf tone higher, and the third cycle is the reverseof the seconda helf tone higher; the result being chromatic diminished arpeggios. Fingerings will be found in the 6rst two cyclesonlh rs the rest us€ the same as these. Vhen thoroughly ecquainrcd with this exercise,employ alternate picking. Pnctice also with arpeggio picking.
EX. ,'
A rethcr unusual fingcring is inroduced in this exercisewhich will heve to be practiced retionally rs it Make surc thrt all the fingers except the secondrrc arched. Don't be alermed if the firsr
is tiring rr first.
joinr of the second finger aches slightly while it is lerrning to berr the strain. The fingering remains tht slme ascendingundl the octave is reeched,then reyersesrnd remains thc same descendinguntil thc startinl point is reached.
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diminished scelewhich ascendsdifferently than it descends. Read the notes carefully as they "ear". You may have dilficulty in forming the as' may sound wrong at firsn Don't depend on your cending formation. To avoid this, over-spreedrather than under-spreadyour fingers. The descending In the second form, the rscending fingering is dilf,cult and the third finger ma; be sluggish,so practice trhisform yery slowly to provide time for concentration on the movement of thar fingering is lessdificult.
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EK. '6 The chrometic diminishcd scelein this forrr is one of thc m6t dilficult scrciscs ro far, inrsnruch .s you havc to plry two notes in succcssionwith thc firrrt 6nger. Thc dificulty hcrc fu in matrng th6c two noalt ound as though thoy rcrc frycrcd with tro fngers insteed of one. T}is can bc done by melint thc moycmcnr very fast without
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EX. t7 In this exercisc the top linc is in quarter notes and tfie harmonic structgrc is h wbolc notc3. Mahe surc the whole notqt ere held for their full vdue. Chccl, once in e while to make sure dl three notcs in dE trind are rcunding. Th$ exerciseincrerses the reach of the fourth finger.
Ths 6ngcr will have a tcndency to
lay fat when it should be archod. This may bc a strein at first but it cen bc dwclopod tfuough work.
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EX. t8 (Two forms) This is the fint diminished chord exercisc in open voicing. It is necesary to *"deeden" I string. This is taken care of by the fingering. For instence, in the first form thc D string (IV) is stoppcd from vibrating with the second6nger while that 6nger is uscd for thc note on the A (V) srring. Practice slowly and observeall markings.
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'1.e. The pick strikes that sFing, but thc tclt hand 6ngcr docs not lct it $und
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EX. t9 This exercisc combincs opcn voicing with cloeed voicing.
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E)C 60 (Two forms) In this exercisc the moving voice fu in the middle of the structure, which prGrnts a dificulty as th up-stroke must pick, the middle notc while the two ouaide notcs arc sounding. Make sure you do no deedcn either of the snsteining voices with the up-strohc. Thrs is accomplbhcd s follows: After rfie dowr -stroke the pick should travel in a small returning arc eround thc upper string so you will not touch i end stop its vibretion.
Thcn with the dcccnditg backward motion the pick will strike thc middle nor
sefely. Use a cornplcrc wrist actiort.
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Ex. 6l The general strucnrre of this excrcise is idcnticd to Elc 50. Th rnd thc fiogetiog.
Apply the seme principles.
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Ex. 62 This is the samein every respectto Ex. 6l except that it is on the second"broken set of three" instead of the third set and t$erefore pitched higher. Apply the same principles.
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EX. 6} This is the sameasEx. 62 cxceptthat it is on the first"brokenset of three". The sameprinciplesto be applied. {>
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EX. 64 The preceding three exercisesare combined in this one, covering the entire finger-board.
Practice
very slowly and make sure the middle voice is clear and crisp. After this exerciseis well practiced and you are thoroughly familiar with it, try changing the cross-overpoints.
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EX. 6t
The moving voice is again found in the middle of the structure, making this exercisesimilar to Ex. 64. By now you should be familiar with this type of picking.
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EX. 66 A greet lmount of accuracy for tJre right hand b developcd in this exercisethrough the type of pick. ing employed-After you havercunded the first and second notes in the meesure,the third rnd fourth fingen of the left hand should be right above the frets reedy to drop into ptace. In other words, have the fngen formed before the two fingers drop and make sure they come down together f,rmly. Do not merely lay then down but snap t{rem down hammer-fashion simulmneorsly with rhe pick stroke. Give the notes their ful vrfrre and practice slowly.
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EX. 67 (Two forms) You should be familiar with the 6rct half of each measurein this exercise,but inasmuch as the seconc helf in new' practice the whole exerciseas an entirely new study. Even when you arc familiar with botl trouPs it will still take considerablepractice to combine them correctly.
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HK. 6t This is prectically the same .s Ex. 67 znd should be givcn thc samc trcatmcnt. You may have di6' culry in susteining the bass nore while thc other fingers are performing. This is overcomc by conccntretion and e little more prcssure on that onc notc. Practice slowly.
EX. 6e This exerciseis in contrary motion, going from r clced to m open form of major chord, and then returning.
It offers r greet amount of variety in finger formation which develops accuncy and agility.
Practice chromatically up and down the fingerboard. naj.
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EX.. z0 (Two forms) This study is beneficial in more weys than one as it developslccuracy, agility, and timing. In thr last half of the second measure the middle triplet triad is sounded with en up-stroke. Melse sure al three nores sound. In the firct form, the first triplet in the last half of the second measuresholld be prac' ticed using thc 6rct, second, third and fourth fingers elternately. The proper way to do this is to usc thr fourth finger the first time through, the third finger the secondtime, etc. Do not apply this in the secont form becausethe fingering will not mrtch.
Precticeslowly in all keys.
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EX.72 This is Ex. 7l invertcd.
It develops thc third and fourth fngerc for long range accuncy. Be ver cereful in plecing ihe fourth f,nger each dme as it may derden thc next string. The piclcing is very touch in thfu excrcisees you have to crocsover the triad and sound the D string wirh an up-strole. practice chro matically up and down the fingerboard. practice slowly.
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EX. 7t (.Forr for:rs) This exercise is built on half t{re scale and is, in general, good for developing the hand. you wil notice that tfie wrder structure is in thirds. Make them clcer and lcgato. The third form is particularl' vrlueble for the hand as you Play the exerciscwithout thc uee of the first finger.
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EX'. 7t (Two forms) This is identical with Ex. Zl but an octeve lower. More prcssurehas to be epplied when playing on the lower strings in order to obtain a clear tone. Practice carefully
EX. 76 (Two forms) Identical with Ex. 7!, but an octave lower. Practice slowly in all keys.
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EJX.77 (Four forms) A variation of the last hdf of the mrjor scale. Forms ! and 4 arc identical in notetion but en ocrrvc lowcr than forms I and 2. Practice elch form up and down the fingerboard rs frr as posible without using opcn strings. Practice slowly at frst. roRt 2
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EX. 7r This is a verietion of the major scale. Practice aslegato espossible. Pmctice up to the key of F,
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EX. 7e This is another variation of the rnajor scele,pleyd on the lower sets. After this is practiced, use tht fingerings fourrd'in Ex. 76 with this notetion, then use the notrtion in Ex. 76 with the fingerings in thir exercise. Practice down to key of F.
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EX. 80 The augmentedchord with the whole tone scale as a melody. Form I is on one set while Form 2 "scts three". You will notice in Form 2 thrt the patterns on the fingerboard are all relrted of takesin all and closelylocated. Practicevery legatomaking the cross-overquickly rnd accurately. Prcctice Form 2 chromatically up and down'the fingerboard. FOB
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EX. 8r This exerciseis very bcnefcial becauseof the wide variety of fingerings and hand gymnastics.Pay closc attention to the fingerings and markings and do not try to practice it too fast. Benefit is derived from an exerciseonly when you cln go through it without stopping, no matter how slowly you have to go in order to do so.
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Ex. iz Individual control of the fingers is developed in this exercise.In the first measurethe third and fourth fingers play the rwo upper voices in quarter notes while the first and second fingers sustain the lower voicesin whole nores. Be careful that the presure on the lower notes doesnot decreasebecauseof this movement of the third and fourth fingers. In the secondmeasure,the fourth finger sustainsa triad while the first, second and third fingers play the lowest voice. Practice slowly so that the last chord in the secondmeasurecan be rcunded in tempo; smoothly and evenly. Play in all possiblekeys chromatically upanddownthefingerboard.
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Go back through the book now, taking all exercisesin which down-strokesonly were usedand practice In them using up-strokes. Then practice them using up and down strokes alternately. \||ARNING: crosein6,the strings with the pick, make sure the up'-strokesare playedjust 1s quickly asthe down strokes. Try to make them sound alike.
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ETUDESTUDY The purPoseof this short etude is to show the practicalapplicationof someof the fingeringsan( exercisesin the method. After studying you u,ill readily seewhich exercisesand fingeringshavebeer combinedin forming this etude. You should try writing one of rheseevery week, applying the following rules. Limit yourself to i certain number of exercises(five or six for example), varying the value of the notes any way you wisl without changing the fingering. You can use any part of the exercisesselected,from the smallestpart t( the whole exercise. Tty to vary each etude from the rest. Rememberyou can not milk any of the ex. ercisesdry, asthere is always a new way to twist them around. Keep them as simple as possibleat first, for if they become too complicated it will be di{ficult to resolvethem properly. Later on when your know. ledge and experiencehas been built up gradually through the constructionof the simpler forms, you will be able to resolve more dilficult situations. Solidity and construction should be the foremost thoughts. Keep them harmoniousand melodic. Do not exPect too much at first in developint thesestudiesas it takestime and work to be able to write even a fairly Soodone each weeh. After constructing an etude write it out and saveeachone,soyou will be eblc to check on your Progress.One of the best featuresof this study is the fact thar you can seeyour comF)sition on PaPer, thereby enabling you to study it thoroushty. This study brings our and developsyour individuality, at the same time teaching you ro write along practical lines for the guitar.
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