E-Book Overview
This practical, comprehensive method is used as the basic text for the guitar program at the Berklee College of Music. Volume One builds a solid foundation for beginning guitarists and features a comprehensive range of guitar and music fundamentals, including: scales, melodic studies, chord and arpeggio studies, how to read music, special exercises for developing technique in both hands, voice leading using moveable chord forms, and more.
E-Book Content
This book has been specifically designed to accomplish two things... #1. To teach the student to READ music. Reading "crutches" have been eliminated as much as possible. Fingering and counting indications have been kept at what I consider a sensible minimum. #2. For the gradual development of dexterity in BOTH hands. This is the physical part of learning to play the guitar and as such cannot be rushed. Practice all material slowly enough to maintain an even tempo. Do not skip or "slight" anything, and also do not attempt to "completely perfect" any one lesson before going on. Playing technique is an accumulative process and you will find each time you review material already studied it will seem easier to play. (Slow, steady practice and constant review will eventually lead to speed and accuracy.) I should like to mention at this point that all music presented for study on these pages is original and has been created especially for the guitar. EACH composition has been designed to advance the student's musical knowledge and playing ability, and yet be as musical as possible. There is no studentteacher division in the duets. Both guitar parts are written to be studied by the pupil and almost all parts will musically stand alone. I have not included any "old favorites" as guitar arrangements of these songs are available in many existing publications. (Also, you do not learn to R E A D music by playing melodies that are familiar to you.) I have not tried to make this book into a music dictionary by cramming it with pages filled with nothing but musical terms and markings as it is considerably more important to give the student as much music to play as possible. (The most common and necessary terms and markings are, of course, used and explained... If further information is desired, some very excellent music dictionaries in soft cover editions can be obtained at a small cost.) I do feel, however, that with this method, (as with all others) you must search out additional material to practice as your ultimate ability depends entirely on how much reading and playing you do. So good luck, and have fun. ... y) Continued on next page TIME SIGNATURES: Next to the clef sign (at the beginning of a composition) are found two numbers (like a fraction) or a symbol which represents these numbers. The top number tells how many beats (or counts) in a measure, and the bottom number indicates what kind of note gets one beat. "READ" the notes, NOT the fingering, as these numbers will eventually be omitted. . . . . . . . . . . . . Starting on C one OCTAVE higher than C found on the 5th string, we complete the UPPER REGISTER of the 1st position Note And Chord Review (Regular review of all material is a must!) "LEDGER" lines are added below or above the staff for notes too low or too high to appear on the staff. . . . . . Rhythm Accompaniment BASS NOTES AND CHORDS All chord symbols (names) appearing as only a letter are assumed to be MAJORchords. A letter followed by the numeral "7" represents DOMINANT 7th chords. A letter followed by a small "m" are MINOR (Do not skip or "slight" any lesson material) (Review of all material is a must) ( EIGHTH NOTES. . . counting and picking ) First Solo Solo arrangement. . . with melody AND accompaniment. BE SURE TO HOLD ALL NOTE