Complete Method

C O M P L E T E M E T H O D

F OR THE

O F M USIC ,

AND A OR G A NEW. I INAL. AND PROGRESSIVE KOBE OF ACQUIRING

IN TERSPEBSED WITH A PLEA SIN G VA RIETY OF PO PULA R

SONG S AND NATIONAL MELODIES.

O T T O F E D E R .

BO STO N

PUBLISHED BY I ER m a A SHIN G TO N ST. 0L V sox co . W _ _ ,

N E W H WT O N Y O RK : 8 T G O RDO N . LA EL H A LA . . . P I D P I BECK C lN ClN N A Tl : TRUA X A: BA LDWI N P R E F A C E .

a ua nted w th th e nstru ti n b s b th wh o want to a the u tar n o a m an ment a T n o s s who are cq i i i c o ook i pl y G i o ly f r cco p i , h ve o r an a o lo een dul c n s r the G uitar wi s ar e lo ok f dered. But fo r t em s e rto publis hed fo , ll c c ly p gy b y o i h , thi volume would have In ven een en ar whe a n ew bo o k th s nd is a d e re them. e d b a e ti n o f G atrc ht e es as it i s the n of i ki l i b fo b l g y coll c o a e pi c , tu s as s ert n do n t resume to int mate that c o n rs t two arts are ndis ens a e to the student who w u d la rin g thi io , I o p i I ﬁ p i p bl o l p y the uitar as de d o f mer t a m an ments that desm e h sider h e e s t n meth ds fo r . ; t e nafne wh st the rd t xi i g o G voi i cco p i , il thi part,

but mm n n th e ha e ate eas ed to ee a e with th u h n o t a s ute ne es s ar w be f und th nterest n , y opi io , y v of l c k p p c o g b ol ly c y, ill o bo i i g mu s so th at and s o f u e u . the corres pondin g works in other bran ches ic , , f l e ud n ro mthe mater al whi h m st them nta n , in th The ex anat ns ven in th s bec k resu s e a u i who j gi g f i c o of co i : pl io gi i p ppo p p l

sh e er se s o n e w uld su s e th e u tar to be m re n ws n th n o f mus and th h the are deemed suﬂic ientl ape of x ci , o ppo G i o k o o i g ic, oug y y

s urc es than an this? ins trument. ndeed fe w mle to he imo n w th ut a ma ster et w u d ad se ev des titute of re o y I , a p lp h i o , y I o l vi

“ w den that were it n o t fo r the as nal a earan e o f a er bne who w shes to em his t me r ta to s e u e a ill y , occ io pp c y i ploy i p oﬁ bly, c r rmer an d th e s t e e sten e o f e el ent mus d tea her r mthe be nn who ada n an d ar go o d pe rfo , po i iv xi c xc l ic goo c f o gi ing, , by pti g v y

e u tar the n n a uded to w uld s n be in re e ts b e am le and b warnin o f bad h a ts ma w ritten fo r th G i , Opi io ll o oo g p c p , y x p , y g bi , y - ’ “ : come un iversa l from the want o f progres s ih the published do more fo r his p pil in on emoa th} thanthe uhghided eﬁ o rts a l s m s t ns m o f the atter c ould a m s n s ix es d es en re t o n . T he as al as ters h i n t s e me th o d s of tui i cl ic co po i io of like l cco pli ; b i , a i ly lf Z m s an m s (h u mmer So n L . C HUL etc . an d e en the r m re r tau ht u c an hard ho e e er to e e a n hed or , , S T , , v i o impo g ici ly p , v b co ﬁ i , ta n t e erc s es an d s tud es wh h m arat el few a e b a x i i , ic co p iv y h v , y nd o f ral tradit n o r b i mmens e a li at n b een ena in the rd r in wh c h ki o io , y pp c io , bled o e i

to n te r re t are alm st n a es s le to s u h as ha e no th e sh uld be e ed and in su h rti ns as a re wanted as i p , o i cc ib c v o er th y o l arn , c po o ,

' u ns tru t rs no w in use I n o s ma d u de tha n the tar . t was ir n t to a s te ti al o men g i G i I c o , p i g , y c evel p t

' there o re m h e e t in wr tin th s to lead the u siﬁo ns but o that he ma s inal unders tandin d the h f , y c i f obj c i g i book, p , t of t g; an p y il s o far that h e c a n ad an eo u s stud the wr s o f al a a t o f the student p , v tag ly y o k the sic c p ci y rea t m s o ers A s e the nteres s T HE A T HO R . g co p . t the ame tim , i t o f thos e U

' ntered ac rd n to A c t o f Co n res s in the ear 1 858 E co i g g , y ,

By O LIVER DIT SO N

M s n . wi m n S . e t . Y . o W u ic te e er rear N o . 43 c , r otyp , tre S N P A R T F I R S T .

I N T R O DUC T I O N .

h in enera used mere to a m any T he height of the s trings a bove the s urface of the ins tru men t T ue G uru s , thoug g l , ly cco p , s d u t es s emnent as re ulated b the r d e at o ne end and b th e n u t at the o th i pl b ll to which purpos e it i , o b l , i ly g y b i g , y s m e a ad s , ( m letenes s rea m e me u a c turers la e the m as s and er is t rtan . man is et o n a unt its , , of g i po c So f p c adapted), y , cco of co p co p d es no t o s s n s er hi h w a w arr n a in s t d as a s ns trument. It tr , th e to re ent the r a fully qualiﬁed to be us e olo i o p i g v y g i vi p v i j i g g

tes e th e V l n no r c an it the rets but w th ut re ard to the a l t a n . If the ses s th e capacity of s us ta in ing n o lik io i , , f , i o g f ci i y of pl yi g ' ess o m e te w th th e Har ; but it r d e is to o h h the n ers the r ht hand must c o ritrac t in point of power and fulln , c p i p b i g ig , ﬁ g of ig

wh h t ether w th its extreme de mo re than n en ent u n u s too combi nes qualities of both ic , og i li co v i to to ch th e s trings ; if the t i e hands n ma es it a h h e fi ent ins trument in th h h the n ers th e e t hand ann t s t th e s tr n s w th cacy of to e, k ig ly f ci ig , ﬁ g of l f c o op i g i

8 88 8 . res ents e ted that the ra t e the u tar , e ﬁn er- ard an d e h s be are ull n s der It is often obj c , p c ic of G i p Th g bo n ck ave al o to c f y co i han tha t m st o n to th e res ult m re di ﬁ u t es t d If the n e s o thic me s s o o n a t u ed rt , e . i to the hand e in prop io o f c l i of o ck k , b co f ig , s h we er is an e rro r w n art to e ns truments . T h , , , r h n ne is a e o be nd A l ttle o s e r a t o n and c o m oth r i i o v o i g p ly a v e y t i ck li bl t . i b v i uired wh h rdina r a m an ments are a , the facility with ic o y cco p i cq pari s on will do muc h towards clearing u p an y d o ubtfu l po i n t ct urth er m r emen t a e ar wh h ma es the a r ex ended o n T he fi n er- u s b e r ad n o r ic k l bo p f i p ov pp this n ature . g bo ard m t e n ither to o b o the n er r u a t the in s tru so mu h reater and art , to y c g , p ly i f io q li of to o narrow the l atte r is mo re frequ en tly the c as e than the fo r

u s n b urtes . M re ments in use wh h are a ed ta r y y s a r m he n u he h rd re T he s ur a c e o r mer e e t t to t t t. , ic c ll G i o ly co o , p ci lly f o i f f mus nd s r mnatel fo r the er the as h n o f arran n y e er- ard u ht to be er s htl u r e d ro mr ht to ov , f io gi g ic i i c i i th ﬁng bo o g v y lig y c v f ig n to the O n n us t men u ta r ha s ntr uted to e urre y d the r le the r d e s h u d o rres o nd w th tha t G i , co ib giv c c pi io j left, an p ofi of b i g o l c p i ment te n affo rds reat me han s m o ne nstru - tio ned . T he T here are s me ﬁn er o ards w th a tran s e rs e a t c i of i of g curve . o g b i v c vi y n as sa es wh h im o s a l t es fo r the e e uti n erta , p w e rets whi h s c ar e r t o e the w o d o n f ci i i x c o of c i p g ic if bet een th f c c ly p oj ec ab v o , d n an ther ma n l e o ns dera e d ffi u t es w th ut e upo o , y i vo v c i bl i c l i i o prete nc e of a ffo rd ing reli ef to the left hand ; th es e ar e to be e s des it s he idd be rne ‘ producing a co rres po nding effect. B i , bo s arded ent re . The rets s ho uld be o f metal c ar e full di c i ly f . y d nherent e u that when rea t ers at t is des ire , in mind , g v ili y i p c li s hed ac ed e r e t aral e at radu a es s en n d sta n poli , pl p f c ly p l l g lly l i g i o re e u tar ha ra ter must act as sta les there , th , arities of c c ob c f G i es and s h u d r s e e r d s t n c tl a b e th e a rd w tho u t c , o l i v y i i y ov bo , i s a h h ec u ar ua t a nd r, ann t be who s e to ne i of ig ly p li q li y colo c o n with e the r en d at e s d s e n e protrudi g i th i e of th c k . e u a well a u ate d fo r the er rman e e ery nd q lly c lc l p fo c of v ki of The dista nce be tween the nut an d the bridge may be fro m (11 11 8 10 . tw enty- fo u r to twen ty- five in c he s fo r the c o mmo n G u i ta r the m ' mate ur s h uld as mu h as s s e , adhere to the c o A n a - o , c po ibl s c al e of the ao called 771 1rd whic h is tun ed a mi no r ste rs and bef re attemt n to a an ar po s itio ns o f good ma , o p i g pl y i her is r o rt o n a s ho rte r T h e o nc e rto s o f C m rd h . thi g , p op i bly C s e rta n tha t it is do ne are u ll and we s uited to ran gemen t, a c i c f y, ll IA N I the Pr mo o f his admra e d ue tts fo r two u ta rs a nd L , i i bl G i ,

the nstru ment. erted e es are wr tten fo r the Th r d- uita r the to n e i o the r conc pi c i i G ,

o w i s mo re en e tra t n o n ac c o un t o f its h he r itc h an d f h ch i p i g ig p ,

there o re e tter al u a ted to ea r the a c c o m an me n t o f o the r STRUCTURE OF THE G UITAR. f b c c l b p i s ments in tru . o s ed l at the bod o r ho w o rt n T un G o nn a is c omp , , of y , llo p io The a o Tas te a s ma ed e o f wo o d n ed w th e a the r C p , ll l g li i l , ba the c k, and c a n be s c re w e d to the ﬁ n

n a r timlla r F O R T H E G M E T H O D UI T A R .

s trin s n r g are ge e ally old and damaged . Unbleached s ilk should used i n th e s s be manufacture of ilver trings .

s e e u s n e m e its s i z been in con s tan t us e fo r s ome year . B for p tting the tri g on, xa in vibration by e ing t V enn a er bad the e s e ee th e s u e s e The bes t G uita rs were formerly made a i ; v y nd b tw n ﬁr t ﬁnger and th mb of ach hand, tr tch

' u ne instru s e st k little ﬁ n s ha v n n th n n mmn w th the en ing it with om force , and ri ing it with the er. If imita ti o n , i g o i g i co o i g i g l the ar n sh ha e the s is e al c t c k s men ts bu t th e pa ttern and the light co or of v i , v tring qu ly compa and thi throughout , the vibration Th e etter s rt o f ren h s c u es es s s in ce been thrown in to every market. b o F c will how two rved lin forming the boundari of the pace the s e nd ass n struments the s c k es c e is irre u G uitars may be ranked amo ng co cl i in which o illation ta pla if it uneven , an g

u h ften mad e e ellen t old w d , e, s ee e e the e The Spa ni s h Guitars , tho g o of xc oo lar third line or mor will be n b tw en two form r mwhat un uth sha e and A the s is e s an d po ss ess ing a fi ne ton e are of a so e co p fter tring drawn up and tuned, the tw lfth fret hould ' - c ec c the e s the fin er ard . ur ean ia . is gen erally deficient as regards g bo E op give the orr t o tave of op n tring If it found to be s e i n s es ec s as fal thi r p t, a portion at the end hould be cut o ff, m the e ss o c u s so metimes s the e m t e vi an d the n e es s t fo r the r i , h north ern coun tries of A merica, c i y i un venne c r at xtre ity and

he bes t G ui the es be e . W e e e s is l s u er eded . as r a t bration of r t may r gular h n v r a tring new po rta ti o n seems entire y p c p ob bly

l , w l e a s e e the s e tars are made in the United States . y put on it il r l x continually for om tim , in trum nt s e e e st l s s al s e o u hould th r for be rung, at ea t , ever hour b fore y e int nd to play upon it . O N ST G S. R I N To ec the s s s he ﬂ h a d prot t tring again t t in uence of the weat er, n

s three o f at ut and three s the n s n en e to k t i n T HE G uru s has s ix s trin g ; c g , of to pre erve i trume t g rally, it ought be ep a i e th c ne s s er w re . The re at e e d e eas e i c s l be C e e s s ilk s pun round with s ilv i l v i k of w ll lin d woo n , into wh h it hou d ar fully d po det rmne the du e . o ited e e a f e ha s s e . thes e s trings is a poin t of importanc e T e i ev ry tim t r it been u d it w ll be s a es t at rst to c ns u t a pro portio n s in that res pect, i f ﬁ , o l The ns s tin a meta late Wi th a rad uated s t . gauge , co i g of l p g li N O TA TI O N . s A . sh w the grad es marked with th e letter E , , D , G , B , E o THE s ns for musi al s und s are al ed n tes and themeth str n s . B e inn ers ig c o c l o , a verage di ameter o f the corresponding i g g m s a i t s tr n s and s ub o d o f Wr t n the i termed n o t t n . The n tes are named wo uld do well to commen ce wi th a thin s e of i g , i i g o o after the rst s e en etters of the a ha et A E ra u l as the r f n ers m r e in ﬁ v l lp b , B, C , D, ; F, stitute thicker ones g d a ly, i i g i p ov wh h are re eated as often as the e t nt f the G, ic p x e o n otes re

w th a r er th n ess o f str n s is O f equal importa n ce , i p op ick i g ,

f the r mater a an d a er e t e enn ess and c o m the qu ality o i i l, p f c v

s u e t no t n r mG u taris ts complaints are heard o n this bj c , o ly f o i , A s ver ts . but fro m all pe rformers o n s trin ged in strumen il in s me a e s than st ring may be had frombein g s pun closer o pl c

s w h c a n be erc e ed b the e e o r the t u h ; it in other , hic p iv y y , o c the T re e e r bl Cl f, o G to o s e a to ether wh h will tha t s o und fals e ; it may be s pun clo l g , ic ne l be w ll e it a harsh s o und s un to o s a , th e t w the staff the n s i giv ; if p l ck o i l of , li e and faint if the wire is bad it s on wears o ut atthe rets ; the s a es rather the r res ec t e n tes are termed as w ; , o f if p c , i p iv o , follo s

the str n w rea whe n tun ed u to t h . A s it s ilk is bad , i g ill b k p pi c is n ext to impo s s ible to distingu ish thes e latter qu alities by the

' ' ‘ e e the urc has er w ra t all ba e n a tern at e ut t y , p ill p c ic y v o l iv b o g T he s ame s er at n ﬁ n d o ut the bes t strin s by experiment . ob v io , ho lds go o d with rega rd to the gut-strings ; fo r though every ma s e in ta et there is s uc h a s ic ian knows that th e be t are mad I ly , y M E T H O D F O R T H E G UI T A R .

l r s The sounds here repres ented, by what are cal ed natu al note , ‘ d t D . si . an D ﬂa b m eac h e n c natural po tion call it , are not all equ ally dis tant fro oth r in poi t of pit h ; s c between s ome of them the re are s oun d for the notation of whi h ' Suc s e c s e e m we have no s eperate place left . h i th a , for xa s e s e ae s following diagram will how, wh re uch interm di t degree W e o s e s as C , le et C D. e p , b ween and ither c n id r that ound a s e a s . t e l s o s rais ed from 1ta original degre , and c ll it C harp , are found The do t d ine c nnect the note which repre ent

the s ame s ound . e its a D, lower d from

be k s e k to s It will be obs erved that the re 1s no inte rmediate degree ma e it a quart r note, or crotchet ; a hoo the tem

B . tween E and F, or between and C

s b s it , If a note that as been rai ed or lowered y a harp, ( ) or boo ks h makes it an eighth note , or quaver ; two , r e his s is s r its de e , t , (Q), call ﬂat, (h), to be re to ed to natural g ign

s s s tran form it into a ixteenth note , or emiquaver ;

e o f e is its The value, tim , or duration a not determined by

s s in s is - . e o s o form The long t note u ed Guitar mu ic called a whole int a thirty ec nd note, or demi

o se i a stc mat ita s ide n te , or m breve, E s emiquaver ; and himbo o ks into a s ixty- fourth

s . e i t n ﬁ note, or hemidemi emiquaver The r lat ve value, or dura ion makes it a half note , or mi im the head lled up e o f notes is shown by the follo wing tabl .

W ho le .

tc G re he n .

Di me -th e . k a h u n a . M E D F O R T H E T H O G UI T A R .

us be wi ders to o d n the me o n e Th , it will , that duri g ti given to s s t s has s o s s Each cla of no e a corre p nding ign for ilence,

‘ s e i s mus t be the t al m breve , two minim played ; in ime of one c led res t.

n c c e s etc . . mi im, two rot h t , , etc

mR e t. C r o tc h t R e t . u n v W h o le B a r B e t. M i n i e Q er R e t . Semi u ve t s s s s q a r R es . D emi s c mi qu a ver H e mi de mi s emi R e t. u ve t s q a r R es . half of

ar e comprehended under the name of c om

A i s es s is l on the st e the bar certa n tr or accent aid ﬁr not of ,

‘ s c k e c c e and a e ond, but wea r a nt falls on the note with Which the s ec l he e s ’ t . c mtime ond ha f of bar b gin In om on , thefefo re,

the e es ei lls s c c e and s ec o i1d If two s are e e es th e s e gr at t w ght fa on the ﬁr t rot h t, the dot plac d b hind a note , or r t, cond dot '

. u e s s I m e the . r e i e n and fo rth hav l than third n t ipl t , o l the s the Whole a the a e e e . y add to , quarter of origin l l ngth of ith r fi s n e th e bar s In s ix r t ot of rec eive the ac cent . quaver tame; E XA DIP L E . f the ﬁrs t an d fourth quaver of the bar are aéc ented

- r he e e ! me are mu ica so unda i e resentc d to . t c th e e d n e an s . B n . e n s y To fa ilitate r a i g of th se m y hap d ote , and Q y what a s s l p

' ; rs e notes . e s s all s c a c s s are d meas ur es A . i ar c te s ai d , i e t o r t mu i l ompo it on ivid d in o , f rm By certa n ch a l

, ed s e s es s s c c o n tain ed be ? by tho group of not and re t whi h are s there ve c of s uii ds de e mn e b n e Q . How i lati pit h e t r i d y ot s ee t o i es bars ra c s ‘ ‘ w , , e s the s ff. s m es e r B their be t no n s tw n l n or d wn perp ndi ularlyacro ta A . y ingwri te a y te of lin and th i

termediate s c s e s ta . pa e , call d a j

1 mn ne and c e h s he t ff Q. How a y li s spa s a t s a . '

' e n s an d fo ur s c es . A . Fiv li e pa

i ' 1 t an th e ff emb c e t e n e man c ed o n the G u } . C sta ra all h ot s p itar If we c ns e u e c s e u i e s e su e o id r a n mb r of on c t v bar , or m a r s ,

' s r an d c u e the e the s u c c es s n es of a t ain , omp t valu of ive ot and 7 w n . . are th e e o f the n e e e s s in eac we s al a o ne has the s e u Q How r st ot s ritt r t h, h l ﬁnd th t bar am d ration, - O n e een r led er lin es e . be ~ A . , o , abov and a is s a the s e a e u avers o r c and b tw auxiliary g th t to y, am ggr gate amount of q , rotch

‘ e ts as the e . e we a s s e o , oth r Ind ed, lway ﬁnd it tat d at the c m menc ement e n c n al s n ofa piec , how ma y fra tio part ofa u it eac h bar is to c onta in ; for on this regular measu reme nt of time throu g hout

ec e the e s n ﬂo w e to e exte wde nds a pi , pl a i g of m lody, a gr at nt, pe

W en are . c e s 1 3 e r s s e b h we to have four rotch t m a bar , it xp e d y

tebets i n each are indic atedjghus

1 the c ef f me and e e is c e Q . How is l or d , wh r it pla d f c ommon time . Three c rotc het H ~ M E T H O D F O R T E G UI T A R .

! W t are the n me of the ne in the f l n d m Q . ha a s li s ol owi g iagra

A . A l d s ee bo o ks . ﬁ led hea , tem, and thr

The x - f u Q. si ty o rth note, or

A . A e s ﬁlled h ad, tem ,

m and o . Ma the e k f no tes bc turh ed u n th Q y st s hoo s pward or dow ward , wi out in ﬂuenc ing the ir value !

D . A . E , G , B , , F e A . Th y may . d o f th e c e ! . A n spa s a e ! Q Q . How re th marks for silenc e called A . A . F, , C , E A .

W e e are o n the linea belo w the ff! . hat l tt rs sta he e bar e e e en Q Q. How is t whol r st r pr s ted he s A o n s the . A . t C,on fir t ; , the econd, and F on third e r l o By a filled pa a lel gram marked un der a line . A nd ee are in the c e ! Q. what l tt rs spa s The f e t ! ‘ e hal r s G third and A . D the s , the sec o nd , , , in fir t ; B in L , in the E e l ke e e By a filled para lelogram mar d ov r a lin . in the fourth . o The qua rter rest ! W the n me o f th e c e mme te s he the ff ! . hat is a spa i dia ly sta Q e By a hook turned to the right . ~ G . A . o The eighth rest ! e By a hook turned to the left .

A D A D . A . E , F, G , , B , C , , E , F, G , , B , C , , E , F, G ! e Th e six teen th rest the n me o f the n e nc e e o f the ine and ce . Do e u e k Q a s ot s coi id with thos l s spa s By a do bl hoo turned to the left .

‘ ! p The thirty- se c ond rest

e . A . Th y do a s em ee ks n By a t with thr hoo tur ed to the left . e m l e the n te u enume e ! Q. What general t r is app i d to o s j st rat d c The six ty-fourth res t ! A . e es . Th y are called natural not s By a s tem with four hooks turned to the left . be e e ex e e b the n u n e ! . A re e e an e un th r y oth r so ds sid s thos pr ss d y at ral ot s Can the v ue o f n e es t be n c e e u n Q e al a ot . or a r , i r as d witho t c ha ging its e is e s u e ee s uc A . Th re an int rmediate o nd b tw n every two ! ss a l e s e t e e a , . ce iv natura not , exc pt be we n E and F, and b tween B It can by a dot

' and . fie ! C Q . What is the e c t o f the dot a e e n me e un e e en e o n the ff 1 . re er A . ec es n eas e s its Q How th s i t diat so ds r pr s t d sta If placed dir tly after a note, or r t, it i cr s fl s h refi x A . c rt s s s By e ain ign called harp , (k), and at , ( ), p value o ne half.

to es . the ffec e c n ed the natural not Q. What is e t o f a s o d dot pla ced dire c tly afte r th e ﬁ rs t !

. the un be een 0 and D re e en e ! A . s the e o ne u e Q How is so d tw pr s t d It add to whol , q arter of th origin al value in s A . e s o the t es . Eith r by a harp preﬁxed C , which ca e the of the note , or r t is s b ﬂat D is e note called C harp, or a before the . which th n y the e u v en f e ! Q. What is q i al t o a whol note with a dot

A . A e e l es whol not and a half. or three ha f not .

. Ho v is suc h a no te res to red to its o ri ins l de reo l g g nd o f e n e Q Q. A a whol ot with two dots !

A . By having a natural (h) preﬁxed to it. A . O n e e o ne e o ne u whole not , half not , and q arte r note ; or

. A e n e s Q r ali the other i termed iate notes derived s nd treate d in the same s ev n quarte r note . way ! Does this m o rtio ho ld i e ' . n w th d the A Q p p good rcgar to othe r no t u and rewta . They es . A . It do

L H O F O S N N . R S S E GT TE E T . T I M E . . m n e diﬂer fro me c o ther as re s rds the en ur n Q How y ot s a h g l gth, d atio , or value o f the sou nds they n pmen t l W Ba Q . hat is a a l A . e ts e They are ither uni , or whol notes ; half notes ; quar A . A e c n d w c s s e s p rpendi ular li e ra n a ro th ta ff. te r s i e ; thirt 4 ec o nd o r s i - ; eighth ; xte nth y ; xty fourth notes . Whnt its u . is se ! __Q

. the e n te somibreve M d Q , A . c a es the e u d n e How is whol o or l It fa ilit t r ading of m sic, by ividi g ev ry A O / . , o r a . s s a t s e o By an pen oval he d train into m ll por ion of qual durati n .

. The belf no Q o r miniml u eum! Q Q. What is a M s

A . an o e n head and a stem. By A . c is c n d ee p That whi h o taine betw n two s ingle bars .

. t t dis ti n uis hes the ua g q rter noto, or erotehet l . e n b n Q 0. Whiz i ma t y Tu a !

A . A e s m. ﬁlled h ad and te A . The u t n ue d ra io or val of a meas u re .

. The e n ote u m i ighth , or q Ho w ete Q Q . is that d rmined 1 4 . A e s o ne , hec k. e ﬁll d head tem and A . By ﬁgures plac ed at the c omm n c ement o f a piec e s how

. The x een n e se mi c a ver l in Q si t th ot , or q g how many fractiona l parts of an unit each me as ure is to A A e d s e s ﬁlled h a , t m, and two bo o k . M E T H O D F O R TH E G UI T A RL

i W at ess en tial varieties c an t ere be in t is distributio n o f me ? . ti h h h era] ru e be e t r mved r Q l , k p e o f om the neck ; the elbow mus t Th re is o mmo n time tri le t me nd m u m e c a c o o n t e . A . , p i , p d i ne ther be e e ated no r drawn s e to the s d : i l v , clo i e, but han g down

W at c o nsti tutes c o mmo n time ! natural . The ers mu s s . n t a mu h as ss e be h Q h ly ﬁ g , c po ibl , eld par num er o f frac t o n al arts in a meas ure a e wth the rets and wh A . A c c an be , en e er the are a ed nt a b i p whi h ll l i f v y c ll i o pl y, the re u red un ter- r e two . es s ure s h u - di vid d by q i co p o ld be afforded .by the F ORE J OIN T th e thu A n d tr i le time ! m . Q. p of b d The ri ht ha nd has s num er w c an be i e t ree . it A . A b hic h d vid by h g place generally o ver the strings be tween the r d e and A nd w at is c o m o un d time ? g the r sette and it is s u rted b its tt e Q. h p b i o , ppo y li l “ n er m in at o n o f s e eral meas ures in tri , anted near the th nn est str n a ut two c o le t m . n A . A b i v p i e ﬁ g pl i i g, bo i ches above

‘ the br d - e . The re armrests o n the ed e o f the n strumn ﬁ u res are mo st fre u en tl em lo ed to ndi a e t. . W at i c te c o m Q h g q y p y mo n time ! i g fo g i In rder to s und a s r n t , a e the nt o f the res e t ve o o i g pl c poi , p c i w c rec ts t at hi h di h n er a a n st it u sh it ent e ﬁ g g i , p g ly, ither with the thumb to wards

the n ers o r w th the n ers t ward the thum ﬁ g , i ﬁ g o b, and let it slip eac bar o r meas ure is to c o ntain fo ur c ro tc ets o r u arter h , , h , q o ff s udden w ly ithout allowing the n ails to c o me in contact with

it. The est t n e is r du ed b the ed e o f the nt o f the notes whic h gives two quarter n o testo b o p o c y g poi

n er . The str n s mu st no t be ulled but ushe - fi g i g p , p d . The prim 0 e e ndit n o f a ra d e e ut o n as far as th ip l co io pi x c i , e right hand is n erned s a ' i th t its e e b “ , , rt on e n ned to the n ers a ne o s l e ll co c x i co fi fi g lo , Q . H w i tr ip e time gen ra y represented ! which mu st ac t fromthe root o r knu ckles}; an d that every at

tem t at ac i tat n the r i rs t effo rts b a er o f the hand o r B p f li i g i f y j k , A . y arm o r b ta the ittle in er off the so und- , y king l f g board, be care

fully abstained from. d o m u nd tim 7 Q. A n c po e

‘ A . B y r m: JF Iive no . s u mn

Q. W en th e frac tio nal ar s in a bar are c o un ted o r marked b beatin h p t , y g, 1 Is furn s e t fr ts to ena le u s to s o rten the strin s f does eac h bea t rec eive an equal emphasis i h d wi h e b h g e The rs e the bar 1s lwa s o a fec tuall b ress n t emd o wn of tra in t emw t the ﬁn A . t at 1n a m ﬁ b y re c c ented than y, y p i g h , pp g h i h

ers of the l left ha n in o rder to rawfro m each a numer of the res t. g d, d , b

Q. A re any o ther bea ts ac c ented ? ' to the o d and at least ﬁve mor ever thes un - o a d ho w, , e o r ; . In c o mmo n t me the t ir e b y d b A i , h d b at has also an emphasis e er o r th e res ent we nee o l cons der the fo ur frets near and mc o m o und t me the rst o f e er v , T p , d y i . p i , ﬁ v y gro up o f three frac tio nal n “ ‘ It w ll be rec o lle c t t at the lo west note of the arts i s l ewis e ac c ented . i ed h p ik f R f i

' : G uitar is E . s o un d of the thic k HOLDING THE G UITAR.

The mo s t c o n veni ent manner o f ho lding the let s s l er s - n e e t tr n . B lac n the e mt o f the fi rst er o f th it rest th the a t o f its left s ide o n t h its i v i g y p i g p fi g wi c vi y _ lef an mme atel a e the fi rst fret d t o n t at str n , o , an head being abo ut level with the sho ulder o f the performe r . A h d h i g i di y b v “ res s n it do n fi rml it w ll i e the s o und o f F 3 foo ts to o l u n der the left fo ot 18 almo st indis pen s able to a begin p i g w y, i g v ,

f th e ins trument s o uld be a n er. T he ri t o r u er s ide o gh , pp h l w la er s o t at he has a lim s e an d manne t the sec on ittle n c lined to ards the , Pro c e n in ke w . i p y , h g p edi g, li r; i h d n o mo re o f the s u rfac e o f th n er o ard . , e ﬁ g b ’ The left ha nd s uppo rts the n ec k . by mean s o f the fo réﬁnger ' and t um t o ut allo n g it to s n to the de t of the h b, wi h wi i k ph di

he ro o t o f the little n er s o ul b e vis io n between them. T ﬁ g h d

‘ rou t near the n er o ard s o t a t t s n g er thOu h sho rter b gh ﬁ g b , h hi ﬁ , g t an e res t ma ls o fall w t its fo re- o int er endic ularl h th , y a , i h j , p p y

' ‘ o n h ll and almo f the hand must as a en the str n s . T e a , i b p , g on t e fi n g It is so metimes as serted tha t th e little fi nge r had be tter net rest h ' er o f - boa lest the ther fi n r be c ram e There 1s o we er, no dan er rd, o g s p d , h v g g e ' eorisidefi n So me r referable to s u o rt th e G hitar wit th e ri t ee th brid e is n o t to o i and it is M an "; to s e h o w,, ete nd t at it is kn . t at if e g p h p pp h gh h , g h gh , e me n o e rs t e c an be ke t There may be no o bjec tion to this metho d s o lo ng as the perfo r r limi ts him the rapid and c lo se actio n o fte required f thes finge , h y p ' f w W left d is n o u ch ith a nt of su o rt s o far o fi as the self to a e c ho rds s to pped n ea r th e n ut b u t hen the han c arried s teady eno ugh fo r an u erring t w poi pp - A s lo mo vement ma do ubtless be ed in t is u to the twelfth fret o r be o nd its res s u re w o uld ten d to us the G uita r o ff middle o f the fore arm. w W p , y , p p h y h i ter vals o f time the la alto e t er and i e the nec es sar fac ilit a n d fo rc e o f ac tion m whemthe fi n ers c an rec o ve1 eir an i the n , , wo uld lo os , m M p g h t y y , g th a in will e er ac uire a reat de ree o f when the po ints o f the fi n gers are bro ught to bear up o n the s trings an Qb but it seems mo re than impro bable that they v q g g lique direc tio n . D F O R T E M E T H O H G UI T A R . 9

n er t the t ird ret r duc es . T he third ﬁ g , a f , p o G h Then comes the G

a nd the urth i n er at the f urth ret wi e str n o n wh h we n as end to e fo f g , o f , ll giv G i g, ic o ly c th thi rd fret, thus

Thus the s eri es o f notes produced\ by the

The win is the B str n follo g i g, W G f n str n and at the rs t ope E i g, ﬁ

We ha e in the be v , gin

nes t ew se a ed E o r rst str n has , lik i c ll , ﬁ i g,

n r o n that str n fo r the ni g, i g, . ne t e n s tr n w e us the next n te o f the s a e wh h x op i g ill giv o c l , ic The open strings are tuned

the A s tr n the s ame is A . i g in

6 A w we n n mann er e did the E obtai the followi g note s .

The next o r D str n : H , i g, 3

‘ and the ent re s a e resented b themu t the o urth ret is i c l p y , p o f f ,

E G STRIN G .

T he use o f the the r rets w l be me e den t herea ter . In the s tr n o u are tun n is as te ned and wh c h the e s o f i l co vi f i g y i g f , i W p g . the mea n t me the u s h u d re ea ted s t the s tr n s at o r s rews turn . i , p pil o l p ly op i g c a ll the fre ts ment o ned in re u ar s u ess n and name the The me ha n a art the e ra t n in ni n as he i , g l cc io , c ic l p of op io of g, re de no te s the re res ent s o as to e o me s me what am ar w th s r bed ma be eas unde rsto d et e nn e rs i nd it f y p , b c o f ili i c i , y ily o , y b gi f o te n

- he h u er ard . e tr u es me to tune the r ns trume nts be a us e th e r a t g bo v ry o bl o i i , c i e r c an

not e ac t dete rmne whe the r fo r ns ta nc e h e D ta o e x ly i , i , t ken n th A str ing and the s o und of the O pe n D stri ng are in uni so n o r

no t the o ne e n ro d uc ed b a s ho rt th c st r n ti 0 , b i g p y , i k i g , and T UN I N G T HE G UIT A R . o th er b o ne mu h th n ne r an d o n e r hen e tho y c i l g ; c , ugh the two ' D s ma a ree e r e tl in tc h the r ua it o f e w y g p f c y pi , i q l y to n ill dif T urn : the fth o r A s trin in un s n w th an A tu n n r o r fi , g , i o i i g fo k, fe r wh c h is a t to ms ead the s tud e nt fo r a t me s , i p i l i . T hi o bs ta take the to ne fro man o ther ins trume nt ; the n sto p the A s trin g c le w l he rad ua o e rc o me if the te ac he s e i l g lly v , r c au e s th upi l a t th e th fre t wh c h w e o u and tu ne th e D strin in p fif , i ill giv y D , g to tune his n s trume nt at th e be n n n o f e e r e s s o n u din so w a t T h s do e ta e he (l a t the i th fret o f the i gi i g v y l , g i g u n i n th th . n t i i , k f f the ear o f the atte r h e fly b u es ti o ns e o s l c i y q and dir c ti n . ) s tr n an d re u a te the O e n C s tr n ac c o rd n . The G 1 i g , g l p i g i gly

It ma be o se r ed he re - t n s then s to e d at the o u r th ret to ro d uc e wh c h , tha t u ta r mus is wr tte n an 0 0 s ri g i pp f f , p B , i y b v G i ic i ta e a e t s - O e its ac ua itc h, in o rd e r to s u e rc c de the ne e s si t yo u take a a [mtte rn so und fo r the ope n B s tri ng . n th fi fth v bov l p p c y a do uhle sta ff as used fo r llar o r an o e mus re o f the B s tr n is b wh c h o u tune e en o r , P f rt . Th e f t i g E , y i y th Op E , of p i o ic c Yo u th e n re e Icwe o s ac true t h the o e n st r n s is this rs t s tr n . u ate th r r ixth str n fi i g g l E , i g . pi of p i g

‘ o n lin to the i rs t and to as erta n whethe r its twh in c o r t g f , , c i p rec t s te it a t the i th re t wh h sh u d ro d uc e A and c o m , p f f f , ic o l p ,

a re t w th e so u nd the e n A str n wh c h o u p i i th of op i g , from i y s ta t o n fus o n ta e o d W e rte d . T o re e n c n p v i , k g o ote as to hich p g 1 0 M E T H O D F O R T H E

Do t R E CA PIT ULA T IO N . no play a whole piece over and over again in order to

master s me d fﬁ u t as sa e but ra t e su h in det o i c l p g , p c ic c ail .

e us s r ro n s T O as A N W E E D av ms U ; re a n a e e fo r the rst t me e amn e it and o S R ST DENT B fo pl yi g pi c ﬁ i , x i , o b s er e ho w the n tes o r mus a u s t v o , ic l ﬁg re wi h which yo u are no t Ho w man s tr n g s has the ? et ami ar are to be ex y i Guitar y , e uted . Th s w do mu h t wards f li c i ill c o l

W ? ena n o u to a in t me wh h means to a hat are th eir n ames bli g y pl y i , ic , llot to every n te and rest its due a ue r ? o v l o length . Which is called the ﬁrs t s tring Ho w many frets has the Guitar between the nut and the bo dy What notes are produced at the ﬁrs t four frets o n the s ixth

What n otes are found at the same frets o n the first string ? ? n r mi u s What n otes are played o n the A string n s .

A t whi ch fret does the s ound of a lower string coin cide with that the n ext s tr n a e ? of i g bov O BSERVE} . A shar a ed at the c e nﬂuen es all the n tes ' p pl c l f i c o ? A wh re e str n in un s n w th the B str n t ich f t is th G i g i o i i g wh h bear the name o f ic the line o r s pa e u ied b that . ( c occ p y ' o s D s tr n s rin and B str n . N ame the n te o n th e i g, G t g, i g

‘ ' Iri the rs t exer se there is a shar o n the F n e ﬁ ci , p li , co n s e uent e er F ur n in it is to be re d F T e q ly v y occ i g a it. h re 1s ,

' mre er a s ar be r . h e the D mthe fo urth bar the e o ov , p fo , ffect of wh h d es h we er no t e tend e nd the ar in wh h it , , b , ic o o v x b yo . ic SIG N S. stand s it is a ed an a c identa l n , c ll c , i contradi stin ction to the sharp at t e be nnin o f the s taﬂ wh h h gi g , ic , toge ther with the clef an d

. ' the ‘ res ndi at n the time nst tutes what i s termed the F O R. T HE F H . F OB HE R IG HT H , , LE T AND T AND . ﬁgu i c i g co i s nature o f th " ig e piece . T hum b, ’ The exerc se is to be ons dered as wr tten in two i c i i parts, Bas s

and Tr eble the rst note of e er thr e be n n a s a , ﬁ v y e lo gi g, quaver to e n d i n ' S co f g the on e and as ad tted r c et to the o h r , o c ot h t e . The ﬁn gers o f

' ‘ the le t handhmls o nt nue n the st ed n tes f t c i o opp o , until their value

is e x ir In the fai s s xth and hth ar th e rst B p ed ; l , i , e ig b , ﬁ a ss n té is tied to he nd i h m s t se h ea n h t . i i n to b o co , w c , t a t s g Ly e

“ s tru On e but he d as l n as t e ue of b th n ck c , l o g h val o otes tak eri t ether r u r s m e e it . two o r re s og , q i If o con ecutive groups o r n tes ha e o ne st ed n te in mmon it 1s en o v opp o co , g erally rec o m mended to e e the n er o n it all a n ns tead k p ﬁ g lo g, i of putting it d wn an ew ea h t e it is wan d o c im te .

‘

e ore o u be t la ﬁnd o ut. the aces o f th e w B f y gin op y, pl follo ing n otes .

O N PR ﬂ T l Sl N G .

s who w u d ma e ra d r res s o n the u tar hou d Tho e o l k pi p og G i , s l to it a u e h urs e er da in the be irinm h w devote co pl of o v y y g, o g ’ er sh rt aus es u ht to be re uent made m r c tim ev , o p o g f q ly p a ﬂg, un til the hands arid e s e a th oints o f , p ci lly e p ured to their tas k .

It c ann t be to o str n ur ed that all rac t ce is in a ear s t an e that an but natur l n otes s ho u oc c r in the ﬁ rs t o o gly g , p i vain It may pp r g y a ld u

h do es n o m res s th studen mnd w t . whic t tend to i p e ts i i h an accu rate er e t o n o f the dis t n es to a d the ire t n in wh h p c p i ac , n d c io ic ; the i n ers ha e to m e . n s der here re the f g v ov Co i t fo , y, ir

“ a tual o s t o n an d the han es ntended 1n eit erh d a c p i i c g i h an, nd d a in as it w ere avoi pl y g , at random. M E T H O D F O R T H E G UI T A R . 1 ]

V L O W A T “ E ST A N D KE E P TIM E T IC L Y PO IB L . P L A ‘: ERY S , AS S R T AS SS E

but th s ame h rds as the an s s m er o m ver lo ud s w exer s e nta ins e v s t f rt s s re . The follo ing ci co c o pp , (pi i i o), y of ; f , ( i i o), y ; c c , re ed n o ne the are h we er a tt e mre exten ded and res endo i nc reas in i n wer a so re res ented b th s p c i g ; y , o v li l o , (c c ), g po , l . p y i

u ne n ew t is ntr d u ed . de res endo dec reas in i tr h nt musi a re o n e s n and deeres . n s en t pres ent a differe c l fig ; o i o c ig , ( c c ), g g , re res en ted thus a h the e dire t ns s h u d c o n The etter at the be n nin is an ab re at n o f the ta . p , E c of c io o l l f, gi g, b vi io I l s tin ue to n fluen e the mus un t a md a ti n is nd d ma add that an means s ft i c ic il o ific o i icated . w rd orte u . I ian o f , (lo ) y , p (pi o) o

N o . 2 . M ET H O D F O R T H E G UI T A R .

N ew es n r d t t u ed . me the u l sh u d unt a ud ur in ea h bar. p o i o c ti ce of ti , p pi o l co lo fo c

1 2 8 4 '

M E T H O D F O R T H E G UI T A R . 1 3

N o . 7.

N o . 8.

N o . 9.

N 0. o . 1 ’ m 1 4 M E T H O D F O R T H E s u r n a es

In the next e er se the n er n fo r the r ht hand is to o The e t of this exer ise is to a ust mthe x ci ﬁ g i g ig obj c c , cc o ﬁngers of the obvious to require explan atio n ; nor is there any neces s ity fo r

mar th erin fo r the le ft hand as there i s no new ho rd king e ﬁng g , c ' “ ' m - as s in ﬁ om o in the s e nd and si th ar e o ed . The mos t us ua are : a da i show ntr duc e . In F t e e A i o d p g it G, co x pl y l g ; 3 ndante,

bar and fro mG ac to F mthe s eventh do no t ta e the mderatel slo w A lle retto rather e and A lle r o , b k 4? , k o y ; g , liv ly, g , cheer ful and li l little ﬁnger o f the string; ve y .

A L L EG R ETTO .

N o . 1 1 .

dence is a re u r s u ess i n the fu la ed s multan eo usl in the s tr t s ens e but rather in er The follo wmg Ca g la cc o of ll p y i y ic , v y ho rds o m sin the re ed n e er s e an d sh uld be c o m c c po g p c i g x ci , o rapid s uc ces s io n fro mthe bas s upwards thi s manner of break

w tte d to memo ry . i ing a cho rd should no t be to o much indulged in t When a chord is preceded by this s ign the notes are n o

G A D E N C E .

N o . 1 2 .

lus i el . It resu ts natura e e t hand to s me the fo llo w n as far as N o . 1 9, nc , , Inorder to reducethe fingering fo r th l f o i g i v y l lly wh r s but o n e n o te to be s to ed at the rst fret an d s s tem the term ositi on isfre uentl made us e o f. en the e i pp , thing like a y , p q y fi o s nd that e la r is ta en wit t e s e nd fin s eml ed o r held read to sto th e o ne n the ec , th tte h h as lo n g as the firs t fin ger i p oy , y, p o k co s mar the fin er er . It will c o n s e uent n o t be n e es ar to the hand i s s a d to be in the o s itio n . g q l c y k g no tes o n th e first fret, i I p y " hand i s i n in o f the n e t e er is e ex e t in the s i th and s e en th bar rst er ad anc es to the s e o nd fret, the g x x c , c p x v , . When the fi fing v c w r th wi l o w be s een that the re edi n he e e fo urth finger is required . t . It n , theII po s itio n , e c l p c g vtio n and s o willbe exerci s es have all been played in the I po s ;

N o. 1 3 M H 1) E R - : G ET O O UI T A R . 1 5

m mz - . e z o me mean s ha loud r f , ( ), , tard . do ‘ lf ; i , hand en era a s he ass and the ﬁrst and s e nd er g llypl y t b , co ﬁng er n r vi ed the are . n tw ne h or n The ntr du stri e the u es , o o o ig b i g to ry n te e re the i s t bar is re arded as a I k pp ot p d y i o c o b fo f r g x e er se with the om em t str n s as is the case thro u o ut . the ne t , en o f the st bar whi h ntains nl three r t hets i g , gh x ci c pl la , c co o y c o c , e t n o f the e hth bar the r et o f u s n the thi rd s o that the e e nta ns s t n u ma exc p io ig ; p opri y i g pi c co i ix ee f ll e sures .

n er there i n la e o f the s e nd 1 8 s elf-e de t as t e strin s When an a denta 1 s ntro du ed it nﬂuen es allthe tes ﬁ g , p c co vi n , h g cci l i c , i c no o n wh h the M o u er n tes are a ed are s e arated b an o f the s ame name as that e o re wh c h it urs to the end o f ic , pp o pl y , p y , b f i occ , h d a str n . the ar e en t u h the s tand 111 d ff r interme i te i g b , v o g y i e ent octaves . ' dd e The aus e nd ates tha Be carefulmo t to remove the s econd finger fromthe mi l p , i ic t the note o r chord over which

A mth 5th bar e ore o u me to the G 111 th ne t bar . it Stands is to be dwe t u n as n as the er o rme th n s e , , b f y co 3? e x l po lo g p f r i k

e n er kee the d wn all t r u h t e s e enth bar. ro er i In lik ma n , p F o h o g h v p p

N o . 1 4 .

Th h rds wh h rmthe fo u datio n o f the re edin ltt e N o . 1 2 sh u d be mmtt d T s e c o ic fo n p c g i l , o l co i e to memory . he ame rec o mmen

e e are res ented m ete in the n ext e er s e wh h l e dat n a es to all the den es in the r a . a st rt h pi c , p co pl x ci ic ; ik io ppli c c ﬁ p of t e bo ok .

N O E .

”

N o . 1 5 .

the avt etween the f re- ﬁ n er and thum the o re- int The Bas s F in the s eventh bar of the following exercis e is c i y b o g b f jo o f the thumb rises above the fi ngerbo ard and bends down u po n mar ed w th a at wh h means that the no te s to be st ed k i , ic i opp the string . b the hum O n h y t b o f the left hand . t is occas ion,the n eck of So me G u itaris ts o b ec t to this kin o f ﬁ n e rin bu t th j d g g, ere s eems to be no reas o n wh this ex e ien t s h o u l no t be res o rte to s in c e i n man c ases there the u tar ntra to the enera ru e s n s u t y p d d d , y , G i , co ry g l l , i k q ite down in o wo uld be no alternative but to o mit th e bas s entirely O D . F O R r a n G U T M E T H I A R.

N o . 1 6.

N o . 1 7.

n se that the rec edin aden e turns s a e and whi h when arra ed in a ertai n rder fo rmwhat is T he ear will eas ily reco g i p g c c c l , c , y c o ,

' The s e en n tu al. n o tes ma be deno mn ated a c adence} alto gether upo n the n o te C . v a r y i s m athies e s o alan The ke o f then d es n o t re uire e ther shar o r flat and co n s idered as a family who se mutual y p ar b y C , , o q i p , d he o nstantl o nt to C as to a c o mmo c entre and if an o ne n te o f the a o e ad enc e were la ed under the in c e , that t c y p i n ; y o b v c p c y ’ rds m o s ed ent re o f tho s e -notes w ll not s uc h a s i n the ear wo uld jmmediatel feel it as a a s uc ces s io n o f, c ho co p i ly i fluenc e o f g , y ma or ull s tis f the ear unles s the c o nc lud n s te o f the ass at trans it o n mo dulatio n to s o me ther ke . There are f y a y , i g p b , i ( ) o y j “ 7 leas t turns t6C as to a n al o int o f res t wh ic h in mus c is ali minor e s t e d fferenc e etween wh c h will be e lain ed , fi p , i c and k y , h i b i xp d o nic is the s ame w th a su es s io n o i s n le n atu r e resent it s h uld be remem ered that the c a T ; It i cc i g hereafter ; fo th p , o b

“ m le f s a n o ne shar at the c lef are in the ral n s th o mlete s er es o f wh c h o r the s ca o . rst twe e er s e h ote , e c p i i f C ﬁ lv ex ci , vi g p , A m o s ed w th thes e n o tes wed o E minor N o . 1 3 1 4 and 1 5 w tho ut an shar in A ll the c h rds that c an be c e ke f _ , o \ o p i , vi y ; , , , i y p d 7 w ho ut a shar in ma or and the m s at s mino r . N o . 1 6an 1 c o lle ti el c o n s t tute the ke o f . A n ke a be t , ; c v y, i y C y y y i ; , , i p C j

s fac to ril r a z ed b the intro duc tio n ﬁ é s rinci al c ho rds fo llo win w th o n e shar in G ma or . y e li y ﬁnt p p , g, i p , j

‘ wh c h are uilt u o n the rst fo urth and s de ree o f the i th e c h o r in th e 4th bar o f the ab o e c a enc e i b p ﬁ , M g Stri c t w ritin g wo uld requ re d v d . , to re a F C F in s te a o f F D F but th e fo rmer be in as et to o difﬁ d , A, , , d , A, , , g y

c ult the latter was eeme to ans wer the res ent ur o se as well. , d d p p p

A L L G R E ETTO .

N o . 1 8 .

1 8 M E T H O D F O R T H E G UI T A R .

s s e k It is a ed he d u b W tz ha in three shar i in th e in the o s t n . The two d ts at t b e ar T he following little al , v g p , y pl y I p i io o o l O f A ma o r Th e rst art is to be a ed in the H s t n ; m j ﬁ p pl y po i io i ply that the part o f the piece to which they point is to be re The D in the rst bar the hand is to be held very s teady . ﬁ entad D da a me ans romthe be i nni n The p C ( c po) , f g g mus t be kept down until it is reli eved by the Cl? at the end o f w rd F ine mar s the c n us n o f the e e after the re et The sec n d art is in E ma or the urth o k o cl io pi c p i the second bar . o p j ; fo

’ ' ti n the ﬁISt art as nd ated b the . . u res is intr du ed as an a denta . o Of p i ic D C sharp which th at key req i , o c cci l y

min Wh h the h rds here man ment s . he r T he student mu st n bw be familiar with the ordin ary pos itions view to acco p i T fo ic c o ‘ A an d E ma r and A and msta e that th s k nd O f the c h o rds O f C D , ear s ca ed A r e i r mthe rc u n G jo Of E a pp , i ll p gg o, f o ci c i i s the a r te e s o n the G itar it w l be min or . Th e e bein g f vo i k , i l There are a y . u Of mu sic al ﬁgure is very m mthe Harp d he F well to rec aPitulate them before Proc eeding any fart r. o r e o f A r e i s in us e me o f whi h w l be ound great vari ty p gg o ; so c i l f mthe sequel . re commended to thos e who practic e the Guitar chieﬂy with a M E T H O D F O R T H E G UI T A R . 1 9

tted to tw u a This t lo o q vers . in e ntion is indicated by the ﬁg t mes the rst urth s e enth and tenth ua er i , ﬁ , fo , v , q v ure and the n tes so a ed o pl y are called triplets . The ef

me the rs t and urth ua er t e are a ented wh s t in t , f is the s ame as at , i ﬁ fo q v ec t th t me . A et s l t n t cc il 3 of i tripl p i i o

s ix n te s e ua alue is a ed The rmer ma be n erted nt mm n q a s extelet, and mar ed ce1va the ac c ent. fo y co v i o co o o of l v c ll k F “ thus time by playing e very group o f three in the time otherwise al T . s o M E T H O D F O R Eva ’s

’ i h s e who r . h t. tic fo It is be e ed that the u who a s are ul ra t s e the c m as s o f s t e er e . A s -a n li v p pil h c f ly c i d . o p almo v voic , p _ y -t , o - it re in e er s es w fi nd n o diffic ult in a n o rd n ar the r al ra t e are n n e the ass stanc e of the u r, fo go g x ci , ill y pl yi g i y i voc p c ic co fi d ta i G a mo n u e few s e mens ad a r ded s w th the hords m d ac m an me nts . there re s u o i a ted he are e two s co p i I fo , bj n p ci p t y p ce by cale i a co ly s

to u ar s n s wh h ar s o ns s ed as to me w th n e s u them. pop l o g , ic e tra po co i i th to pport M E T O D F O R T H E T H G UI A R . 2 ] ‘

T HE s w , L O N G , ws i nv nu .

e x v mcs u m. no “ , a,“ a o n n . A ra m a ic . g u “ m

r d de . d with his heart 3 . But n ow the a , e s ea 2 . I triﬁe , b o p , mm He sa id he would depart ; Still savers himfro e ; m then wo ld I An d fo r hi , , u F o r he never more v R eturn to nati e shore . ’ fo r himthen and w no s ee n Id mourn , kno l pi g t n e er dcc F o r h e migh v , . 2 3

’ ‘ ' ‘ CANZONEITA FIRM! IL TROVAIOREo

AL L EG RETTO .

' I have eigh d to rest

' s i h d to res t But all in ain I c ra e ; g , v v

' ha e s i h d fo r res t Ye t all i n ain d o I v g . v

2 6

[ T A L IA N A IR . - IT A L I A N A IR w Contlnned. 2 7

“ bu t th o po w o e r

BO P - TO W

’ O h e ne . W N W - G r o n IO ' “ xa

ra o n are ru tles s O h a m e But if my y f i , 2 . , c l y A t east c t him her return My s orrow l ( ) , t es t e ved T o athe w th teamo f i , A nd send my b b lo , b i p y Hi t . R z r . T he dus t w th n m u rn . ( ac h s rr w to e u e . i i i y E o o b g il ’ O b lm e heav nl , ca y y, 2 8 B E L IE VE I E .

‘ ' A N D A N I I N O .

1 . Bo Iieve me if all , tho se on ear «win o n c ha s d g y ug rm, Whic h I i ns o n so fon - I to g d y .

en - ‘ ' ‘ ' W to c han e b to mo rrow and ﬂeet in m - ‘ g y y l i ke lai n y g ift ﬁ o dmgf a :

P A R T S E C O N D .

no te between the tw o rmer and n ne be tw een th w a t o te . O N SC A L E S. fo , o e l t r The d s tan e ro m to is the re o re m i c f C D , , f , co mo nly called an nte rva o f a who le ton e d that r m i l , an f o E to F, an i nte rval o f a

We canno t sa e ste be nd the s here o f s im e aec m mi- t f ly p yo p pl o ha o r s e one . we re res en t the o ne b a ne and lf, If p y li , no w ed animents, w tho ut a e o f the ri n a ma r and mi the ther b a do t the s a e r m p i k l g p cip l jo o y , c l f o on e C upward to the

r s als . sbe thmfo re o ffer s me s . no c s I ll o remark o n this s ub next will exh t the w n r , ibi follo i g p opo rtio ns : e t wh h sh u d be well un ders to d be e r j c , ic o l o fore th co respo nding m te d exercis es are atte p . ‘ . . A . C D E . F. G . B . C . d been sh wn in nnex n w th the se en teenth It has alrea y o , co io i v ' titutes the ke and sc ale o m a o exerc is q what c o ns y j r. If

' ’ we examne th s scale with s view to the d feren e o f it h th t is to sa the rst two ste s are wh e t nes then mes i i if c p c a y, ﬁ p ol o , co ' between e er two s u ess e no tes we shall ﬁnd as has been s semto ne th hree wh e to n es w b en t ed an ther semto ne . v y cc iv , , i , ol follo y o i o bser ed in the art e o n n tat n that the d s ta n e fro mC to The te hn a e es v icl o io , i c c ic l names for th dis tan c o f these n otes from D i u s tc r than ths t fmmE to F there bein an intcrmedis te the fundnman tal o r ke n te are : s g , g , y o ,

- bo th wh c h w u d be s onnet sec o nd “ by preﬁxing s lharpmr s ﬁst to o ne o r no tes c ornpo sing i o l ,

W th etc . i

- re ard w thm disfi nofim tho imervs h c f the s ho ve sc d ~ Io sh gits ohq s s seoo nd bo s ltfl od iato g q

w u n w w mu mh wneb a m’ m a a e m ) ﬁo mih nd urd de b s sr gm y mes mof s h p. r 0 o . A . c . n . E . at . _ .

If ws be hi with D wo sha Il no t o nl m t ths P uss d in g , y t o o f G but s h o whieh is thc ms o s ms n o f D ﬁi sc d s , C’. j th .

s nswer fos ss ws s uir s ms or sevcnth ws D. thet ur ose ; , r o , p p q j _ 3 0 M E T H O D F O R

Thus it wi be seen that wh s t the s a e o f ma r has no F sh r ll , il c l C jo a p m or with s ix and C sharp ma or demnding s aj , j a even shar the ke ma r re u res o ne an d that M ma r p , y Of G jo q i , D jo , shar s are s t ess in us p , ill l e. The followi ng table sho ws at a w s b th e t m e ru e A ma r t ee and ma i t o sh arp ; y l , jo hr , i lanc e how man an d wh - g h shar s , ea h of the a re mentio n o r ur sh ar s It i s no t us t mar to wri te fo r the uitar i n y ic p c fo j , fo p c o y G ed e s re uir s th ke o f B ma r wh h re uires ﬁve shar s the ke o f k y q e . e y jo , ic q p ; y

a C M jor.

we c o nstruc t a ma o r s e P as s - If j cal on key no te, we shah find that in rd er to o btain a erf a fo un we hme to lo wer , o p e h the natural B b means , of a fiet. y fi n .

F . G . A . 3 . . E . F 11 C . D . . ma r a o n s o n wa s a o r r s a . 3 1

F Major.

A s there are but twelve different tones to be found within the m ass o f an ta e t e e e mr sed in this co p oc v , all h major scal s ar co p i enumerat n o f shar an flat ke s it is h we er s met mes io p d y , o v , o i n en ent to us e fi ve and e en s ix s ts rather than s ix o r e en co v i v fi , s v ‘ shar s s o that we ten mee t the k o D ma r o f It is us uall a d in as e nd n p , of ey f b jo instead y pl ye ; c i g C and G n stead F ma r. l} , b i of 4? jo

r mthe re n it wi be ear s ee th al ma s F o fo goi g ll cl ly n, at l jor key W are exa t a i e in the r nner r o rt ns . e ha e in fac t c ly l k i i p op io v , , n two ess ent a l di ferent s a es we at th e stru ture o ly i l y f c l , if look c , o r the order in which whole tones and he mito nes s u cceed each

th er. T he o ne is the ma or the ther the min or s w o j , o , cale , hich ein m s ed o f wh e to nes and sem b g co po ol iton es , are ca ll ed di a to nic s a es . A s u es s n semt n es n is c l cc io of i o o ly, ca lled a chr o matic s a e an d d es no t c l , o convey to the c a r the impres s io n of

an art u ar ke . Th mn s y p ic l y e i o r cale has the fo llowing pro Sin ce the des cendi ng sca le of A min o r 1s compos ed o f the

sa me n tes as that o f ma o r there mus t be a r aﬁ n it o C j , g eat y etween thes e two e s the are there fo re s a d to be near b k y y , , i ly

re ate d and the s ame s i na tu re se r es fo r e the e o l , g v i r. Ev ry maj r

ke has its re at e mn o r earin the s ame si n be y l iv i , b g g atu re , and

in as ma be seea o mthe o w e alw o g, y fr foll ing ta bl , a s founded n ' y the interval betwee ' n thc fith and fth degreee being a m 0 f the majo r s cal0 sec o nd h we er fo r the e tte r flo w me d o v , b of lo y , a so rt o f c om ro ms e is us ual ad o te d in the exe ut o n o f this p i ly p c i s cale , in c o n P ma o r D mi no r. k j , O se uen e wh h the 6th s ra s ed a semt ne in as end n to q c of ic , i i i o c i g. “ “ B Q (o f Db), M (o r b) do awa w th the shar se nd and in des en d e y i p co , c ing, th 7ih is ? A h I lo werad a semito ne whils t the fi th retums to its o ri ina l de , g E b C ' ree . T akin mmr o g A f r a aaa mthe co rrec t sc ale wonld u g o p Eh G b“ r n 3 9 M E T O D s o n a H r n . en t r a n

‘ a h athe enﬁ gt m! R ECA PITULH IO N . ! p

A . e S ven .

Q. What is an interval!

d s anc A . The i t e fro mo ne no te to another

Q. M is a semitone !

is a who le tone i Q. What

' A . A n nterva o f two s emto nes as fro mE tO F m i l i . ﬁ, o r fro

C to D .

A . What name ven to a Q. is gi regular suc cession o f semitones !

Q W5“ M mtwml' ’md ”0 h a w A . It is a ed a hr s “ V i“! G ! c ll c omatic cale . l k

A . E‘ F& G Q . What is a diato nie scale !

A . A erta n s u es s n o f wh le to nes an s c i cc io o d emito nes . A B . ec aus e the s ale re u res a ma o r s eventh e br c q i j , m aeirg Q Ho w many e s sentially diﬂerent dis tonie s cales have we ?

r minor o n c ntainten s emitones A T wo ; the majo and the . ly o .

What is the o r er o f to nes and semito m in the ma or seals ! Q . d j

" ﬁrst ste em ra es a tone the s e o nd a A The p b c ; c , urth a t ne th e th a to ne the a semito ne the fo , o ﬁf m ne a tone ; and the s eventh a se ito .

1 What are the intervals o f the ma o r s c ale with re rd to the ke no te . Q. j gg y

e nter a r m the ke no te to the next is c alled a A . Th i v l f o y _ Q. Whic h in they ! to the o n e e o nd that a third to the foll w n o ne s ec ond , b y , ; o i g , h to the n ext a th to the o ne afte that a sixth ur t , _ a fo , , ﬁf ; r ;

' v A . O h the . s e enor A re these terms us e o nl with referenc e to the ke n o te ! Q . d y y s e d t rd ourth ’ i N o e er note o f the s a e has its con i . What i the inter al s o me fromG o D m - 1 A , s and e D v y c l ; h , f , Q v t , te A

‘ Sinee G ms o r has ne sh r n ess than G “ j o a p 1 Q nnmber o f semito nes .

i “ d to E fo r nstanc e em ra es f ur A N o ; the thir fro mC , i , b c o

' a s st n uishe ! (3. n o w then re th ese third di i g d

P‘

What are the inte r als o f the ma or seals wit re srd to . the is tinction Q, v j h g d

M E T H D H 3 4 O F O R T E G UI T A R .

The fo llo wing exerc is e will serve to initiate the fingers o f quires o nly a perfec tly regular alteriiation o f thefirst and s ee to t e r n ew tas in an eas man er as it c o nd n r the right hand h i k, y n , x fi ge .

. 4 N“

Th fo llo n e erc s e s o s how s c ales s o ul he rac tis e m n s uc s s r o e n ed . P a eac her e t t s c e o n efo e u wi g x i h w h d p d tai . l y h igh i e i i b y

’ -v n n erfec t c o ns c o us nes s o f the ﬁn e rin is b nc lu w n le c o tc et the ex t. at rs u til a. c t i ﬁ t, p i g g e o dg i hthe si g r h n n

N o .

W th ull os sed o f h th to uc o f the fferent n ers after t s is ac c o ml s e to hen e s tudent 18 f y p ses t e ﬁngeri ng o f e the h di ﬁ g ; hi p i h d, fo re o in ent e er di rtio n o f the c a s o ul e erc s e he s o ul tt n to the u l t o f to n e . a c erta n e t e o s le g g x i , h d a e d q a i y i x , v y asc n ng p h d

Let him t erefo r ' eii in ir t i la r e c e d ev r en d in f ac t o n ds wesc sn e re eat N o . ﬁ e u ﬂ at s he d c s ndo an e m r , h , p q y, giv g f , p ye , y g i , th s me de e a re e o f fo rc e to e e in o rder to e ual z e do . g v ry note, q i ' M E T HO D F O R M E. G U 5

The ne t e erc s e w ll c o n rm the s tu ent in the a t o f teenth bar the little n er sl des x x i i fi d h bi , fi g i fro mA two frets fo rward to m e t rea n the n e n . In as sin fro the t rte n to the fo ur B after c he han d di g fi g ri g p g hi h , whi h t returns immediately to the II po sition

II Po s

F > V

s a s to make a c o mlete s ft o f the V o s t o n so t a t the md le is ta en at the ft o When the c ale extend o far as p hi p i i , h i d C k ﬁ h fret n si neo es s ar it is es ra le to effec t it lst an en the G s trin th e fo llo w n 1) ll be fo un twb frets i er po tio n y, d i b whi Op g ; i g wi d h gh , ' a me str n s so un n to re ent an inte rru tio n o f to ne . A fte r o n the s s tr n . E a nd G a re ta e n o n the sec o n i g i di g, p v y p i g , F, , k d

la e in a o s t o n ex res s l ia s trin res ec t el a t the fth s xt an d e e ~ a ser es o f no tes ave een t fre t. Th la i h b p y d p i i p y g, p iv y ﬁ , i h , igh h p

dic ated the wo r [c m us e to s n f t at the su bs e uent c o s o f an d B o n the rs t strin are no wn so t a t the n e w , d is d ig i y h q A ﬁ g k , h

notes are to be ta en in t e r us u al lace s to re ent c o nfu no te s ere n tro d uc ed a re the u e r C D and B res ec e l k h i p ; p v h i pp , , . p tiv y

e f c the a t the e t t e n t d s o n the no te o f the o en str n ur n the alu o i an t elft fre t O n the rs t s tr n . in N o . i , p i g, d i g v wh h igh h , h , w h ﬁ i g

s ift is to ta e la ce is enerall mar e t us 0 . t ree o f t is e e rc se t ere is a se c o nd s f e es s o h k p , g y k d h , h h x i h hi t n c ary in g ing

fro mthe u s c In the sc ale o f ma o r the s ft s o uld e ne er it is o s er C to D. In de e nd n the han es o f o s t o n C j , hi h , wh v p pp i g, c g p i i h e e s si le be ma e afte r the rst B the an mo n fro mt e Iin to are ma de at th sam lac e as in as e din . , d ﬁ , h d vi g h p c n g

N o . 35 . H D F O T H G ‘ M E T O R E YUJ T A R .

o lo c o . o lo c o V pos .

o s t at a o r u ac uaintanc e wi h Shifts o f po s itio n are frequently induc ed by the n te h o wards a th o gh q t f coman the melo and the mddle an d u er fret o the n m la and earn the otes at the p y dy, i pp s de t ay p y l n lo wer str n s are o c c as onall re u re to ro uc e the n o tes i g i y q i d p d o e e s t in the fo l win matin f v ry r g, in lo g g: s A s a ste to whic h c ann o t be reac hed o n the middle s tring . p

0 4 th 7th 1 2th

he c arac ter o f the mme i t l sk s thenc e to he r e t . a e If a s tring is struc k near t b idg , h i d y ip ‘ ‘ ml r in it a o e the th e fi r t stri . A s a ton e differ s widely fro mthat pro duc ed by strik g b v s ng i i o rmer latter is ec uliarl s o ft an d melt n , the f ro s ette . T he p y i g A o er a t rn atio n s omet in mo re s irite a nd ec d d. r l e has h g p d d i e _ p p a

t o f a ec e . o f bo th c o ntri butes muc h to the go o d effec pi

nt falls o n the l t o rt ono f asc al wh c mean s that the ac c e igh p i p , i h r ar e t u s the l ttle n er h c the ba , m k d h ken at the fi fth fret o n the G string, by i ﬁ g , w i h T H R M E T H O D F O R E G U I T A .

6. N o . 3 ‘

‘ as . M E r n o n s s o n T a n t e e r r a n h

f the s ale o f G is almo st entif l t umin the o ne s cale are la e Witt? the rst fin er in the The right hand fi ngering o c e y h b , p y d ﬁ g “

C as muc as the no tes la ed wit the ot er and v e vers a . the revers e o f that o f , in h p y h h , ic

N o . 37.

' - s ‘ n t e relu e to the n e t ec e the rst i ta en . he and 1 mec ti l t the s t d ft o 9 a an I h P d x pi , fi G k n t GH9 , g w y, ix h fi h str n ft fret w lst the o en str n is us ed fo r th sec D i g, fi h , hi p G i g e F r . the s o imla c ase r ~ f d The s t bar resen s a s a e 0 o n . ix h p t i o k ' Dal e n o means om the ” ” a d i n i cates g ) , fi g : n d o mt the D in the fo urt bar is ta en o n the A strin ft fi unif r i y, h k g, fi h

- ere .tic re e 10 n 1s t0 o m wh p c menc e. two fre s e ( , In t at bar and the n ext fret ; and the E , t h mL h , n e w t o n F O R T H E G UI T A R .

N o . 38 .

“ B A N “ 0 0 “

Do lc e 0 m m .

' F o r l tn u lad o a of thc lh lla n tem m thc vo u buh ry o o thc lu t pq t ‘ 4 0 M E T E O D F - o n T H E U G I T A R .

r t an n er n o f the sc ale o f D ma o r c o rres o nds to t at o f igh h d ﬁ g i g j p h the s c ale o f G .

Bo t the fo llo n relu e and ie e c o nta n s o me harino n The Harmo nc s ma e us f h wi g P d p e i i d e o in regular c ompo s itions arefo und .

m w ic e ar e l e the en s tr n s t us 0 . T es e no es are r k d ik Op i g , h , h t p o o nl at the 1 2th 7th and 5th fretS as Will e ear fro m he fo l y , , , pp t . duc ed merel to uc n the str n s er end cularl a o e by y hi g i g , p p i y, b v

‘ c ertain frets n s ea o f s to n t em in the us ual man , i t d ppi g h ner .

1 2th . 5 th tro t .

. The tie et een the rst and sec on note o f the P i ar o n c s ar to b la e . F r E m t tr let d , v b w ﬁ d m h m i e e p y d c ﬁ e the h e ip

' ‘ lude si n ifi es t at the sec o n is to be lurr ed . T o effec t t s the 1 her the o en str n i e . 513t . g h d s hi , , p i g s us d

’ mer e he w be s o e the n o te is n o t s truc t the t um but el sto d T o wards the nd o f t ec e a ne mark l een a k wi h h b , y ppe by pi , g wi l b v he t r ﬁ n e o f the left a nd wh c mb et fall t fo rc e o n th er C and It nd c ate s that t s Ka is to ha e a t hi d g r h , i h wi h e upp W E i i hi te v r nl us u lt w ‘ es ults fro mfumi the n er the s tr n so as to ro lo n its brat on afte r the alue o f the eertmn t e e , htéh r ng g i g, p g vi i v m q ai y ﬁ e t sto s it a l tle u and am i n the d rec tion of th str n fi rs t no te is expired . th p , it p d i e i g,

n r n o n n r i n . 4 . a 3 M n . s o n ; a t s a

A s re a r s the n er n fo r the r t an the s c ale o f A F is taken o n the str n ele ent fret G A and B o n g d ﬁ g i g igh h d, 4? G i g, v h ; 4?, , ma o r in art c o rres nds to t at o f C ma o r. The s ec o n the s ec o n str n res ec t el at the n nt tent and t elft j , p , po h j d d i g, p iv y, i h, h , w h he e t e erc is e as c en ds to the IX o s tio n in c s cale o f t n x x p i , whi h fret.

N o . 4 1 .

dl In the ft bar o f the n ex relu , t e e is It re u s muc rac tic e t e ec ute thi lat er l le tl h m C4 e t e, e ﬁ h t P de id ? q ir h p o x s, g id gan y, the fo llo wm E at the ele ent fret o n the D strin , and e ins ta t the _ v h g g ry rg ’ ‘ nint fret o n the str n the mddle C in the s e ent bar tr 4? h , s n i struc . T er is et. an o t er s ec es o f l d o r rat h G i g i v i g s; k h e, y h p i g i e; h ‘ mmediate e n the re e is to be foun o n t e G strin , i l c er a su s i fo r o ne h mlo h ttu c i s e e we the otes o b d g b hi d p d b te , w i h p y d h n n t e in 17 i c onnec te c anno t c o n en entl b la o n n e and e ame g d v i y e p yed o th s . “ f n s man s lurre n o tes c h li e “ The piec e its el c o ntai y d , whi k str n in this c as e the n er sl s fro mthe o ne n o te to s o me i g , ﬁ g ip “ ‘ n d alo ne i n s ' t o se i n N o . 40 are to be la e the left a a d h , p y d by h , stan c e i n the irec t o n o f the. o er c is t en struc b i d i th , whi h h k y

er wh c sto s the u er n o te in leav the “ muc h as the ﬁng i h p pp , i g wa o f nterru t n the l e and in s uc c lo s e c o nn e o n n y i p i g g id , h xi ds l ft I the fret ulls the s tr n a little s i e a s to war the e . it t at it a ears to the ar as if it h d een fa rl rr , p i g d w y f with , h pp e a b i y . ca i mus t be ml ta en efo re e sec o n no te is a s to ed o ne , it th ed o n t the termn atin nter al d pp ﬁr y k b o , i g i v ,

l e . finger o n the first no te leaves its p ac s in the s i t an d s e ent bar w c s effec t A glide o c c ur x h v h , hi h i a the lo er no te ra l ed by slipping with the finger th t sto ps . w pid y he er o o n the same str n res s n it do wn all the up to t high g i g, p i g wa and t us e in u the rat o n un til the little n o te is y, h k ep g p vib i w ic the r nc i al n o te to w c the fo rmer is reac hed, u po n h h p i p , hi h

is s truc in the us ual manner . A n o t er wa o f la preﬁxed, k h y p y G l des t o u h c eﬂ ntro duc ed in as c endin ma also be i , h g hi y i g, y in t is l e is to re eat the lo wer note instead o f the u er h g id , _ pp g p s e in e s c endih s all fo r sma l er but t en u d d g , e pec i y l int vals , h they

o n e t us “ , h t s cr ed e e e are gen erally treated in the manner las de ib , v n if;th y

r m e ddle of. es t o th . i ne Whole fro th mi th ix h to that f e

i t bar is la o n the D s tr n . e gh h , p y i g E T M E T H O D F O R T H G U I A R .

. 0 0 0 . 4 4 M E T H O D s o n cr a n e - s m m.

C ompare the right hand ﬁngering o f the sc ale o f E with that o f the s c ale o f G

160 0 .

The relu e in ma o r c o nta n s a o u le s ar x c The n nt bar o f P d E ] i d b h p , whi h i h the piec e c ontains an o rnamental ﬁgure c all

ml es t at a n o te alread affec te a s ar is to be ra s e ed a turn o f the two l ttle o tes c omo s n it e s i p i , h y d by h p , i d ; i n p i g , th fir t o nly is ano t er s emto n e . The x is rec alle a b and if the no te is s truc the s ec o n and the s uc e n h i d by ], k , d, c eding pri c ipal note bein g to rema n s ml ra s e a s mle shar m st be a ded to the o uc ed i n the ma u nn er o f. slurred no tes The rac e n te in t i i p y i d, i p p d prd ”;I g o he " 1 ‘ natural thii s : 1 4? Do u le flats bb are treated n the s ame f twe -firs t d - 5 , 1 4 b , ( ) j j t el th,g nt , an t ent fo urt bar, i s 0 11111111 , w y w y h , p

‘ turd the alue o f c l e t at o f the turn enerall , v whi h , ik h g y, is ta The c or s in the ft and s t bar mar ed IX are n o t a ll k omthe no e h d fi h ix h , k , en fr t to c h it is re e . If the A o ia u whi p fix d pp g t ra la e str c tl in t at os itio n the D F x e n t en t p y d i y h p , 4?, , b i ak wi h has a c ro s s c ut ro u the stern it i s un ersto od to be of e g , th gh , d v ry the rst n er at the ei t fret and the s u se uent B t s o rt durat o n if n o t it ta e s a o ut ha th fi fi g gh h , b q 4?, wi h h i , , k b lf e value of the fo l ' " the same n er at the tent fret. A s o e er t es e no tes do w m st lo n n o te . It u h e er b e fi g h , h w v , h i g , ow v , e o bs rved that in G uitar no t n ol e a s ft o f the an the w ole as s a e is s a d to be mus c the lo n A o ia i ira is usuall r tten o ut in lar e o tes i v v hi h d, h p g i i g pp g t y w i g n , Th in the IX pos itio n . e bas s B in the s eventh bar is taken o n s o that the sho rt one often appears witho ut its c harac teristic

l e 13 the ot er as s mar . s D n . the o w r a , h b no te o n the stri g k

N o . 44 .

M E TE QQ E O E T HE’ G UITA Q ; ; .

The ke o f ma o r do es n o t oc c ur so o ften in G uita rmus ic y F j 2 fo llo i n sc ales N o . o f the is a rtl la ed in the x m w g p y p y p , as the keys in whic h th e student has hithe rto pla yed ; it is mo re if c ult ec ause it rarel a mts o f the o en str n s be the I mhioh e ns the 1mo c ta ve e n ta en w t the ﬁrs t d ﬁ , b y d i p i g f b gi b i g k i h ing us ed in the ba ss neverthe le ss it mumbe rs among the mo s t

n er a thc (mi en e G m. t tent th ﬁ g , h g rac t c al e s and s ould t erefo re be l en tl stu e . p i k y , h h di ig y di d

o N . 46.

o c o 0 l . E T ITO D“ F fo m‘a T E J " M E G IPIT E R .

The httle no tes at the end o f the t ir art o f the fo llo in In s tu n t s e h d p w g dyi g hi pi c e, it will be well to remember that the piec e fo rman o rnamental c aden c e s uc h c adenc es are no t reg tw E str n s ave the same no tes at the same frets it a dis o, i g h w h and nee no t be la e str c tl n t me ularly divided by bars d p y d i y i i ,

’ an e f wo - o c tave s bet i s libi t c o t een t erh . whic h is here express ed by the words ad tum. w h

N o . 47.

M E T HI) D i F O R Tl H E G lUIdT A ﬁ R :

M N SCALE O F I) I OR.

CADEN CE .

mo re t an fo ur no tes the t um is s o me in ac ro s the res e tr or c o ntains s ct n s . Th If a c h d h , h b g p ive s i g e s ixth bar o f th e piece ” res ents wo n s o es re uire to str e two a d even hree s trin s in ra id s ué tanc es t s n . It is also a dvi bl ti q d ik n t g p p t i f hi ki d fi e, s ad m / es s n fallin as it were fro mo ne s tr n o n the o t er w ere so met mes n ec ess ar in suc o as es to use he rst n c i o , g, , i g h , h i y, h t fi fi ger twic e

the n ers fo llo w eac o t er as ra l s o t at the ole in the s ame c o rd o nc e fo r o n e o f the lo wer o s u po n ﬁ g h h pid y, h wh h , n te , and a s ec o nd c ho rd so un ds as it? it were played with the thumb alo ne sweep

N o . 49. M“ E T H O D F O R T H E G U I T A R : 1

The e at th e nn n o th last bar ut o ne in the a rs t is s u s t tu te as the fo rme r s glid e b gi i g f e b ﬁ b i d r app o ac he the D. In the fol

e is c o mmence t the fo urt er fo r c the lo win s c ale mn the res e d do o e ec n c c n o an mnuen . b v pi d wi h h ﬁ g , whi h g i d d di i

N o . 50 .

The m le D in the s xt bar o f the follo n relu e is ken o n the se entee nt fret in o n w c a o s e idd , i h wi g P d v h , d i g hi h, v id rai ing th taken a n the t elft fret to er the s ift fro m el o o f the left arm o r allo w n the t um s l as harmo nic o w h , co v h b w , i g h b to ip fro m

e The lu t ao te in the ei hth bs r A is tac the X to th IIpos . g , ,

N o . 51 . 5 2 M E T H O D -s o n c a n G UI TA R ,

p < , are.

It will no w be evident to the s tudent that the u s e o f

”

s e ure the es re effe t s ee 6and z t ars ove. c d i d c , th ls b ab ‘ ME T H O D E O R T H E G UIT A R . 5 3

SCALE O F I w .

N o . 52 .

’ The student s attentio n has been direc ted are this to the s im no te it may n o w be o bs erved that the inherent res emblan c e ta n s cales in re ar to the erin fo r the r t ic the es c en n mino r sc ale ears to its relat e ma o r ilarity o f c er i g d ﬁng g igh wh h d di g b iv j , T s s mlar t is the res ult o f the re ular alternat o n o f ca us e s the left an ﬁ n er n to be in ma n c as es the sa me fo r hand. hi i i i y g i h d g i g , y ,

rs t n e r in the lo wer o c ta e o f the ins tru o t as w ll be s een i c o m ar n des n o E the thumb and the ﬁ ﬁ g v b h , i n p i g the c endi g sc ale f

ment and the n atural tne s s f the former to stri e the lo wes t min o r w t t at o f ma o ra , ﬁ p k i h h G j

A ll ca ence s l e the a o e ma be co n erte nto s imle no tes i n s uc c ess o n in th e man ner d ik b v y v d i p i , o f this s ho uld relu es br k the c o rds t at is to sa str n the also be rac t s e the stu en p d by ea ing h , h y, by iki g p i d by d t. ’ M E T H O D F O R T IDE G‘ UﬁIT A i E r

re o mmen a c o mlete s ft a alf s ft et in rac t c e the fo rmer metho ill o fte be Tho ugh it may seems trange to c d p hi h hi , y p i , d w n

o sem ua ers as et een A and G in ” o f th e hand between tw iq v , b w , fo u n the eas er o f the two . d i . th e seven th bar when th e same o bjec t might be attained by

c mc . M E TH O D F O R TH E G UIT A R.

In G u tar mus c we rarel ﬁnd a ole ece r tten in an relat es to the mo s t c o mmo n ma o r e s and as suc t e i i y . wh pi w i y iv j k y , h h y u w u It is nec es s ar to be we oth er mino r key than tho se with whic h the student m st no o c c ur freq en tly in modulatio ns . y ll ml ar so m o f the r s o e r rtan s e be fa e e t e are o f im c e a verse n th fo llo n . i i ; , h w v , m d i wi g

SCA LE B M INOR . : R H M E T H O D F O : T E G UI T A R .

CADEN CE .

' ' ‘ H O D - H E M E T F O R T G U I T A R . 5 9

Th e u r s The fo llo wing is an ex erc is e o n the sho rt A ppo giatura . e r q i ed fo r thi o rnamenta l n o te is taken fro mthe princ ipal

‘ manner in whic h it is to be ex ec uted has be en e xplained in c o n o ne ; the A ppo giatura must there fo re be played to gether with mem B s o m h w e me the as t at ac c an es t e no t w c i is re ed . ac t o n t N o . 44 . It s o ul be r ere t at the ti e i i h h d b d , h h p i to hi h t p ﬁx ” ’ 60 M E T HO D F O R W e , G UI T A R :

‘ the rac t s e o f the Turn and If the s n n s tea o f stan in over a no te is la e behi d The n ext exerc ise s erves fo r p i , ig , i d d g , p c d n a mer ur c o n s s ts o f two it the Mo r ente is c o m o se o f feur no t s en n o n the uble ur Mo r ente . The fo r e Do T n, ( d ) ﬁg e i , d p d , di g ' s uc c ess e ra c e - no tes the value o f w c li e that o f the e el o ne : ; _ hi h; k ip iv g l o iatura is in uitar mus c ta en fro mthe follo win rin p g , g i , k g p

- c i al n o te . The latter c o n s ists enerall o f t ree rac e no tes W p g y h g , RITTEN , the value o f whic h is usually deduc ted fro mthe prec eding prin If it is c o mmenc e o n the e ree elo its c ef c ipnl n o te . to d g b w hi te it is o ften re res ente t s s n if it is to e n no , p d by hi ig b gi t the no te a o e the s n is nverted o r lac e u r t If the Mo r ente stan s o ver a do t its fo urt note assu em wi h b v , ig i , p d p igh , d d , h m ' he lw emd value o f the latt r t p e .

WRITTEN ' ' wmr r s x .

If t ere are two o ts he Mo rdente is erfo rme at the ex h d , t p d en s e o f the st do t an d i ts fo urt no lls h l p ﬁr , h te ﬁ t e p ac e o f the P A Y . WR ITTEN . L ED s ec o n d do t

' “ A n ac c idental'abo ve the s ign ~ aﬂec ts the upper n o te o f

The bas s that ac c o mpanies the no te to whic h theMo rdente f

“

! is re e o u t to be la e to et er t t at n o t d : p fix d gh p y d g h wi h h e, _an n ot WRITTEN . with the first no te o f the o rnament in the manner o f A ppogia ' tu ra o r siniple Turn . Bes es the A o iatura T ur and Mo r en e' t ere are en l elo it affec ts the lo er no te id pp g , n, d t , h a A n ac c id ta b w , w ar et of o rnamental ures n s e W c o e er it he ’ v i y fig i u , hi h h w v , w h t exce t on o f t e s a e ar alwa s mtté ut in notes th s is p i h h k , e y n o i .

. - W fre ue tl the c as even t the lo rdente as far as . mo em . e RITTEN q n y wi h g , d M E T H O D F O R T H E G U I T A R . 6

(L C .

l as it re u res e th e r o n o ne str n in the manne r o f s lurre note s as fo l The shake is rarely emp oyed in q i i i g, d , ma be erfo rmed lo ws great pro ﬁc ienc y to make it effec tive . It y p

it ma be la e twa str n s u o n the Ha r in the fO l o rmer but it re y p y d i g . p, This mode is generally preferable to the f .

u res rea e ennes s o to u and had ette r no t be atte m te q i g t v f c h , b p d

un t l after the 71 s r i t exe c ise .

T he rac tice o f the s lurre s a e as llus trated in the fo llo w p d h k , i

in e am le s e treme l sef n elas t c t to the ﬁn~ g x p , i x y u ul in givi g i i y s o ger f the left hand . 69 M E T H D F O R T H E U T A O G I R .

' t Thestuden t will no w be ﬁ rle to p ley ac c entpan iments c f a ' ' e r o rder su as a ended he ma a am stud high , c h are here pp ; y g y s so me piec es o f moderate difﬁ c ulty by o ther composers taking e xerc is e . l i 0 l 63 s - ssammn momnos P S ULE. , A Q A

’ ‘ U MER N ” COM E G EN TIL LA N OT T E. OH S M IG HT

la n o t te a mez - z o A - pril - ro il

' dled ﬂo w r

her be d , A nd s c a t to r de w

Bo a mlo pe r ‘ — SERENAD DON A BALEO c nfi nm. E, FROM P SQ fi fi a ro un d h er

F - ma h e ’ - o r d a mo q re ﬁe ~ s i strug ge

’ o rn i S o Sleep o n m ing l ght ! weet ﬂo w r. go d night !

mo rn 6

v r , r g u s

' m n me 11. T swar , novrronn.

« o s o nmso e BA BEN DEL s u . BR G HTER THA N T E s I H emis .

l m in g ea g F romthe a ze ro l

' - - : th e a zure de c id . ra dianee beam in g,

“

- in th e smile o f . h er I . - mu men 11. TBOVATOREm Continaed. , ea

' s - lo ne tu t love re - turn - in g ca n quell the tem- pes t o t Hi m' fo r who m my h ea rt is

— WHEN THE SWALLOWS HOMEWARD FLY. Contin ed. I

‘ e ) l k 4 . N W y y a 4

ARIA, FROM DON GIOVANNI. — ABIA, FROM DON G IOVANNIw Csaﬁn ed.

rem greet ? A h v o d dst see me dy - o o Dea

ds - van ti s gli o c a o hi tno mo

me s - o s c al eo

‘ ‘ ” 7 4 M E T H O D F O R T H E U T ’ G I A R .

In the n e t e erc s e two n ers a e to rema n stat o nar x x i , ﬁ g h v i i y .

66. N o .

m r h er se ten s ren r . . t e next ex c i , d to de the independent o f eac h o the

0 2 0 8 0 . E T O R T H E G T M H D F O U I A R . 7 5

The fo llo w n e erc i s e fo r the r t an s o ul be la ed the mo ement mus t be rad uall e i g x igh h d h d p y v g y tak n qui c ker, until the

er e enl t the no tes o f the melo di s tinc tl mar ed u tmo s t e ree o f elo c t is o t in d v y v y, wi h dy y k ; d g v i y b a e .

Vi vac e . 7 6 M E T HO D E O E T H E

' The ac c o m an ment in the n e t exerc se is la e the be raetised s o et mes t the t um an d rst n p i x i p y d by, p mi wi h h b fi fi ger striking t um alo a e the rs t and s ec o n n er alternat n o n the no tes to et er fo llo e the s ec o nd o met mes th um‘ h b , fi d fi g i g g h , w d by nd ; a s i with e th b f th e melo d w ic mus t be la e erfec tl s mo o t s o t at and sec on fo ll we T 3 o y , h h p y d p y h , h d, o d by the first. he finger whic h appears I th ea r do es n o t erc e e a i fferen c e in the ualit O f to n e ea est s o ul at rst be ma e to ac c entuate the! no te i e p iv ny d q y w k , h d fi d t hair

’

r uc ed t ese two n ers . T o effec t t s the ec e s o uld s p od by h ﬁ g hi , pi h to trike . M E T HRO D F O R T H E G U I T A R ; 77

The fo llo n is an e erc s e - fo r the s ame n ers wh c o rt o n as the n e rs ec o me in de en dent o f eac o t er wi g x i ﬁ g , i h , p i ﬁ g b p h h , their

ti n theman ner res c r ed ma be us ed in the mo tio n ro ws less o o us and in s s s l o afte r alterna n i p ib , y , a a e i e the f llo win g g bvi , p g k g

- in e rse o rder fo r the u r o s e o f e ualiz atio n . T he u er n o tes s eems to be mo re o r les s c o n ne to e fa r o i ts T is v p p q pp fi d th e j n . h appa rent d u s me li e t sh ould be played s o e ven ly as to p ro c e o thing k he inac tivity o f the o the r po rtio ns o f the fin ge rs i s in reality the effec t o f s ustained n o tes . res ult o f habitually c o n fining digital mo tio n to tho s e mus c les

It ma be o ser ed ere t at t o u the ac t o n o f the n ers alo n e w c are re u red to be c ti e and y b v h , h h gh i ﬁ g hi h q i a v lea ving all o thers in ri t and s o uld ro c ee fro m the nuc les as has a s ta te o s o f the gh h h p d k k , f repo e ; a fac ulty whi c h c an o nly be attained by lo ng ” he art c le o n Ho l in the G u tar et in ro ra ee s tated in t c t c e . b n i , d g i , y p p i

H " M ETH O D F O R T E G UI T A R . 79

The o bj ec t o f the next e xereise is a further wd by their being in every po ss ibly the to uc h o f th e three ﬁngers whic h will be be made . E - 8 0 M E T H O D F O R T E G U I T A R .

mo f ul an u e s t s . s s and o c ta es re c t t s ful in t the The rac t c e o f do u le o e . t r s xt . n o an ren t p i b p , i hi d , i h , v , di ﬁ h givi g h d st g h re si requi res muc h attenti o n and it is ho wever no t and p ci on.

“ ‘ M E O R TH E UI L T H F G T A R .

" “ The bas s in a pas s age o f o c taves is played by the thirmb whic h mu st be the c hief c o n s ideratio n in determining o n what u o ut w ls t the no te s o f the u er art re u re an alter str n erta no tes u A thro gh , hi pp p q i i g c in o ght to be taken . striking illus tratio n

t o n o f the n e rs s uc as o c c ur in la n melo d es enerall . of t s w ll be fo un d in the s i teent bar w th a . ere e and i ﬁ g , h g p yi g i g y hi i x h , h G 4? A ' i- In the fo llo n e erc s e the s tren t of the left and vvill in the treble c are enerall fo und o n t e G str n wi g x i , g h h , whi h g y h i g, will be ‘

’ ‘ be ut to th e tes t as ell as the student s rec s e a rec atio n muc mo re c o n e n ntl ta e o n the s i i p , w p i pp i h v ie y k n D tr ng ; a s imilar c as e od

mu s - tanc es o n the n er o ard . The s fts o f o s t o n t o urs in the t en t fo urt bar The s ame o f dis fi g b hi p i i w y h . motive exists fo r takin g ’ be er ro mt to nsure a s mo o t flo w o f melo a re ar to the F in the t ent -first bar in the manner t ere r s r e v y p p i h dy, g d 4? w y h p e c ib d ,

c res c . " E M E T H OD F O B. T H G U I T A R :

mo lt “ .

The st le o f la n terme le ato at all t mes ffi c ult o n n ewe effo t an d t erefo re rec lude the ea o f its e n as it y p yi g, d g , i di d r, h p id b i g, i ul l w re s mo o t l tte to the o t er w c is m lie le at the G u tar is art c ar so en s e eral s uc c es s e n o tes e o . i , p y : wh v iv , h y fi d h , hi h i p d by g a e to be s to e o ne and the same n er as is er If o n the o t er an d the n e w note c o mmenc es as so ftl as the h v pp d by fi g . v y , h h , y uen l the se n se r o rec e in o ne e ire it ill be mo re ea s il ac c e ted the fre t c a i a es o f ta es . Th desire ff q y i c v e d e ec t p d g xp d , w y p by

ll be mo re rea il o ta ne w e n a due d s t n o is made ea r as a mere mo d i c a tio n o f itc o f the same so un . Henc e wi d y b i d , h i i c ti n ﬁ p h d

et een ac c ente and un acc ente d no te s n the latter it fo llo ws t at o n the a o e n amed ns tru me nts the le ato in a b w d , by givi g , h , b v i , g as nearl as o ss i le t at e ree o f ia no w t w c the r s tric t s ens e is o nl o s s le in c o n un c tio n wit a d c c r c s c c nclo y p b , h d g p i h hi h p e y p ib j h ; c e n c o m arat el ac c e nte no te so und ed at the mo en et as in mus c t ere is an e er c an in tide o f ia no and o r te di g, p iv y d m t o f y , i h v h g g p f ,

n te rc e te its s u i w o be u m s s le e en in c res c e ndo as sa es its e n c c es s o r. This o lds oo s c all t ll n t fo n o to b i g i p d by h g d e pe i y i d i p ib v p g , The r in slo w mo vements . easo n is o bvio us ; fo r a no te struc k disc o ve r so me no tes to whic h the a bo ve princ iples ma y be o n th e ano Har o r G u tar dec reases er rec e libl in effec ti el a l e s n u c di is io ns the ea r ac c usto me Pi , p , i , v y p p y v y pp i d, whil t i q i k v , d stren t in the s ac e o f alf a sec o n o r so if t en a new to the BO - l s tru me nts w ill read l d g h p h d ; , h , C tll ed impe rfec t i n , i y a mit a

' no te su c c ee s in me lo at the e ra tio n o f t at t me it will s mo o t an d lo se r es o f no te s as a s u bstitu d dy xpi h i , , h c se ly c o nnec ted i te fo r if n la ved t the same ener as the fo rmer so un li e a re a le a to as s a e wi h gy , d k g p g . 4 M E T O D F O R T H E U ' ‘ S H G I T AZR .

m ac . R T H E M E T H O D F O G U I T A R . 8 5

as e to eco me ac ua nted t the res t o f and rel es w c c anno t o ffer an The s tudent h y t b q i wi h p ud , hi h y great mec hanic al ifﬁc ult ne w l sufﬁce fo r o l o e es t at ur se . the majo r and mino r keys ; The fo l wing sc ales, c ad nc , d y , wi l h p p

CADEN CE .

P R E L UD E .

d N O SCALE 0 ? M I R . ” E T H O D F O R TH E 8 6 M G UIT A R .

SCA LE O P F M P W O R .

CADEN CE .

P RELUDE .

“ m: o r s m r M ilt o n s c u n .

III po s : r m ! M i r a n F O R ﬁ s G UI TA R . 8 7

t u rn s re . III M E T H O D s o n wa s s c r u m

' SCALE O F E m mM AJ OR.

u n met . IH

M E T H O D F O R T H E G UI T A R”

SCALE D PLA T MAJ O R.

CA D EN C E b a r n . ’ ‘ H E M EfI H O D F O R T G UI T A R . .

THE BLUE BELLS 0F SCOTLAND. " M E T D F O R T H E ' U T A H O G I R .

J EN N

1 2th . T M E T H O D F O R T H E G UI A R.

THE SPRIG OF SlllLLELAll. l o o ME T H O D s o n mm a n i mus ;

’ m. sr. PATRICKS an [N mmoma

N o . 95 .

te mp o . s e a s o n F e n T H E a ma s s ;

G A R R Y o wns .

PA DDY SN A P 1 ' H O D J O s n ms n 0 ? M E L R a c m .

KA TE KEARN EY.

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0 .

1 0 4 mn r n o n ma n ' r s n . G e rma n .

VOCABULARY OF . ITALIAN TERMS USED IN G UITAR MUSIC.

‘ A fo r . Le zeramen te , by, g , lightly.

A cc ellerando ac c eleratin . L en ta ndo , g , with inc reas ing A da i o er slo g , v y w. ' A d libi tum a d s c , t i retion . A etuo s o ffe c tio n l ﬁ , a ate y . A i ta to a g , gitated .

A l A ll A lla to the in the s e . , , , , tyl of A l l e retto rat er c eerfu . g , h h l A lle r l o u c el . g , q i k , iv y

A . nda n te, s eda te A ndan tin me w u A ndante o so at er t an . , h q ic k h A im t n a o an mated . , i

A ia c er e a t leasure . p , p A ss a i m er e tre el . , v y, x y A tem o in the re ul me p , g ar ti . A ttac o s ubito mmen th ll w c o c e e fo o n mo vement irectl . , i g d y w Ben , ell. B is t i c e . , w Ca la nd o dimnis i to n n in e and u c kness . , i h g q i Ca ntabile in a sin s l i e . , g ng ty

Ca r ici o a fanc iful d irre lar om t o u . p , a n gu c i i C oda a few add tio nal s at the en of , i bar

Calla P a rte fo llo w n the r n c al art: fro me s e o ano ther. , i g p i ip p n W t w ith .

Brio wit intens e a n mat o n . , h i i C alo re w mt uas i as t ere it ar i . , w h h . Q , w

o lc ez z uiet l . D a t s e etnes s . ly u et , wi h w Q , q i y “ Dolor e alle t t R n and o s ee L en ando . w t a o s . , i h p th ,

F uoc o th w ﬁr R in orz a ndo see F orz ando . , wi w e . f , G r a vita wi5i ra Riten to ol i n bac k in the m , vi w , h d g G r az ia it 1 1 n R on do a c o mo s t on o f s e eral stra ns eac o f c is fo lle w , w h 5 0 , p i i v i , h whi h

rst art o r s u ec t. G us to t taste . ed b a re etit o n of the , , wi h _ p i ﬁ p bj ’ m e Sc z a I m tuo u s hw ndh la full . to i e l . p , p y , p y y M o to e e o s it an imat o n . u f llo w . , w h i S g ,

‘ ir t s mlic e e mle . o it rit . s Sp i , w h pi S p , i p -

Cr es c endo in reas in emre alwa s . , c g in to ne S p , y Do m eri os u fro . o s er o s . , by, S , i

Da Ca o fro mthe e nn n orz ato s ee F orz ando . p , b gi i . Sf , if , g )

Dal e no fro mth s i n icili na mo ent f a. e . Mar o f a e S g , g k S a , v m o e r es end o d morz an do e s n D c c ec reas n in to ne . t n u , i g S , x i g i hi g Diminuendo i s n the , d mini hi g

l mo vements . Do lor o s o mo urnful. o f s e era , v

’ E , E d , and . E n er o ic en er . g , with gy

Es res s ivo t e res s o n ar so ta e e L en tando . p , wi h xp i S a , s

o r te . lo ud . Subzto u ic kl . F , f , , y

or tis simo 1 er lo ud . Tardo s o wl . F , 17, v y , y

F or z a ndo z . t art ul r Tutta orz a as lo u as o s si le . , f , wi h ic a emphas is . f , d p b G r a ve the s lo west der Tutti ee of l. , g , al h s tes s o tes s o m . I , (S ) t e sa e La r he tto slo w and g , measured . La r o er so lemn and slo g , v y w. L e ato smo ot and onn g , h c ecte d .

w . Lento , slo